Don’t Tell Me is a bonkers little electro punk-rock song from Official Partners, and it’s a fun few minutes of mayhem. It’s the debut from the Perth/Boorloo solo act, and good luck trying to predict what comes next.
The style is known as egg-punk, and it’s all frantic tempo, lo-fi energy. Guitars are coarse and catchy, the synth gives it a bit of space, and the vocals are pure punk attitude, railing against being told how to be — “Don’t want to hear about it / Refuse to care about it”. Do not be misled though, listen closely and it’s really talking about someone who won’t accept some home truths. Don’t tell me you know I lied / Don’t tell me to read your letter / Don’t tell me we’re not together now.
It sounds like Ween when they do punk, mixed with interesting details like woo-woos that could have wandered in from a Rolling Stones record. It works well, and if you’re into the weirder side of punk, this should be right up your alley.
Over the last twenty-odd years, Michael Paynter has proved himself a stayer in the Aussie music industry. After everything from pop success to Jesus Christ Superstar and touring with the country’s most iconic acts, he is now doing it solo, playing through his version of the great Australian songbook.
Opening the evening was Kalgoorlie country singer Claudia Tripp. Armed with a stomp box and acoustic guitar, she may have been a surprise to the crowd not expecting a support act. Not to worry though, after opening with country-pop original I’m Never Drinking Again, she pulled out a stripped back cover of Dancing Queen and had the audience’s attention. If that wasn’t enough to get people onboard, she got the crowd singing along with another original, nearly everyone obliging with the “rodeo” chorus lyric. Tripp played a mix of originals and covers, a good balance to complement the main act, and she likely gained a few fans in the process.
Onto the main event and the Jesus Christ Superstar himself took to the stage, expressing his honour in having the privilege to travel the country doing what he loves. After opening with a moody, synth-heavy version of I Am Australian, he then kicked straight into the Jimmy Barnes classic Working Class Man on the keys, showing that he’s not only a top-level guitarist (Paynter plays guitar in Barnes’ band), but also more than capable on the ivories.
He then played through an eclectic mix of classics — Paynter’s own version of the Australian songbook. The Dragon-penned, John Farnham-performed Age of Reason was a welcome hit that I’m sure plenty of people in the audience haven’t heard in a long time, as was Icehouse’s Crazy (Paynter is also a member of Icehouse, for fifteen years and counting).
The more recent classics weren’t ignored, with acoustic versions of Straight Lines (Silverchair) and Joker & the Thief (Wolfmother). Paynter really showed off what he could do on guitar, interpreting the rock songs in a stripped back format, and with a seemingly effortless ability to unleash his powerful vocals.
The highlight of the set, and something surely no one saw coming, was when Paynter brought out Alex Lloyd to duet on Lloyd’s 2005 tune Never Meant to Fail. It was a delight to hear the two friends singing together and clearly enjoying it, despite Lloyd’s tongue in cheek complaints about not getting a business class flight over from Sydney.
The mix continued with everything from Even When I’m Sleeping (Leonardo’s Bride) to Playing to Win (Little River Band), and the most recent song of the night – Sia’s Chandelier (possibly the only song in the set the older audience members might not have known). He then brought the night to a close on a high, with the best-known Alex Lloyd song, Amazing — no Lloyd duet for this one, no pressure Michael.
The audience were very appreciative of the show and on their feet demanding more. For the encore, Paynter pulled out Pleasure and Pain (Divinyls), before ending the night with the one and only, universally loved Cold Chisel opus Flame Trees, played with plenty of feeling on the keys.
It’s a marvel to watch a performer capable of moving seamlessly from Farnham and Barnes-esque power to quieter emotional ballad moments. It made for an engaging show, full of both expected and unexpected moments.
Growing Pains presents singer-songwriter Harley Müller’s emotional journey from pre-adolescence to adulthood, pairing deeply personal reflections with highly accessible indie-pop. If there was ever an argument for music as therapy, this is it.
The songs were written between the ages of twelve and eighteen, and the emotions laid bare throughout are unmistakable. There’s more to it, though, with synth-laden production turning bedroom songwriting into radio-friendly indie-pop, and plenty of memorable tunes that demand repeat listens.
