On a brisk Brisbane evening a line formed down the block for the opening night of Open Season 2025, one of the city’s most exciting winter festivals. Despite the time reading 7:30pm on a Sunday, punters huddled in the Princess Theatre’s courtyards and bars with a buzz in the air. The occasion? The first Brisbane show for the red balaclava-clad soul artist Pale Jay, closing out the final stop on his first-ever tour. Not just in Australia, but ever.
For a newcomer to Pale Jay’s discography, the diversity of the crowd would have made it hard to guess the genre. The artist’s universal appeal drew a mixed audience, all united in anticipation for the jazzy soul singers arrival. Jay’s visual aesthetic, landing somewhere between comic-book villain on holidays and IRA member umpiring the tennis, is already striking enough. However, despite what could be seen as a gimmick, the artists music is what truly commands attention. With millions of streams since his 2021 debut Celestial Suite, the artist has moved from bedroom recordings to now filling rooms in other continents. A remarkable feat for someone operating under complete disguise.
Before Pale Jay took the stage, the crowd was treated to a set from support act Carrtoons who also doubles as Pale Jay’s bass player. Emerging to enthusiastic cheers, Carrtoons delivered a groovy half-hour of instrumental soul, layering slick basslines over warm backing tracks. It was a perfect warm-up that complemented the headliner. Closing his set, the artist lead the crowd in a loose, communal singalong of Biz Markie’s “Just a Friend”, shedding his bass and stepping into the role of hype man.
At 9pm, the lights dimmed and the crowd surged forward as the band took their places. Each member (Carrtoons, Diego on drums, Devon on keys, and Relyae on guitar) were adorned in red Wiggles styled skivvies, positioned atop their own elevated platforms. The stage design evoked a retro soul revue, stylishly unconventional and deeply cool.
Basking in amber stage lights, the band launched into the dreamy opening notes of “For James.” Then, through the haze, emerged the white-suited figure of Pale Jay, visor, balaclava and all. Without introduction, he let his falsetto do the talking as his rich, soulful voice effortlessly cut through the theatre. Sounding identical to the records, it was impressive to witness how tight and well mixed the band were.
The evening wasn’t without hiccups however. Midway through the opening track, a technical issue forced an abrupt stop. “There’s an issue…you don’t know what’s going on,” Jay told the crowd with a laugh, “but we do.” Rather than derail the momentum, the moment gave way to candid banter. The singer took the time to remind the audience this was the bands third show ever, having played their first just five days earlier. The singer remarked “..but this will be the best one yet”, which was met with roaring applause, handling the lull like decades long veterans.
Once resolved, the set ran from strength to strength. “Dreaming In Slow Motion”, “Dos Uvas” and “The Garden” showcased the tightness of the band, while “Love Around the World”, “Vladimir” and “Don’t Forget That I Love You” epitomised Pale Jay’s ability to shift between melancholic crooning and dance party ringleader. Despite the suggestion of more minor tech issues, there wasn’t a moment of faltering visually or sonically.
The night’s first major singalong came during “Spend More Time With Your Friends” the title prompting hugs, arms around shoulders in the crowd and a collective belting of lyrics. Between songs, Jay was just as captivating as during them. With lanky, animated-yet-stiff dance moves that landed somewhere between an inflatable tube man and a retro robot, he moved with an infectious joy.
Following another brief glitch, he turned the downtime into an impromptu Q&A.
“Take off the mask!” someone called out.
“Why? Why does that matter?” he shot back, gently but firmly.
In an era defined by oversharing and para-social connection, Pale Jay’s refusal to reveal his face or even his real name, feels genuinely radical. The mystique becomes part of the performance. In a time where fame is often measured by how much of oneself is on display, the secrecy feels like a flipping of the zeitgeist.
Still, he was happy to demystify one thing: the mask itself. He laughed recounting the first prototype—“I looked like a scarecrow.”
“Is it hot?” another person asked.
“The ones I wear now? I could run in the desert in these.”
It was a charming, awkward, and sincere moment, and the kind you only get in a venue this intimate, at this early stage in an artist’s touring life.
The night closed with an encore featuring “Under The Magnolia Tree” and “Easy, Lee” The former had the crowd moving, while the latter saw phone lights swaying above heads like digital lighters. As chants of “We love you PJ!” rang out, the artist waved his thanks and the band lingered to soak in the love. For a project built on mystery, the connection between artist and audience felt anything but distant.
The show was, by almost all measures, near-flawless. Pale Jay’s vocals were stunning, the band airtight, and the overall vibe (tech gremlins included), was electric. Even as those issues came, it gave the room another impromptu moment to take home with them, something that a perfect ran set can’t do. In the end, it made the show better. As the artist manned the merch desk post-show, chatting and signing for fans, it was clear this moment was something rare. In an age of overexposure and curated personas, Pale Jay’s mystique feels like a breath of fresh air, backed by immense musical talent.
Pale Jay’s global rise feels inevitable, and his approach essential. At a time when artistry is often diluted by constant visibility, here is an act that reminds us music can still surprise, still intrigue, still connect. Bending nostalgia into something new, the 70s-era soul and crisp modern touches makes for an unmistakable sense of self, perhaps ironic for someone who keeps so much of themselves hidden.
Come for the mask, the myth, the mystery but stay for the music. Because once you hear it, you won’t want to leave. If this is what the band’s third-ever live show looks like, the world has a lot to look forward to.
FIVE STARS (OUT OF FIVE)
Open Season continues from May into July.
Find the full program, info & tickets HERE
Open Season 2025 lineup:
1tbsp | Accomplice Collective | Christine Anu | Cloud Control | DIIV | Emma Volard
Ezra Collective | Handsome | Jessica Pratt | Kamasi Washington | Kiasmos
Killing Heidi | Miss Kaninna | Moktar | MonoNeon | Mount Kimbie
Pale Jay | Purient | Ravyn Lenae | Sahara Beck | Shouse
Sigur Rós w Brisbane Philharmonic Orchestra | Skegss | Soccer Mommy
Surprise Chef | The Gin Club | The Preatures | Thelma Plum
More info & tickets: openseason.live
