I’ve always struggled to explain the sound of bar italia to anyone who didn’t endure puberty with me. I can’t really pinpoint a genre I’m fully satisfied with other than comparing them to other artists that sound vaguely similar, but that would render their description a messy amalgamation of edgy sounds. That’s the exact opposite of how I’d describe bar italia: they’re moody, a little vengeful, and their sound blends seamlessly into Melbourne cynicism. Members Jezmi Tarik Fehmi and Sam Fenton are also active as Double Virgo and released a cover of local act HTRK’s “Rent Boy,” which you may be familiar with if you’re into local acts. I listen to bar italia whenever I want to fill the space with music that won't make me burst into tears but also won’t try to lift my mood.

So, when I learned that the London-based band was playing at Meredith, I contacted their manager to request an interview, something they rarely provide. I was instead offered tickets to their show at Northcote Theatre, which I gladly accepted.

As the doors opened, my group and I made sure to grab a pint before shuffling into a spacious crowd. I was surprised to hear Wet Kiss open the gig, flooding the theatre with glam rock tinged with vaudeville, their aesthetic recalling early Panic! At the Disco and The Rocky Horror Picture Show. The sequins and beads decorating their outfits took me aback in a refreshing way that made me regret the smaller crowd—they deserved better. Still, their theatrics blended seamlessly with the Edwardian Baroque interior of the Northcote Theatre and set the tone for what followed.

After a smoke break on the overcrowded upstairs balcony, we returned just as Fehmi, Fenton, and Nina Cristante made their entrances. Opening with “my kiss era,” it became clear that bar italia was here for more than just a moody gig. Instead of lengthy banter between tracks, they poured their energy into theatrical performance.

Cristante’s near-contorting arm movements during “the lady vanishes” cast a spell on me, locking my eyes to her chiffon sleeve as they flowed to Fenton and Fehmi’s guitar strums. Maybe the rest of the crowd felt that way too; aside from a brief energy spike in “Fundraiser,” their other well-known tracks like “Changer” or “Nurse!” didn’t ignite much of a visible reaction. This is something I’ve noticed about Melbourne’s music scene lately: no matter how hard a band pushes, crowds shy away from dancing or making any affirming movement. Either tall poppy syndrome has infected audiences or Melbournians maintain abnormally high standards for performance.

Those of us who’d seen them at Meredith the day before hoped for clearer acoustics, but the sound at Northcote Theatre left our ears feeling hazy. But at the end of the day, I felt what I came to feel: bitter. Maybe more than expected, because a week later, I’m still entranced by that night. You will find me blasting “How Will I Know” until it softens my RBF to its original state.