Live Review: Polica, Jaala

Cosima Jaala tells us this is the band's first "seated clap" after our welcoming applause. This music is both challenging to play and listen to. The most familiar song (Hard Hold) is as accessible as it gets by a long shot. They certainly wouldn't be able to put a replacement in at the last minute — such complex arrangements! Jaala's indecipherable lyrics don't do much to draw us in, either. Still, the skill of these musicians is compelling to watch.

During intermission, the words "jazzy" and "experimental" are bandied about in reference to tonight's support act. A sign in the foyer warns "hazing" will be used during Polica's performance. Back inside the Recital Centre we make a point of admiring the backdrop artwork, which features illustrations of dismembered hands and fingers among vivid red poppies; inspired by the border used in the band's latest album United Crusher's cover art.

There's double drummers (usually playing completely different patterns), a bassist downstage right and vocalist Channy Leaneagh downstage left on keys/samples; they're spread out uniformly from the centre of the stage like a Rorschach ink test. Leaneagh is the picture of elegant simplicity in all black and explains to us she's terrified of flying and suffering from jet lag. She dances expressively, sometimes marching on the spot while moving her free hand (the other holding a mic) as if playing theremin. The music inhabits her. Leaneagh's voice is perfectly pure in a Sarah Blasko kind of way. 

We're occasionally treated to bassist Chris Bierden's hauntingly beautiful vocal tone as well throughout the evening and he moves as if he's walking on the moon. Tiff is an early standout with its spacey drone and melancholy vocal melodies. Polica's music is hypnotic, thought-provoking and deep; our minds wander, but that doesn't mean we're not enthralled by the sounds. Fish allows Leaneagh's voice to take the spotlight over sparse beats. There are a few moments during Polica's set where it would've been awesome to get up and bust a move, but the acoustics inside this seated venue are flawless.

The quartet's set flies by and they leave the stage. Lured back by our enthusiastic applause, they all return to the performance space looking surprised. Leaneagh says she feels like her voice "kinda sucks" since it's 4am back in Minneapolis and she hasn't yet adjusted to our time zone. She couldn't be more wrong and we groan our verdict: overruled. As Polica's closer escalates thanks to Ben Ivascu and Drew Christopherson's thundering dual drum attack, we wish we could be present for a repeat dose of this spectacle inside Sydney Opera House in a couple of days. Polica's music strokes the soul.