Mansionair and KSMBA Deliver an Unforgettable Night at Max Watt’s in Melbourne, AUS
Written and Captured By | Thomas Golsworthy
On a cool and clear Thursday evening in Melbourne, the underground venue Max Watt’s transformed into a vibrant haven of rhythm, atmosphere, and emotional energy. It wasn’t just another night out—it was an immersive experience that blurred the lines between live performance and emotional catharsis. The spotlight was on Australian electronic trio Mansionair, supported by the magnetic rising DJ and producer KSMBA. What unfolded was far more than a concert—it was a slow-burning sonic journey that built toward moments of pure release and raw connection.
Opening the evening was KSMBA, a rising talent quickly making a name for herself in the Australian electronic scene. From the moment she stepped behind the decks, she exuded presence. Wrapped in a glow of warm amber and deep crimson lighting, KSMBA delivered a set that effortlessly crossed genre boundaries. Her selections moved from gritty, percussive techno to velvety, sensual rhythms, often laced with unexpected twists of experimental flair.
Her transitions were smooth, her energy focused. With her eyes closed and body moving in sync with the beat, she invited the room into her world. Initially, the crowd was loose, scattered, and talkative, but it didn’t take long before she commanded their attention. One early arrival remarked, “I came for Mansionair, but I’m staying for KSMBA. She hypnotised the whole place.”
By the time Mansionair took the stage, the mood had shifted into something electric yet reverent. Emerging through a haze of theatrical fog and intersecting white beams of light, the trio wasted no time setting a tone of emotional intensity and sonic richness. They opened with the haunting “Lose Yourself Again,” a track that perfectly encapsulates their signature sound—emotive, immersive, and cinematic in scope. Jack Froggatt’s ethereal falsetto reverberated across the space, layered over lush synth landscapes and expertly timed visual effects that elevated the atmosphere with each passing beat.
The setlist was a carefully crafted balance of old favorites and daring new material. Songs like “Technicolour” and the emotive “Easier” saw the crowd swaying as one, their collective energy rising and falling with every beat and chorus. The debut of a new track, “Eraser,” marked a highlight of the night. Performed live for the first time, the song held the crowd in a kind of shared silence—an unspoken agreement to fully absorb its raw vulnerability. “It was like they handed us something still beating, still unfinished,” said longtime fan Alisha R. “We just stood there holding it together.”
Midway through the set, Mansionair delivered an unexpected and strikingly intimate rendition of Chris Isaak’s “Wicked Game.” Stripped of its original ornamentation and rebuilt with Mansionair’s cinematic minimalism, the cover stood as a testament to the trio’s ability to breathe new life into iconic material. It stunned even the most seasoned attendees, offering a fresh emotional perspective on a well-known classic.
To close the evening, Mansionair performed their fan-favorite anthem “Astronaut (Something About Your Love).” With Froggatt silhouetted by radiant white beams and his arms lifted skyward, the final note felt almost transcendent. “It was like being launched into orbit,” said one breathless concertgoer, still reeling from the final crescendo.
Together, KSMBA and Mansionair created a night that defied simple genre labels. It was a night where underground grit met soaring, emotional pop; where introspection met celebration; where electronic music proved it could be as intimate and soul-stirring as any acoustic performance. From the raw, magnetic energy of KSMBA’s opening set to the expansive emotional landscapes crafted by Mansionair, the evening wasn’t just a concert—it was a living, breathing moment of shared experience. For those in attendance, it will undoubtedly be remembered as one of those rare nights where music didn’t just play—it resonated, deeply.
