DAEZY TURNS V DAY INTO SOMETHING BETTER AT THE NORTHCOTE SOCIAL CLUB
At 8pm on Valentine’s Day, while couples filtered into candlelit restaurants across Melbourne, I walked through the doors of Northcote Social Club, beer in hand, ready for something far more romantic: live music.
This was Daezy’s night.
The Northcote Social Club felt warm. Friendly faces, queer people in bandanas, the low hum of anticipation. It is the kind of venue that makes you feel like you are exactly where you are supposed to be.
Opening the night was Charly Oakley, a 22 year old pop artist steadily building momentum. Recently spotlighted as one to watch, Oakley carries themself like someone already accustomed to bigger stages. Their debut single “Against The Odds” marked a confident entry point, and live, that determination translates into something tangible. There is a rawness to their delivery, a vulnerability that feels lived in. You could see it landing in real time, drawing people from the edges of the room closer to the stage.
When Pisco Sour took over, the energy shifted entirely.
The thing is about Pisco, and I have seen them many times, they are able to perfectly balance classic glam rock with more mellow, indie undertones. They capture the jittery charm of jangly guitar rock with a distinctly modern edge.
The band you can see are so obviously having the time of their life on stage, and it makes you want to do the same. They are literally in flow state and I am so here for it.
One minute they bring out a cow bell, the next a tambourine, and then seal it up with beautifully raw vocals. The range of them is insane - they seamlessly transition from a kind of energetic punk rock to a sad, mellow indie sound.
Then Daezy took over, and the fizz of the earlier set settled into something slower, warmer, more enveloping.
Naarm indie-pop-rock outfit has just released their sophomore EP, Take It From Me, on January 29, 2026. The four-track release follows 2025’s See Me Standing and digs deeper into love, loss, anger and healing. Focus tracks like Naked and the title song sit comfortably alongside earlier singles The Cycle and Flying, forming a tight but emotionally expansive body of work that feels both deliberate and raw.
Frontman Daisy Bateman conceptualises beautifully the physical grit of a former elite sport player with a solemn, heartfelt presence under stage light.
With Imogen stepping forward on violin, the first notes of Take It From Me and I Want You arrived like a change in lighting: softer, golden, intimate. Daezy has that rare kind of stage presence that sneaks up on you. One minute you’re watching casually, the next you realise you’ve been grinning for three songs straight.
On Mother and Blame, technique and tenderness worked hand in hand, never showy, always purposeful. The crowd seemed to lean in collectively. During Why (If I Were a Man), time loosened its grip. The Cycle and Flying nudged the mood upward again.
Their music makes it feel like your heart is being pulled from your chest- it feels so raw.
What’s striking is that this new material feels even more unfiltered than their last release. There’s a new boldness in the sound.
They’re taking more risks and stretching into something more sensual and provocative. The pop elements are still there, but they feel rougher and more daring. It feels experimental, but not messy. There’s confidence in that kind of risk-taking. You can hear them pushing themselves
By the final notes, they mentioned they were there to celebrate the release of the EP, but it felt more like the audience was celebrating them right back. Valentine’s Day itself felt almost irrelevant. Forget Valentine’s Day. Make it Daezy’s Day.