I can't see you but I see what you're saying - Mk.gee live in Melbourne
With a weathered voice evocative of Sting from The Police, and dynamic, lyrical guitar work supported by an iconic tone and jazz background, producer, multi instrumentalist and songwriter Mk.gee's (Full name Mike Gordon) nostalgic, textured, R&B tinged 80's rock productions have had him receive co-signs from the likes of Frank Ocean and Justin Beiber. His growing fame following the release of his 2023 debut studio album has seen him deliver a viral SNL performance prior to even closing out the final leg of his first ever world tour.
Appearing like a dark cloud in the imitation sky of Melbourne's Iconic Forum, the stage was is filled with fog before Gordon had even walked into view. Concert goers, primarily men, dressed unremarkably save for the occasional baseball cap paying homage to Gordon’s casual sense of style, stood in attention, awaiting what was to come with noticeable anticipation.
Playing a set almost entirely comprised of cuts from his debut album, Mk.gee was accompanied by a drummer and a backup guitarist and delivered a lively, immersive performance over the course of their two hour set. With a textured, tour worn but still nimble voice, Gordon seemed particularly suited to express the brooding and longing feelings which pervade his debut. Supporting, often engulfing his (digitally assisted) pitch perfect voice were effortlessly dynamic instrumentals, the sound of which could range at any time from that of a jam band playing Brian Eno to rock music by way of a Merzbow scored car crash.
After a moody ambient introduction, one of many throughout the set, Gordon and the band dropped into their first track for the night, Dream Police. The opening riff of the song was accented by the activation of stage lights - a handful of spotlights, backlighting the the band and illuminating the audience. This foreshadowed something that would became more apparent over the course of the night, Gordon and his band seemed there primarily to play music, and not perform to an audience. Gordon, but a silhouette with a guitar and a laconic demeanour was visibly magnetic to the concertgoers who, as if viewing a private rehearsal that wasn't meant to be seen, stood transfixed, eager for every glimpses of the hidden spectacle.
Moving through the set at a leisurely pace, ambient breaks in songs and long improvised intros were commonplace throughout the night and served as a testament to the rich emotive potential of the lo-fi, heartbroken sonics of the record.
Rather than balk at the band's tendency to indulge in this contemplative spontaneity the audience appeared receptive and engaged, often especially so during these moments. In the instrumental break between the two encores (Alesis and Rockman, respectively) Gordon, armed with a sampled flute sound Inexplicably coming from his guitar began quoting my Heart Will Go On by Celine Dion, almost immediately an audience member was lifted up into the air, posing like Rose from the iconic scene from Titanic in which the song appeared.
After playing the first three songs of the set in a relatively reserved fashion, a stretch bookended by the downtempo You got it, the band slipped into an electric performance of fan favourite, Candy. Played much faster than the studio recording, it produced an audible response from the crowd, many of whom could be heard singing along. From this point onwards the energy of the set trended upwards, reaching it's apex with the anthemic single Rockman and an extended, slightly confusing performance of DNM featuring exaggerated build-ups, random silences and eye-wateringly beautiful melodic sections.
Bringing down the energy in preparation for the first closing track, New Low, the band slipped into their penultimate song before the encores, Breakthespell. One of the night's more subdued performances, The meandering, hookless interlude felt written for this moment, it's sparse arrangement sitting in stark contrast to the preceding chaos. Appropriating and elaborating on the liberal noodling already present on the recording, the band’s take on the tune blurred the lines between improvisational ambience and song, an emphatic gesture towards the importance of the latter to the project, both on record and on stage.
The encores, Alesis and Rockman (again), were met with a celebratory air from the crowd, singing abound. During the encores, Gordon and his band were, for the first time in the night, completely lit and visible, much to the delight of fans.
Aided by a brilliant live band and the protracted nature of a full length concert, Mk.gee delivered an evocative, thoughtful performance that successfully married meticulous production with the energy of a live band to utterly unique results.
Written by Cleo Tuke @patracore