The curiosity of Sydney-via-Toowoomba’s Kirsty Tickle lies within her multiplicities. 2010s trainspotters, for instance, will recognise her from her time in Brisbane indie-poppers Little Scout (as well as her live bandmates in Exhibitionist, Parades’ Jonathan Boulet and Dead Letter Chorus’ Gabby Huber). Those with an ear for the more avant-garde may have also seen Tickle transmogrifying the humble saxophone as one-half of Party Dozen alongside the aforementioned Boulet. When it comes to Exhibitionist, however, it could not be further removed from any of her previous works. It’s breathy and intimate, yet simultaneously expansive and explorative. Tickle’s arrangements build up lush streams of synth warble to gently brush against her quivering falsetto, incorporating elements of trip-hop and dream-pop in the process. Several songs are complemented by an on-stage dancer, studiously mirroring Tickle’s own moves and adding a further dimension to the performance element. Although less than a year old as a stand-alone project, Tickle’s veteran status shines through in the live environment. Look no further than closing number “Being a Woman,” which rouses Helen Reddy-approved roars from the fairer sex in the room and sees Tickle ascend to a new plane of righteous empowerment and rage. Exhibitionist, tellingly, demands your attention.