Arriving at the intimate and unassuming Alchemix Studios in South Brisbane on Saturday 12th July felt different; on top of the usual gig excitement, something else stirred. A tone of creative anticipation tinted the faces of the small, gathering dusk crowd. Twinkles in our eyes as we greeted each other knowingly; something special, something magical was afoot. We were about to experience ART.

The usual frivolous formalities of beverages were dispensed with as the small crowd of 30 odd witnesses were magnetically drawn up a long hallway, through the green room and into the cavernous studio. Essentially a cubesque room with vaulted ceilings, it featured a looming resonating timber backdrop and far more instruments than could be played that night. It gave the feeling of being at a music camp in a Swedish sauna, a quirky thought and certainly a cosy feeling on a brisk winter's night. 

Before us, a huge 9ft Steinway gaped open, poised to speak. Two cellos, a bass and guitars, a drum kit and a xylophone all stood to attention. It wasn't long before art-rock septet Silver Sircus joined us in this space pregnant with potential, and performed METAL, their ode to synth godfather Gary Numan, in full. And it was EPIC. 

Featuring radically reinterpreted covers of songs by the 80s UK synth pioneer and songwriter, METAL is "a sharp musical left turn for Silver Sircus". A sharp turn perhaps, but it felt in perfect harmony with the talents and past performances of the band's core duo of vocalist Lucinda Shaw (ISIS) and drummer/pianist James Lees (The Good Ship, Ghostwoods & ISIS) who have both been drawn to dramatic and intriguing music and performance throughout their careers. Everything they do, I find myself quietly murmuring affirmations "mmmm yes, but of course." Their deeply pensive treatments permeate their work like gold threads, beaded with precious gemstones, enticing you on a sonic quest, deeper into the subconscious.

The band wrapped the audience in a wall of intricately patterned vibrations, enveloping us collectively as we turned into human tuning forks; becoming one with the deep resonating of the instruments bouncing off the wooden wall and around the studio, at one with Lucinda's dark, emotion-laden voice. The musicianship was exemplary, as always with Shaw and Lees' projects. It was the most intense and immersive polyvagal journey I've ever been on, and it left my body and mind buzzing all night.

Gary Numan was diagnosed autistic as a child but who knew what that meant at the time. With crippling anxiety and a dent in his self belief leading to a panicked early "retirement" and a temporary loss of his musical identity in the early 80s. Silver Sircus's album METAL focusses on the time just before his withdrawal, the 1978-1981 era, featuring some of his best known songs from this time as well as several deep cut album tracks and even a rare B-side. 

It was a time when Numan was experiencing the best and worst of the music industry. A time when he was arguably being his most original and authentic self. Yet he was ostracised in the media for appearing "robotic" and androgynous and, listening to him talk about that tumultuous time, you can't help but feel enormous empathy for his confusing, neurodiverse experiences.

Shaw is an accomplished actor and Lees is also deeply theatrical, both being heavily driven to manifest immersive soundscapes and create musical atmospheres. Their performances always exude drama and intrigue, passion and soul, pain and heartache. So too with their METAL show, so compassionately captured by Shaw's delivery - Numan's trademark blush streaking their cheeks, their smokey eyelinered eyes, the odd robotic twitch of their shoulder, their gesturally suggestive hands weaving a story 40 years in the telling. It certainly felt like Gary's spirit was there at the Alchemix Studios. 

Lyrically, many of Numan’s earliest songs blend themes of social alienation with a vivid variety of science fiction references from the likes of Isaac Asimov and Phillip K Dick. In more recent years, Numan has recognised many of these early songs were also describing the mindset of a young neuro-divergent person, sometimes inadvertently and through the metaphors of science fiction, robotics and early AI concepts.

“I think there is a lot of language in recent times for experiences of neurodivergence, however in many ways the poetic expression of his lyrics captures what it is to feel alien within humanity and society,” Shaw explains, “I have a process for myself that I do not sing somebody else’s material until I have really thought and felt deeply into the lyrics. It was incredible to get inside these songs, leaning into the references to spaces where humanity meets robotics. The music and words are timeless in the sense that we now, of course, live in a world where AI and technology are so deeply intertwined.”

Silver Sircus reimagine the material as dramatic chamber-music-inspired art songs, stripped back to shine an eerie, unique light on Numan's vivid lyrics and melodies." Two intimate performances of METAL were given that night in album order including Airplane, Metal, Complex, Down in the Park, Dance, Stormtrooper in Drag, I Die: You Die, Cars, Are 'Friends' Electric? and I nearly Married a Human. We were also treated to a heartbreaking interpretation of We Are Glass and a tip of the hat to Bowie with Five Years. 

At times I felt the strong presence of Johnette Napolitano and Concrete Blonde, especially listening to Stormtrooper in Drag. Powerful, deep & dark, sometimes monotone, sometimes dramatic, soaring, echoing. As one of my favourite bands, it may be hopeful thinking but I'm fantasising it's a sign Silver Sircus could be channelling some dark, early 90s post punk for their next project. Whatever they do, it's guaranteed to be unmissable.

Recorded in collaboration with one of Brisbane’s most loved creative producer/engineers Jamie Trevaskis, best known for his work with Robert Forster, Mexico City, Karl S Williams, It’s Magnetic and Lees’ other musical project Ghostwoods. For these two performances, the band's core duo were joined by regular Silver Sircus members Wayne Jennings (cello) and Mark Angel (guitars) with special guests Danielle Bentley (cello), Chris Dixon (drums/percussion) and Karl O'Shea (bass). 

A very special musical moment to be treasured in my memories forever. If you get a chance, you can catch them performing most of METAL again at the Cave Inn's Wintering gig on Friday 15 August.

Words by Elisa 'Mish' Fraser

Photo by Lachlan Douglas/Somefx