Alex Cameron says that in America we are weird and we don’t know it. Maybe he’s right.

The underrated Aussie pop star maintained a crowd that resembled an intimate gathering amongst friends during his performance yesterday at White Oak Music Hall. 

Photo by Skyler Payne.

The famed Roy Malloy, trusted friend and business partner of Alex Cameron, came out to act as marquee and introduce the opening act: a comedian by the name of Emily Panic. She worked over the crowd, recounting various tour anecdotes like the haunted house they stayed in passing through New Orleans or how her nieces are “thots.” Her stage presence and comedic persona acted as a wonderful pallet cleanser for the evening’s showcase.

After the comedian came Holiday Sidewinder, a headset equipped solo artist who commanded an onstage presence with heavy doses of sexuality in a vein similar to Britney Spears meets Lizzy Macguire movie, except no one cared she was lip-syncing. Her 80s pastiche theatrics commanded the crowd’s attention and helped to prepare the audience for the closing act.

Photo by Skyler Payne.

The lights dimmed, and the crowd delivered a dull roar as the duo took the stage. Alex and Roy took their positions, starting instantly with the classic from their second album, and my personal favorite, Studmuffin69. The punctual lyricism and intentionally awkward yet sexual dance moves are a staple of Alex’ performances. He handled the mic chord restlessly, and Alex’s signature squiggle and delivery was in the vein of Elvis or a particularly hammered James brown. The sax riffs delivered by Roy were a fan favorite, with the crowd howling in approval each time he took a solo. Together, the two portrayed the joys and sorrows of recreational cruelty.

In the words of Alex Cameron, they spent all their money on the full band, and the live performance again presents itself as a two-piece for their own sake of fidelity. The duo of Cameron and Malloy better resembled a comedy duo, being playful and relevant to the crowds needs by mixing musical performance with playful banter. Molloy’s stool reviews stole the show, taking a brief intermission mid-set to review and demonstrate the chair he was using for the audience, between exchanges between the performers ranging from their nipples to their hometown of Sydney.

Photo by Skyler Payne.

After playing the Forced Witness cassette in my car for over a year, the group and their sound has become a type of sweet nostalgia to the deeper meanings of my own repeated misunderstandings. As Alex sang the lyrics of a forgone and used-up performer, he sang his own truth. That is what made the sound true. The words preached by Alex seemed so true, resembling his own life.

Alex Cameron brings out the animal in you, allowing you to relish in your dark inner compulsions. His relevance lies in his ability to communicate the warped side of the human condition in a way that is playful. Through these endearing and personal revelations, Alex remains an underground star who is relevant within a space that he created.