Rewrite
In the latest victory lap of their totemic breakthrough year, the Aussie provocateurs raised O2 Academy Brixton’s roof.
There must be a certain degree of anxiety that comes with being labelled the best live act on the planet. That’s what you’d think at least, but for Australia-to-London party-serenaders Confidence Man, any pressure seems to evaporate the second their scores of loyal sybarites scream. The stage is their chapel for the sanctity of seshing.
The Aussie four-piece—consisting of intoxicating front-woman Janet Planet, her serendipitous counterpart Sugar Bones and their musical backers Clarence McGuffie and Reggie Goodchild—have been mainstays in the dance pop directory across the past five or six years, with 2022’s TILT a watershed project for the group. But this October’s third album, 3AM (LA LA LA), takes their sound to peerless heights, a devouring amalgamation of acid house, trance, trip hop and postured dance pop, all tied together by a liberal creative process (just getting wasted and cooking up) and a maturing song-smithery.
The success of the record reflects their rise on the live circuit, with quickly iconic Glastonbury showings just the tip of the iceberg for an outfit who were just crowned The Live Act Award at Rolling Stone’s annual ceremony. So, having sat in on the duo’s raucous interview with Jake Shears for Wonderland Autumn, and with the new album popping up all over my playlists, I went to see what all the fuss was about.
Ah, the queue at O2 Academy Brixton, we meet again. Although slinking around streets far away from the vitality of the high street, the cold wind and tempestuous drizzle fails to succeed in tampering the mood of the agog attendees for the sold out show, who giggle, sing and drink their way through the lengthy slither around the venue’s circumference.
With everyone wet and tipsy, I finally enter the iconic spot and find my seat upon the balcony, unfortunately missing the brilliant Fcukers’ support slot but just in time for the Con Man revelation. Backed by sublimely ridiculous visuals on the screen behind their stage setup, the image accompaniment is downright hilarity (the badger? The pigeon? Is there a deeper meaning? Fuck no, it’s just funny), and feels well suited to the edgy set design it inhabit and the idiosyncrasy of the performance it surveys.
Planet and Bones’ dance moves are a rousing cry on the battleground of hedonism, their energy an unleashing of all inhibitions. They enter the stage like returning heroes, greeted by a symphony of screams, darting skittishly around the stage as if running between items in a playground. Meanwhile, the bee-masked mavericks McGuffie and Goodchild bring assurance and momentum to a set that runs through all the heavy hitters—from “I CAN’T LOSE YOU” to “Holiday”.
Con Man and the crowd have an intangible connection, one built on pure euphoria and momentary bliss. There’s a lack of pretension present in the venue, an understanding of the night’s sole mission—to have a great fuckin’ time. And as I dash towards Brixton tube station with a smile plastered across my bleary face, I’m confident I’ve done the Aussie provocateurs proud.
in HTML format, including tags, to make it appealing and easy to read for Japanese-speaking readers aged 20 to 40 interested in fashion. Organize the content with appropriate headings and subheadings (h1, h2, h3, h4, h5, h6), translating all text, including headings, into Japanese. Retain any existing
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In the latest victory lap of their totemic breakthrough year, the Aussie provocateurs raised O2 Academy Brixton’s roof.
There must be a certain degree of anxiety that comes with being labelled the best live act on the planet. That’s what you’d think at least, but for Australia-to-London party-serenaders Confidence Man, any pressure seems to evaporate the second their scores of loyal sybarites scream. The stage is their chapel for the sanctity of seshing.
The Aussie four-piece—consisting of intoxicating front-woman Janet Planet, her serendipitous counterpart Sugar Bones and their musical backers Clarence McGuffie and Reggie Goodchild—have been mainstays in the dance pop directory across the past five or six years, with 2022’s TILT a watershed project for the group. But this October’s third album, 3AM (LA LA LA), takes their sound to peerless heights, a devouring amalgamation of acid house, trance, trip hop and postured dance pop, all tied together by a liberal creative process (just getting wasted and cooking up) and a maturing song-smithery.
The success of the record reflects their rise on the live circuit, with quickly iconic Glastonbury showings just the tip of the iceberg for an outfit who were just crowned The Live Act Award at Rolling Stone’s annual ceremony. So, having sat in on the duo’s raucous interview with Jake Shears for Wonderland Autumn, and with the new album popping up all over my playlists, I went to see what all the fuss was about.
Ah, the queue at O2 Academy Brixton, we meet again. Although slinking around streets far away from the vitality of the high street, the cold wind and tempestuous drizzle fails to succeed in tampering the mood of the agog attendees for the sold out show, who giggle, sing and drink their way through the lengthy slither around the venue’s circumference.
With everyone wet and tipsy, I finally enter the iconic spot and find my seat upon the balcony, unfortunately missing the brilliant Fcukers’ support slot but just in time for the Con Man revelation. Backed by sublimely ridiculous visuals on the screen behind their stage setup, the image accompaniment is downright hilarity (the badger? The pigeon? Is there a deeper meaning? Fuck no, it’s just funny), and feels well suited to the edgy set design it inhabit and the idiosyncrasy of the performance it surveys.
Planet and Bones’ dance moves are a rousing cry on the battleground of hedonism, their energy an unleashing of all inhibitions. They enter the stage like returning heroes, greeted by a symphony of screams, darting skittishly around the stage as if running between items in a playground. Meanwhile, the bee-masked mavericks McGuffie and Goodchild bring assurance and momentum to a set that runs through all the heavy hitters—from “I CAN’T LOSE YOU” to “Holiday”.
Con Man and the crowd have an intangible connection, one built on pure euphoria and momentary bliss. There’s a lack of pretension present in the venue, an understanding of the night’s sole mission—to have a great fuckin’ time. And as I dash towards Brixton tube station with a smile plastered across my bleary face, I’m confident I’ve done the Aussie provocateurs proud.
and integrate them seamlessly into the new content without adding new tags. Ensure the new content is fashion-related, written entirely in Japanese, and approximately 1500 words. Conclude with a “結論” section and a well-formatted “よくある質問” section. Avoid including an introduction or a note explaining the process.