The aforementioned synth opens the album on Ghost Train (regrown) accompanied by a very hooky piano riff. It’s a nice mix of melancholy and hope as the melodies dance around each other. Harley Müller’s lyrics are bleak if taken at face value, but it’s also hard not to hear hope in the song’s uplifting production. Lines like “I don’t want to forget but remembering causes pain” show despair, but perhaps hinting at the idea that we must not forget what hurt us as part of the healing process.
The theme continues across Too Fast and NGT (regrown). The former is another indie-pop earworm, its darker lyrics exploring the complexity and intertwining of youth and maturity. The latter has a darker feel, as Müller pleads for “someone to find me” in a world falling apart.
When The Stars Collide leans furthest into pure pop, driven by a bouncy waltz piano and the album’s first real love-song sentiment. In Nothing is Changing (regrown) we get more introspection about feeling crazy, and perhaps accepting that everything else is crazy as well. It’s tempting to hear the cathartic pop production as reflecting Müller’s own healing process as much as it serves the listener. One can only hope.
If My First Song really is what the title suggests, it’s an impressive piece of songwriting for someone so young. More importantly, in hindsight it feels like the opening chapter of a story that unfolds across the rest of the record.
After a powerful yet restrained Safe and Sound, we then go to a song written by Müller at sixteen, the aptly titled Just 16. It’s another song with gorgeous, hopeful production that goes deep into the difficulties faced when we reach that age where we are expected to be adults.
It’s a welcome finish to the record with both Give Me An Answer and Time Travel Station seemingly the most mature songs on the album. We are on board with Müller by this point, and there is more hope in the lyrics. Having been through darker times and, it seems, a difficult adolescence, the light now appears to be breaking through. Along with it comes the ability to deal with memories, own them, and use them to become a stronger person in the present. “I can’t stop time travelling / But I’m never going home / I’m the only one still here”. It’s powerful stuff.
To sum up the album, we must say thanks to Capes and Crowns for being brave enough to share what are clearly extremely personal memories and feelings. The album is a reminder of what music can do at its best: provide comfort, perspective and connection during difficult periods of life, helping us find beauty and solace in the things that hurt most. The importance of this cannot be understated, and Growing Pains captures that journey with honesty, vulnerability and hope.
Mid Drift were in town for a sold-out show at Mojos, the Brisbane outfit offering a sun-soaked brand of indie-rock that we’d like to hereby declare coast-rock. It’s a genre that oozes sun-drenched coastal roads, relaxation and good times.
First up were local band Hey So Hungry. The band are fresh out of school and having a real crack at breaking into the scene. Singer/guitarist Maisie Jamieson was a charismatic presence up front, with her big vocals adding a widescreen indie feel to the coast-rock foundations (think Florence + The Machine). Considering their age, it was clear they are working hard at their craft; the band were tight and confident in front of an already crowded room. Keep writing, keep playing shows, hone your craft, things can only go up from here.
Lazy Haze up next and they stepped up the intensity, the now heaving crowd clearly familiar with their material. Devin (is that your real last name) Pullyblank is a force on stage, full of energy and connection with the audience. It’s fair to call the sound coast-rock, but the bounce and energy pushes them into upbeat rock territory. Think laid-back modern indie with a touch of Arctic Monkeys. The four-piece really got the room going and ready for the headline touring act. Someone may have even fainted.
Mid Drift took to the stage in the now cooking room and kept the party going. The band have enjoyed a steady rise in the Australian music scene, clearly striking a chord with younger audiences. Supporting the likes of Ocean Alley, as well as selling out national tours, it was clear they are a polished outfit having a blast travelling the country, showing off what they can do. Singles Madness and Easily were highlights, the songs taking on a bigger sound live.
With reverb-soaked, groove-heavy vibes, the songs are a great example of what we are calling coast. A bit of reggae, a touch of psych, and always building into big-moment indie-rock. Between the slow-burn songs that finish with a flourish and the more upbeat danceable tracks, they have a solid, pub rock leaning sound, singer Sarah Engstrom engaging the crowd and the fans happy to respond. It’s good to see younger bands bringing both old and new influences to the Australian music scene.
Overall, it was a good showcase of the younger talent coming up through the ranks, playing songs that fit comfortably within the Triple J indie aesthetic and proving popular with the packed room.
