Sydney leans in for a wet and wild battering that abruptly signals the end of summer, but at The Factory Theatre it's dry and warmhearted for UK folk guitar sensation Blanco White.
Originally studying flamenco guitar under the guidance of Nono Garcia, White later developed a health issue that led to him being unable to play or write, a journey that pushed him into developing his production and engineering skills.
The night (26 March) kicks off with Chloe Foy alone onstage, dress yellow, backdrop blue. She plucks away beautifully, her voice gentle and sweet. "Hold on," she begs delicately, repeating the sentiment on the minor chord. Time pauses.
"Hello Sydney," she greets. "This is my first gig. . . in Sydney." The crowd laugh. "I just wrote a pre-break-up album," she continues, the crowd enamoured. "My subconscious really knows what it's talking about."
The next piece is pensive, Foy mournful under red lights. "I'm writing a post-break-up album now," she says, to more laughs. "I'm waiting for the day it gets lighter," she sings, and aren't we all.
Her set, full of truths, is flying by, as she welcomes Charlie Schnurr to the stage, violin in hand. Schnurr joins in the sweet harmony for one heartbreaking piece, assuming the violin for the next.
"I'm sorry about the weather," Foy jokes in a proper British accent. "I think it's my fault. Everyone is so nice here," she continues. "It's been nothing but warm welcomes."
Her set ends with self-described melancholy under appropriately blue lights, and the warmth around your heart lingers.
Blanco White enters with a sense of drama, launching in with brilliant song 'Colder Heavens', the violin and electric guitar pumping. "On the road to Santa Fe," White sings from 'Una Noche Más' and it's intriguing and hypnotic, White strumming on his ukulele.
'So Certain' is dark and dirge-like under pink lights, the bass reverberating out. Schnurr's violin shines, razor sharp across your emotions. 'We Had A Place In That Garden' is pensive, Schnurr playing arpeggios on the keyboard and singing gently alongside White's characteristic timbre. The room watches in solemn silence.
'Mano a Mano' is lovely and pretty, the rhythm bouncing beside White's sweet baritone notes, before 'Green Eyes' is slow and meditative. "I'm gonna try a sad heartbreak song on my own," White tells, pouring out memories in 'Sail On By'.
"This place is a bit hobbity," White shares about one of his favourite songwriting places, before 'Fish In The Reeds'. It's a happier piece, White strumming joyfully as smile almost crosses his face. "It was all for you," he sings.
'Chalk' has a sweet violin line atop the characteristic strumming, White entering gently with the vocal, as 'El Búho' starts with Schnurr singing in an almost Arabic manner, dotting around with precision. It's highly memorable.
The bass hits like thunder before a percussion solo ensues that leaves the enraptured crowd clapping. 'Samara' allows the electric guitar to shine, before 'Olalla' is a nice way to end the regular set. 'The Lily' features in the encore, Schnurr bowing perfectly.
White takes moments and ponders them, extending and shrinking and magnifying them again. For those who desire to take a quiet pause in life's busyness to sit and muse, Blanco White provides an immersive sonic environment for just that.
