On Wednesday 4th of September, RVG joined us all the way from Melbourne for an energetic, illuminating night, and I for one am delighted they ventured so far! The Sunflower Lounge is the group’s final UK stop following a triumphant tour. RVG rose from the gig culture of Melbourne, in basement venues not unlike our own Sunflower. While they have an impressive repertoire of three studio albums, it’s obvious that this is the environment they thrive in. Injecting noisy alt-rock with their post-punk innovation, RVG promises a night of infectious energy.
RVG stands for Romy Vager Group, abbreviated to take the focus off frontwoman Vager. The excellence of the ensemble speaks for itself. Vager is joined by bandmate Isabele Wallace on bass, providing a simmering core with the stoicism of all the greatest bassists. The European tour features Nathalie Pavlovic on guitar and keys and Jen Sholakis on drums. In contrast, they fill in with an infectious playfulness (and witnessing somebody play guitar AND keyboard was certainly memorable). They provide a seamless, accomplished tour line-up.
That being said, it’s difficult to draw attention from Vager. She is a storyteller and born performer, mesmerising the audience with a vocal performance full of character, passion, and sheer power. With a voice that effortlessly fills the room, Vager has the appearance of a marble statue onstage, her eyes raised upwards, untouchable until she lowers her gaze to meet the audience with a glimmer of mischief. It feels totally, disarmingly personal.
As lead guitar and lyricist too, Vager’s talents are seemingly never-ending; but it is no surprise that she’s the source, as every word is sung with pure feeling. Some of the songwriting is compelling in its simplicity. From their most recent album, ‘Squid’ stands out in this respect with its repeated refrain, ‘don’t go back in time, it’s not worth it’. What sounds like good advice is contained within the song’s strange story about a giant squid. It’s a surreal metaphor for the struggle and the affirmation of transformation, likely speaking to Vager’s experience as a trans woman. Drawing poetry from the most unexpected places, a Biblical allusion might not be out of place next to a petty argument or irreverent anecdote. Whatever story Vager tells us, it is relatable and always rings true. To borrow the words of another (my friend Rey as soon as we left the room), “she’s been through some shit”.
‘I Used to Love You’ is a highlight of the night, opening with a bright riff from Vager’s guitar. Don’t be fooled by their angsty enthusiasm; tracks like these let RVG’s thoughtful musicality shine through, recalling their new wave influences. ‘Nothing Really Changes’ also comes from their most recent album. Introducing a darker, insistent rhythm, RVG continue to experiment with their sound. The recent lean towards a synthy composition prove a group that can’t be pinned down, and promise an exciting future!
It stands confidently beside my favourite track, ‘That’s All’. It’s a slow, tense build to a moment of outburst, lamenting the frustration of making yourself smaller for somebody who doesn’t appreciate you. It was the height of RVG’s wonderful anger, of Vager’s soaring vocals, of the intricate noise. This is from their debut album, and I recommend you listen to it IMMEDIATELY; yet, RVG utterly transform the studio version into something alive, present, new. They remind us all of that special quality of live music; that each night is a reinvention.
The night offers a masterclass in bright, accomplished angst. Whatever you may be angry about, be it heartbreak, or politics, or general world-weariness, RVG has something for you.