It’s good to see Katy Steele is still at it. After a mix of solo tours and Little Birdy shows, she’s at the Rosemount launching her latest album, Undressed. Her reputation as one of the great front-persons out of this isolated city precedes her, and she did nothing to quell this in front of a packed house.
Anna Schneider opened the evening, and her choice to start with an a cappella version of the Elvis classic Crying in the Chapel really showed off her strong voice. It’s a clear indication you are watching something special when the crowd goes quiet. With just her and an acoustic guitar, she entertained with love songs about share houses and overgrown weeds; both musically interesting and relatable lyrically.
She then moved to love songs one assumes are directed at people, with kisses into the microphone a nice touch. Sun was a highlight of the set – Schneider transcending with her vocal melodies, before reminding us to not miss the catchy guitar riffs. You could feel the hushed crowd were along for the ride; it’s the reason we go out and see live music. Singing songs from her upcoming album, and ending with Favourite Colour, inspired by the colour palette of clothing on a hills hoist (in the share house, one assumes), it was a lovely warm-up to the main event.
Katy Steele took to the stage with the venue filling to capacity and the atmosphere building, the crowd eager to see what songs would be included in the latest performance. The noisy chatter went quiet as she took to the stage; her appeal still strong after twenty-odd years at it.
After an honest admission of nervous excitement and a few goes getting started, she locked into Signal to You and shed any doubts about her abilities. From there Steele’s powerful voice and knack for melodies kept the audience engaged and happy. A particular highlight came when she played the Little Birdy classic Beautiful to Me, with a lovely harmony from the accompanying keys complementing her vocals.
Rescue Boat followed – it must be close to the best of her solo material. She then powered through a mix of Little Birdy, solo, and cover songs. From Hit Me Baby One More Time to Perfect Day and Michael Jackson’s Ben, it was an interesting mix which showed off her range and influences. The occasional shaky start only reinforced the honesty of the performance, Katy happy to take another run at a song until it felt right. There is no better reminder of what she’s capable of than Relapse, still one of the finest songs in the Little Birdy catalogue.
It was an evening of both nostalgia and new music, with Anna Schneider a great choice for support to showcase that this city still has plenty to offer. The reception throughout the night made one thing clear: Perth/Boorloo’s affection for Katy Steele has not faded.
Back down the steps to Lyrics Underground on a Friday night, and nothing beats going in blind and seeing what you get. Having not seen any of the bands before, we were in for an interesting night, and some real revelatory moments.
Walking into the venue, with lights flecking through smoky wisps, it was quite an experience hearing Black Swamp Sinners’ atmospheric guitar with lap-drum percussion. It was quiet, absorbing, and a really fine way to start their set. The drummer then switched to the kit and the duo proceeded to jam, in swampy Jimi Hendrix style, for the remainder of the set. Whatever that lap-drum thing was, more please.
Coldspring brought things back down to earth with a classic four-piece alt rock sound. With a sound somewhere between late-90s punk and the Aussie vocal-led bands like Camp Cope, they had some catchy tunes and a tight sound. And here’s me seeing the name and thinking they might have been an Offspring tribute. They were not!
The young lads of Figgy Tuna took to the stage next with some excellent songwriting. With vocals and bass handled up front, and a couple of guitars sharing lead and rhythm duties, the band had a full, energetic sound. The main thing that shone through above everything else was the quality of the songs. The band have been together for four years, forming in high school playing covers at first. Knowing this, we can only say keep at it with the originals and get more gigs under your belt. The potential is well and truly there.
To the headliners: Jacobin Caesar. The three-piece have a good balance between quirky stage presence and solid songs, with their frontman donning proper over-ear earmuffs for most of the set. Plugged straight into the PA without a guitar amp in sight, the guitar sound was unusual and helped by the excellent songwriting. Imagine a quirkier Creedence mixed with the modern rock acts like Kings of Leon. Definitely keeping an eye on where these guys take this sound. If this is anything to go by, expect bigger things to come.
Lyrics Underground is a fantastic venue, and good to see some of the younger, up-and-coming bands up on the stage showing us the shape of things to come.
We’re at Mojos again and this time it’s something extra special, with Chicago band FACS headlining the bill. Alongside some of the upper echelon of local bands, it made for a hell of a noisy evening.
