REVIEW: FELIX THORNE 'F WORD' EP LAUNCH @ OPEN STUDIO - (31/07/21)
Felix Thorne’s sold-out launch for her newest EP The F Word was a peculiar re-introduction to live music for yet another ‘first night out after lockdown’.
Taking place at Open Studio, the cosy venue provided an intimate space for the gig and her supporting act Benjamin Trillado was as steady and sombre as the rain on the window behind him. An unconventional combination to say the least.
It must be said that Benjamin Trillado is the mayor of Sad City, and he is damn good at his job. In just a 30-minute set he addressed break-ups, regretful career paths, being a loner adolescent, self-image and mysteriously disappearing women. While it was not the most uplifting half an hour it was raw, real and vulnerable – attributes that certainly enhance song writing.
A standout song told the little-known story of Connie Converse, a songwriter in the 1950s in New York City who mysteriously disappeared in August of 1974. Trillado admitted to not planning to perform the song and even took a moment to recall the lyrics, however we are so glad that he did. The spontaneous performance was further amplified by the harsh Melbourne winds that could be heard from inside the venue, thus flushing an eery quality throughout the space that felt appropriate given the subject matter.
Moving forward, Felix Thorne’s set was a wild ride with her strong vocals being the only thing keeping me strapped to my seat as we went through loop after loop. Structurally, the set was sound. It was bookended with the title and ending tracks of the EP and some new additions were thrown in, thus balancing unpredictability with structure. Additionally, the technical capability of both Thorne and her band were impressive, giving a strong sound to each song and allowing each instrument to maximise its potential.
Unfortunately, whilst Thorne’s bubbly personality emanated warmth and a sense of security, the overly literal and occasionally offensive lyrics were the pin that popped said bubble. The ways in which language can be manipulated are endless, especially in song writing and poetry, and so to hear a lyricist use such lacking and bland words such as “Your eyes are in the middle of your face, right where they should be,” felt disappointing.
Moreover, the closing song centred heavily around a soured friendship and while this certainly held potential, it ultimately felt petty and on the verge of slut-shaming. There were references to ‘hooker heels’ as well as Thorne belting the line “Well you’re just a bitch” and bringing it home with the final line of the song being “Go suck a dick”. This was all underpinned by the song being titled Succubus, which for those who are unaware, is a female demon who seduces men in their dreams through sexual activity. A term that unsurprisingly, has sexist connotations.
Ultimately, I’m not mad I’m just disappointed. There was a full sound and an abundance of technical skill, especially in the form of Thorne’s vocal control and range. However, the lack of lyrical creativity, reinforced by the eyebrow-raising references contributed to a sense of wasted potential from Thorne.