“I’ve gotta say – this is the first time we’ve ever done the whole ‘sit-down’ thing,” says Dan Cunningham with a nervous smirk. It’s Saturday night at Bulli’s Heritage Hotel, and Cunningham’s band, Parades, have made a return to the Illawarra for the second time this month – albeit in considerably different surrounds to Wollongong’s grungy Grand Hotel. Thankfully, this bizarre contrasting vibe did not hinder the band’s performance. As has been the norm for Parades recently, they nailed a selection of tracks from debut Foreign Tapes with razor-sharp precision and impeccable dynamics.

Single “Dead Nationale” has lost none of its spark, in spite of Cunningham quickly having to fill in vocally for drummer Jonathan Boulet, whose mic had dropped out at the beginning of the song. Other highlights included the serene “Lung Full of Light,” which brought out the best in gorgeous vocalist/keyboardist/percussionist Alyx Dennison (also of Kyü); as well as the explosive “Hunters” and stunning finale of “Marigold” – which is the kind of song that more or less perfectly defines everything that is great about this band. Despite not getting a lot back from the crowd aside from a foot tap here and there, a few smiles of intrigue and polite applause at the end of their songs, Parades pulled out another excellent performance. As Marty McFly once said: “I guess you’re not ready for that yet – but your kids are gonna love it.”

Emerging onto the stage quietly and unassumingly, Sally Seltmann began her performance without her band and the assistance of a backing track. It was quite a strange start to her set, as she shimmied about and pounded her palms on her chest rhythmically. That said, it was also incredibly intriguing – if she didn’t hold your attention after such a bold entrance, you must have been at the bar. From this point onwards, Seltmann and her incredibly tight backing band charmed and delighted their way through tracks ranging from the era of New Buffalo (Seltmann’s original guise) and her debut solo record of earlier this year, Heart That’s Pounding. Even though the crowd was now packed in, Seltmann’s airy, harmonic vocals and sweet-natured banter (discussing everything from travelling through the U.S. to her obsession with Princess Diana in her youth) ensured that the crowd generated little more than an awe-inspired silence. It was a very refreshing politeness and respect payed to Seltmann – and as her performance proved, it was very much an earned respect.

Heart's lead single, “Harmony To My Heartbeat” was given a delicate rendition that exemplified the seamless transition between the studio recordings and the live environment, while a run-through of Carly Simon’s hit “You’re So Vain” brought out her adorable, daggy side that she had no qualms with hiding. It’s most certainly a case of what you see is what you get when Sally performs – there’s a raw emotional nerve that comes out in particular close-to-home songs (“Mountains and Misery” a prime example), but it doesn’t mean she cannot have a sense of humour about herself. It’s the kind of honesty and involvement that all great performers should have as traits.

The set was rounded out by a delightful hat-trick. “Dream About Changing” saw more spot on three-part harmonies between Seltmann, her cellist/keyboardist and her guitarist as they effortlessly delivered on what is arguably Heart That’s Pounding’s highlight. Next was “Recovery,” a nod to fans who had been listening since 2004’s The Last Beautiful Day under the New Buffalo moniker. Seltmann prowled the stage as she cracked a heavens-high falsetto and brought a smile with that unforgettable chorus: “Recovery/Looks like it’s gonna be/Okay/It’s a new day.” With that, the entire group left the stage, leaving most to think it was all over. Those not convinced and calling for an encore were rewarded with Seltmann quietly returning and stifling any post-gig banter that had started up with a solo piano rendition of the classic “Moon River.” Not a sound was made as Seltmann gently sang the song, oozing every lovelorn emotion from it. It was almost a lullaby by the softly-swaying Seltmann, until the huge applause at the end of the song cracked the ambiance. With this came the conclusion of one of the best shows the Illawarra may see all year.

It was a complete package – these are the exact kind of Australian musicians, Australian venues and regional-specific shows that deserve nothing more than unwavering support. Talents such as Parades and Seltmann’s are not to be taken for granted.