Coachella 2017 came and went, and with it came this year’s iteration of Localchella, a series of concerts in and around the LA area featuring some of the acts set to grace one of the many stages at the world’s premiere desert festival. Last Wednesday at The Shrine marked the Antipodean invasion with New Zealand’s Broods and Australia’s Empire of the Sun taking a brief hiatus from the sweltering Indio sun to dazzle Angelenos in between the festival’s two weekends.

Decked out in an outfit that was both feathery and flowy, Broods frontwoman Georgia Nott was a commanding presence who, despite her litheness, owned the stage from the getgo. Although her voice was slightly raspier than usual (no doubt a victim to the punishingly dusty conditions of Coachella’s first weekend), she valiantly powered through. Her energy was infectious and while Broods wasn’t the headlining set, you wouldn’t have been able to tell if you were making that call based on how responsive the crowd was.

Although all eyes tended to be squarely on the younger, more exuberant Nott sibling, I’d be remiss not to give big bro and multi-instrumentalist Caleb credit for his ability to deftly weave the duo’s dreamy melodies in the background. He may not have been as visible, but his presence was unmistakeably there.

If there’s one thing an Empire of the Sun show isn’t short of, it’s theatrics. Multiple costume changes, smoke, confetti canons, and the destruction of instruments are all hallmarks of your average Empire of the Sun show. A bevy of dancers accompanied frontman Luke Steele as he made his way over to what can only be described as a futuristically decked out pulpit with one of his many iconic headdresses sitting squarely on his temples.

To call Steele simply charismatic would be an understatement; he’s utterly electrifying on stage. Despite the fact that this wasn’t my first time seeing him perform, I somehow still managed to feel unprepared and borderline overwhelmed (in a good way) when he took the stage, a feeling that only subsided after he had left it for good.

It makes sense that songs with anthemic qualities like “High and Low” and “Alive” would complement the dizzying array of effects to a tee, but that more subdued offerings like “We Are the People” and “I’ll Be Around” translated equally well is a testament to the fact that there’s depth and talent behind the spectacle. The band could fairly be accused of being gaudy were it not for the fact that the they have the musical chops and arena filling sound to back the sensory overload up.

Although album number three, Two Vines, hasn’t quite nailed the addictiveness of the band’s first two releases, the album’s eponymous track was met with a surprisingly thunderous reception as was the album’s lead single, the pulsing dance number “High And Low.” Still, it should come as no surprise that the group’s biggest and most recognizable single, “Walking On A Dream,” elicited the most vocal response from the crowd. And when I say vocal, that I mean that literally; I don’t think there was anyone in attendance who wasn’t singing along.

Coachella is famous for taking a lot out it attendees and performers alike, particularly now that it has become a two-weekend, destination festival. As a result there are some (coughhaterscough) who believe that Localchella shows are somehow inferior to their ‘chella counterparts because artists will be saving all their “good stuff” for the “main event.” I can happily report that where Empire of the Sun is concerned, that couldn’t be further from the truth. Their live shows are legendary for a reason and if you haven’t had the chance to experience one for yourself, I strongly suggest you fix that.