The second day of the new year was a cold one, darkened by stormy skies and strong winds that buffeted the throng of young fans eagerly waiting to enter Richmond’s Corner Hotel. The weather did not get them down, however, as they knew that their shivers would turn into sweat as a result of the warming Australian debut of British singer-songwriter Billie Marten.

Once settled inside,wrists stamped with The Corner’s signature steed, the night opened to the haunting and resonant sounds of Ullah, an indie folk artist from Perth. Ullah performed a variety of songs, starting off with tracks about her large family and their chaotic dynamic. Her song “Hole in Your Wall” stunned the crowd to silence with the echoes of her airy and ethereal voice, especially when paired with her acoustic guitar. It was an absolute pleasure to experience such sound and, beauty produced by only a voice and a guitar. I particularly loved her song “What Nightmares Are Made of”, as it captured a feeling that haunts a coming-of-age. the moment when you have to acknowledge the passage of time and the change it beckons; revelations of becoming anew and of letting go of the anchors of the past. I feel like this feeling is particularly pertinent in the days following the new year, which are always a slog. There is triumph to New Years’ Day, but the 2nd feels a little hollow; tinged with the lingering tenderness of the festivities in a way that's both sad and happy, warm and cold. Ullah had a humble stage presence but a truly captivating voice. The only thing I wished might change was Ullah’s apologies for the absence of a band— her songs were magical acoustic.

And then just like that, Billie took the stage, eagerly received by the cheers and whoops of a crowd already enchanted. As we would come to find out, a show by Billie Marten is one infused with intimacy and vulnerability, her hauntingly beautiful folk sound parternerd with an acoustic guitar echoed throughout the space, creating a serene and magical atmosphere that enraptured the audience. Her voice, which oscillated between gentle falsettos and more grounded notes, hung thick in the air, laden with emotion but still delicate and light enough to float. She performed tracks from her albums “Feeding Seahorses by Hand” and “Drop Cherries”. Her lyrics dripped with feeling; love, loss and introspection were all delivered with such rawness and depth of feeling that gripped the audience. This also lent Marten a vulnerability that allowed a genuine connection with the audience, which was only bolstered by her stripped down instrumental arrangements.

Marten’s stage presence is humble yet magnetic, her voice the clear star of the show. Marten alternated between an acoustic guitar and an electric guitar, assisted by her “steed” Will Taylor. She would often interlude the music and engage with the audience in natural and effortless ways, often sharing little anecdotes or reflections, musing about the Melbourne zoo and the city.

Highlights of the set for me include songs like "I Can’t Get My Head Around You” , “Mice”  and her cover of Nelly Furtado’s "I’m Like a Bird". By the end of the show, I came to notice onlookers standing a little bit closer to their friends, partners and relatives. People holding each other slightly tighter. I think that perfectly sums up the show; one that was special and lovely and left you with a peacefulness and longingness for love.