One can’t help but sense that Yeo is some kind of pop magician. His tracks twirl and bounce from pop-sub-genre to sub-genre with the sort of virtuosity generally reserved for classical musicians and faceless Rhianna ghost-writers. It is therefore surprising to realise that he is sitting on a cheeky 4k Facebook likes and gigging in bars – when his music is made for the main stage of the Brisbane convention centre.
I first saw Yeo, not on the stage of the Foundry, but about two minutes before his set in the men’s bathroom. We were both washing our hands. I stared at him in the mirror for what felt like a year, and he stared back. He was smaller than I expected, and I was so taken aback that I just turned around and left. He was quiet and meek, but had an aura of confidence I couldn’t quite pick.
On stage, Yeo is a powerhouse. Full of captivating energy, wit, smiles, and love. He performed his big hits like ‘Icarus’ and ‘Kobe’ to the swollen Foundry crowd with a sniper’s precision – nailing every single note on his white (corny) keytar. In the more delicate moments during tracks like ‘Promise / Secret’ he possessed a sense of truly inward innocence and felt each word that gleefully ran off his deep popstar voice.
I couldn’t help but imagine every single song played by Yeo topping the ARIA charts. Every song was sensibly pop, and managed to knock into every sound a listener of top 40 would be familiar with. He closed the gig in his vibrant fashion with the obnoxiously fantastic trap banger ‘Quiet Achiever’ – solidifying his position as the most exciting and varied pop artist Australia has seen in a very, very long time.
Reviewer - David Simmons