Grub up first and in typically ferocious form. When that first heavy guitar part drops in Terrorhead, it’s like a sledgehammer slamming down, shocking everyone in the room to attention. Singer Matilda holds the crowd with her honest depictions of mental illness, delivered with bite. Singing lines like “I’m ready, I’m ready, give me stability please”, in the appropriately named Stability Please, the sound and subject matter are equal parts control and chaos. Maybe that’s the whole reason for making all this racket.
Last Quokka were next, in all their punk/hardcore grime. The band are a force to be reckoned with. Raw and fun, and coming across like they don’t give a shit while singing about issues that prove they clearly do give a shit. With songs like Gina/Rupert (yes those two) and plenty of songs about regional WA, you can tell they’ve got some political scratches to itch. Combine this with punk rock messiness and you can’t go wrong really. Guitar strap breaks? Make it work, swing that thing all over the place. Hot in here? Take your shirt off and let everyone see your guts. This is what punk is all about, isn’t it?
And onto the import of the night, US band FACS hit the stage in a smoky haze and instantly locked in with super tight, driving bass lines and intricate drum patterns. The sound the three-piece produces is big and almost ear-piercingly loud, but the balance between the bass and guitar is exceptional. As Jonathan Van Herik’s bass bulldozers through, Brian Case’s guitar moves from light to heavy, and really lets the dynamics shine.
The band’s most recent album, Wish Defence, was the final record worked on by legendary engineer Steve Albini. With Sub Pop behind them, you could tell from the outset these guys meant business. Despite not knowing the pronunciation of the word Quokka, the band had the crowd on side and the packed house was clearly loving the touring act playing the small venue.
Great to see touring acts coming through and getting a taste of our wonderful venues here in Perth/Boorloo, or in this case Freo/Walyalup. FACS did not disappoint, and kudos to the promoters for putting on such great support acts to go with them.
lovemenot have been busy lately, rising up into the Perth/Boorloo post rock scene rapidly. Following the release of a couple of solid singles, they now have their first EP on the table. It’s an intriguing snapshot of the band.
Opening with Waltz, we immediately get hit by the guitar work of Michael Bourguignon and the scene is set for an album full of punishing riffs. The rest of the band quickly join in the fun and we’re in full swing. The first thing that becomes apparent is how well the band play together; it’s clear they have been playing together for some time. The dynamics are on full display here as well, with the band dropping to quieter parts, letting singer Eleanor Edwards show off her vocal range before the band explodes in the heavier parts.
The Tower comes in heavy and is relentless in its attack, and probably the strongest song on the record from a radio-friendly perspective. It’s big and heavy with a catchy chorus. It gets interesting in the middle, where it breaks down into gentle keys before going into a jazz freakout.
The most interesting track on the EP has to be As Above… It’s an unexpected turn from the heavier post rock making up the rest of the record. It’s a gorgeous, stripped back song that sounds like it was recorded in someone’s backyard. With soft acoustic guitar and birds chirping for the intro, the song then proves a showcase for Edwards vocal abilities, with pleading lyrics singing “I’ll try, I’ll try, try again”.
This is lovemenot, so of course the track doesn’t end with this. The second half of the song has a movie-soundtrack-like build-up as the rest of the band come in. The noise builds to a crescendo that seeps into …So Below. The fourth track is a continuation and clocks in at only forty-seven seconds long. It presents as a bridge between the quiet middle track and the epic finale. The washed-out distorted guitars are reminiscent of Interpol at their most post.
The EP finishes with the just-under-eight-minute Void. The tune is probably the most punk-rock-influenced and is awash with big guitars, vocals, synths and pounding rhythm work. Extra mention to Qayla Locke for the frantic synth work on the song. It moves at a non-stop pace for the first half, peaking in the middle before the band settle back into a steady jam for the finale. A descent into noise concludes the record, with one little flourish to finish, almost teasing how much further the band can push this sound.
With everything from hard, fast post rock to quieter, contemplative moments, the Strike !! Between the Teeth EP is a great showcase of what the band can do, and the live show is equally dynamic.
Another Friday night of live music in Perth/Boorloo and options aplenty. We were at the Freo Buffalo Club for the Didion’s Bible PS DB EP launch, and it turned into one of those warm, good-vibe local shows that reminds you why the scene is thriving.
