Lior

It's rare for a Fringe show to promise nothing more than a man and his axe. “I'm thinking of calling this show 'A Moment Away from the Madness,'” jokes Israeli-Australian songwriter Lior. And why not? Lior's songs—tranquil ruminations on the singer-songwriter's usual stock in trade (coming of age, tangles with love)—certainly provide respite from the manic footfall.

While his clean-cut appearance and wholesome, 5-a-day demeanour might more readily see him billed as a prospective teen-pop radio-hit—Australia's answer to John Mayer!—Lior's dexterity and technique reveal a formidable artistic heritage. Sat comfortably behind his acoustic guitar, an intricate finger-picking style and unique chordal progressions soon evoke the tone of Nick Drake.

And ‘tranquil’ doesn't necessarily mean innocuous. That worry is put to rest with Lior's take on "Satisfied Mind" – “made famous by Scotland's own John Martyn”. His tightly curled mop may encourage such comparisons, but when that white electric guitar is hung from his shoulders, the resemblances to a Live at Sin-é era Jeff Buckley are striking. And his vocals could give the Hallelujah singer a run for his money, too. Turns out there's a tsunami raging behind that inoffensive croon. On "Satisfied Mind," Lior lets it roar.

Lior performs with the presence of somebody used to performing with more pairs of eyes staring back at him – modest successes in his native Australia have earned him that privilege. With three albums and more than ten years touring and recording experience, Lior can count himself as one of the most professional, purely musical acts throughout the entire Fringe.