Marlon Williams // Rosemount Hotel // Klowe Photography

As Marlon Williams delivered and intoxicating set, one question persisted, how is that voice coming from that unassuming figure on stage? Williams is a lot more lithe than his press shots show but as he stood in front of a sold out crowd at The Rosemount Hotel, what came rumbling out was a voice so rich in pathos and melancholy that the audience could hardly resist this male siren.

For a man in his twenties, he has certainly garnered the attention of an older female crowd. Not that surprising really given that on first impressions his voice harks back to the country blues crooners in the style of Roy Orbison or Johnny Cash. With that said though, the crowd came from all ranges and all came early packing out the main room to sardine standards early in support act, The Weather Station’s set. Unfortunately, for her very delicate guitar folk songs, it couldn’t rise above the chatter as people sank another drink waiting for the New Zealand musician from Lyttelton.

Accompanied by The Yarra Benders, a hush immediately fell as soon as Williams opened up the night with Down In The Garden. The first half of the set consisted of mainly moody dissections on love and the trials of relationships. In lesser skilled hands such a down beat tempo might get old very quickly but Williams’ gift of laser beaming attention upon himself with his woozy vocals, took the audience on a journey. Beautiful Dress from his newest album Make Way For Love was beautifully played; simple guitars with a sweet childlike keyboard melody all lending itself to the the romantic imagery of the song.

Between songs Williams addressed the crowd letting that Kiwi accent peep through as he admitted it was like a dream seeing everyone here, and responding with a boyish smile to the itterminent shouts of encouragement. Didn’t Make A Plan and Fire Of Love laid the way to a cover of Lhasa de Sela’s devastating Is Anything Wrong. It’s not so much sadness that courses through William’s songs, but the threatening pulse of ruination in the pursuit of love.

Marlon Williams // Rosemount Hotel // Klowe Photography

The second half brought a more varied approach first with the darkly layered Can I Call You a song that builds to an anxious crescendo of jealousy. Nobody Gets What They Want Anymore, written with his now ex-partner Aldous Harding, held a weighted poingancy as he instead dueted with one of the members of The Yarra Benders. Picking up the pace and causing a few couples to dance with What’s Chasing You, Williams went into Party Boy pleasing many with it’s rockabilly vibe and laconic pace. It was a gratifying selection of songs including a Yoko Ono and Barry Gibb covers thrown in, with Williams and his band adeptly playing off one another. Their swagger was on full show, especially for the devilishly seductive jazzy Vampire Again. Just as comfortable away from his guitar, Williams sauntered around stage enticing an audience that had already given themselves up.

Williams is as intriguing as his music, he’s old school charm adorned in trackie pants and a white Tee. With an almost otherworldly mystique, he’s like a character from a David Lynch film, whose music demands a finger of bourbon and quiet reflection.So as he departed with a brooding encore of Make Way For Love, one could argue it’s time to make way for Williams as this special unique gem of an artist captures more fans in his silky web.

4/5 stars

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