Ken Leanfore/SOH
It was only in late 2017 that the Queens-born, Seoul-raised, Carnegie Mellon-educated DJ, producer and vocalist Kathy Yaeji Lee quit her graphic design job to do music full-time. In the time since, she’s released her EP2 to a warm welcome from fans and critics, and toured around the world. There’s a lot of love for what Yaeji is doing.That love was present on Saturday night at the Sydney Opera House, for her first-ever Australian show. The fans milling in the lobby were younger and more diverse, and more expressly excited, than your standard Opera House crowd. As they all waited to be scanned into the Studio, a middle-aged white couple dressed for the theatre joined the queue, only to depart after a few minutes exchanging confused glances with one another. “I think we’re in the wrong place,” the man told his wife as they slipped out of line.
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Among this, “raingurl,” which closed Yaeji’s main set, felt like an anomaly. Rather than obscuring its cheekier themes to her English-speaking listeners via Korean lyrics—as on “drink I’m sippin on”—“raingurl” is so overt. “When the sweaty walls are banging, I don’t fuck with family planning/ Make it rain, girl, make it rain,” goes the song’s chorus. But that’s no complaint; any track that can make a room of 500 mosh to dance music in the basement of the Opera House is perfection.The raucous audience speaks to the curious spot the Opera House has come to occupy in Sydney’s dance music scene over the past few years. There seems to have been a concerted effort by its contemporary music team to attract a different crowd to the venue, one that could more accurately reflect Sydney. But this has come during a fraught period for the city’s nightlife—one that shredded any trust the music community had in the state—as it was reshaped by the lockout laws and pushed out from the CBD and Kings Cross to a handful of warehouses of Marrickville.
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