Review by Matt Jenkin

After a sleepless forty hour university and work filled binge, seeing DMA’s live was honestly the perfect remedy, a remedy which sustained me through an arguably unnecessary but marvellous post-gig session at the Irish pub up the road; no need for the extra ‘M’ when you’ve just seen DMA’s. From the moment DMA’s struck the first chord a euphoric wave was cast over the audience which maintained its energy and hold until the moment they departed the stage, it truly was a hypnotic set which moved through ballad to banger at pace and with suave.

Front man, Tommy O’Dell, put on a stellar vocal performance, not once dropping a note nor wearing out his voice. His voice really comes alive live, it’s captivating, articulate and perfect for a sing-along. Of which the crowd most definitely indulged in, at times – like in the chorus of ‘Delete’, ‘Lay Down’ and ‘Dawning’ – they were so rowdy they drowned out his vocals, it was a powerful atmosphere. Voice aside, it’s worth seeing DMA’s just for Tommy’s distinct dance moves, if you could call them that, and tambourine playing. They are subtle but effective at getting the crowd going and add a neat visual and energetic touch to the brilliant shoegazy instrumental sections the live band tear through like a proper alt-rock band should.

The highlights of the set were most definitely getting to hear their matured and masterfully crafted new songs live, most notably ‘Dawning’, ‘In The Air’, and ‘For Now’.  Don’t get me wrong, their first album is one of my favourites, arguably one of the defining albums of my transition into quasi-adulthood (that letting go of home and amassing unsolicited responsibilities yet trying to hold on to the last strands of teenagerhood) and I was lucky enough to see it performed live at Falls Festival in 2015. However, just as I have matured since 2014 (my few friends may argue strongly against this), so has the DMA’s sound and it was such a fulfilling experience to hear it live, I felt as if I’d come full circle.

Although the biggest highlight of the set was ‘Delete’, both on a deeply personal and communal level. For me ‘Delete’ is immensely nostalgic, fond memories of south coast parties and friends gathered, four long-necks deep, shouting every lyric. However, as the song in itself builds you up only to deliver a sobering reality, the sobering reality that those days are over hit me when I hear it, still the sweeter side of bittersweet. The energy in the Enmore Theatre when Tommy and Johnny Took (rhythm guitar) played the distinct B major chord that commences ‘Delete’ was ecstatic. Everyone erupted in song and sang every single word with conviction and confidence as if they were fronting the band and by the time lead guitarist, Matt Mason, came in with the outro lyrics the voices of the audience pretty much drowned out the band, in a good way. This has to be one of the most unique songs I’ve seen performed live, it has its own characteristics, the way it’s structured, builds layer by layer and the way the audience interacts with it. It’s a real 2006 ‘Seaside’ (The Kooks) moment. That one song everyone in the audience sings every word to perfectly for the whole song and usually, overwhelmingly in key (everyone can sing in group, science says).

Only one, well two, minor things could’ve improved the show; a touch of glitter and a touch of Cher. I would have loved to of heard them perform their elegant and revered cover of Cher’s 1998 hit ‘Believe’ because I honestly believe they do it better, sorry not sorry. All in all, go and see DMA’s live, they’re a truly talented bunch of songwriters who draw influence from the golden era of brit-rock and shoegaze whilst still embodying a uniquely Australian vibe, and most crucially, they tear through a live set with the passion, musicianship, and fervour of the great rock bands of the past.