What to say about witnessing an Alex Cameron concert in person? For starters, his heavy eye-liner and jet-black hair against his pale skin and thin, angular features gave off a slight David Bowie resemblance. About 200 people were treated to a spectacular show by Cameron who, swathed in mostly blue, yellow and purple hues danced in a fluid, strut-like fashion across the stage to the synth/techno, pop sounds the band expertly executed. He and the band performed the majority of songs from his September 2019 released album Miami Memory, starting dramatically with “Bad for the Boys” and “Divorce” during the hour-plus set at The Ready Room in St. Louis on November 7.
Since he came on the music scene around 2013, the majority of articles about Cameron aren’t quite sure what to make of him or how to label him. Last night, he remarked on his time spent in the U.S. and the similarities between Australians and Americans, succinctly saying, “Really, you’re weird. And I love it.” Which sums up Cameron to a T. He’s weird. And you’ll love it (or should). His lyrics often reflect on life’s absurdities and contradictions such as in “Far From Born Again” which is about sex workers and performers, “Same men that tell her, ‘Stop’ / Are the same suckers that pay / Far from born again / She’s doing porn again” set to an upbeat, poppy rhythm.
Cameron took time to connect with the rapt crowd saying, “It feels very nice in St. Louis. The first place we played herer was at The Firebird. In 2015. Supporting a band called Foxygen. Doing our own headline show feels very sweet.”
Halfway through the night, Cameron and Roy Molloy, saxophonist and business partner, brought in a little comedy sketch by sharing how they were forced to play with each other when they were young, but that, “it’s a good thing.” After more one-sided banter by Cameron, Malloy took a few minutes to review the stool he’d been using, “The butt feel is good. It’s sturdy. Attractive. Durable. But an element of deception. The stool gets 3.5 out of 5.” He also said he was “Happy to be back in this beautiful city.”
Cameron ended the whirlwind night by telling everyone that the next song was about “the condition of the straight white male” and launched into “Marlon Brando,” which is about, in Cameron’s words from this Rolling Stone interview, “this straight bro, super-defensive about his sexuality, anti-social to the point where the only thing he has left is violence.”
Comedian Emily Panic started the night off chit-chatting with the growing crowd asking them questions about their day and other such niceties. She then did a short set that included her being married to a conspiracy theorist who, just happened to be wealthy, so it made it all okay.
Holiday Sidewinder (nee Holiday Sidewinder Carmen-Sparks) performed in between Panic and Cameron to the delighted crowd. Mic troubles early on gave her a moment’s pause but she mastered the handheld mic, joking that they don’t let her handle one for fear of injury.
Also hailing from Australia, Sidewinder, in a green catsuit, kicked her set off with “Tra$h Can Luv” and glided into “Baby-Oil.” At one point she tried to crawl into the crowd, but the cable on the mic prevented her from doing so. But, it did not stop her from getting as close as she could by stepping on the guard rail between the stage and audience for several songs. She performed a cover of The Beach Boy’s “Kokomo” with a twist of techno beats and her breathy, pop vocals. She seemed genuinely impressed that St. Louisans knew her songs.
So very many more photos: http://bit.ly/AlexCameron19cz