First up, brand new band Botany kicked things off with their first ever gig. It hardly showed, aside from a few mix-ups in the stage banter (the bass player had it covered). With an excellent rhythm section, the three-piece played with confidence and put out a noisy brand of rock. Throwing in a Townes Van Zandt cover for good measure, they powered through a quick set and showed plenty of potential in the racket they are making. Keep an eye out.
New Phono were next up, and despite being a bit cramped on the small corner stage, they put on a fine show full of intricate little guitar and synth parts, and a very catchy catalogue of songs. Pulled mostly from their album Troubleshoot the Rain, songs like Static are just damn fine examples of Perth/Boorloo songwriting. Symmetry Is Dead is a highlight of both the album and the live show. The chorus is super catchy and sing-along worthy. With band members overheating, the set absolutely cooked (outdone myself with the puns here).
And then to the band of the evening. Didion’s Bible jumped on stage with instant energy, and even a busted guitar amp didn’t break their rhythm. Kicking off with the songs from the newly launched EP, the band’s frantic new-wave chaos didn’t let up as the party atmosphere swelled.
Songs like Mona Lisa (Never Let Me Go) got the crowd into the set, and Panorama is a fantastic showcase of what the band can do. With band members at times rolling around on the ground with glee, it’s hard to find a band in the city who exude such infectious joy. It translates well through the music and out into the crowd watching.
The Buffalo Club was a great choice of venue for the EP launch, giving off old-school, small-stage venue vibes that make for fantastic local band gatherings.
Bespoke Touring put together the Planet of Sound gigs regularly at the Milk Bar. They are a chance to showcase a diverse selection of Perth/Boorloo’s most exciting, emerging artists on the big stage. This event was number thirteen and no bad luck here, with old-school rock, hip hop and a bit of jazz for good measure.
First up, apologies for arriving late and missing the set from Dreamline. We saw them playing The Bird a few months back so here is a built-in flashback. The indie dream-pop four-piece have a big guitar-driven sound that lands somewhere between the Smashing Pumpkins and dreamier bands like Mercury Rev. They are tight and have some solid originals including first single Dear Louise, so we’re expecting to hear more from them soon.
This reviewer arrived to see Moondyne taking the stage with an enthusiastic crowd up front. You could see why they were popular already, with a sound sitting in that 60s-influenced rock n roll space — frantic rhythm section complemented by Hendrix-like guitar riffs, and a danceable energy coming from the songs. Singer Taya was oozing charisma, and you could tell she has studied in the school of Janis (great to see these greats are still influencing the next gen). They finished the set with a couple from the era – Whole Lotta Love with plenty of energy, and Hotel California for a laid back, singalong finish. Keep loading the set with originals guys, the current bunch have set the standard high.
Time for some hip hop next, with six-piece Spearwood on stage (assuming they are from Spearwood). The music mixes laid back, jazz rap with a touch of more aggressive, almost Rage Against the Machine-like tunes. Band and MC were confident and tight, and it’s great to see a full live band for this genre. We’re keen to hear what they can put down on record (word is they are in the studio). They got the dancefloor busy and even had some break-dancers busting out moves during the set. The hip hop is strong in the city.
Champion Sound kept us in hip hop territory, the instrumental group leaning more into funk and electro. Some of the tunes wouldn’t be out of place in a Cruisin’ USA or GTA video game. The band are high energy and make the most of the vocal-free performance with interesting licks and time changes. It’s always going to be a challenge keeping things interesting with instrumentals, and there were enough moments throughout the set that made you pay attention. With bands like Grievous Bodily Calm currently dominating the Perth/Boorloo live scene, there is definitely room for more of this.
Closing the night were Cargo, kicking things off with a cover of Stacy’s Mum that immediately got the crowd into it. The band have a solid modern rock sound, sitting somewhere between radio-friendly alt-rock and straight-up pub rock energy. Original track Turn Cold was a highlight, showing the band are strongest when leaning into their own material. Cargo felt like a fitting closer for the evening, bringing things back around to big riffs and singalong choruses after the funk and hip hop flavours earlier in the night.
A nice showcase of young talent in the city and more reason for us to be hopeful Perth/Boorloo will continue to produce high-quality bands.
