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.
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.
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.
It’s the best time of year for indie music in Perth/Boorloo, with RTRFM’s In the Pines. To celebrate, we’re going all out and reviewing every band. It was a marathon day but darn it, it was a hell of a lineup and the bands deserve it.
Tasked with opening the event, Persia brought some luscious R&B. The young band, fronted by Persia herself, played tight and smooth, laid-back tunes reminiscent of 90s and neo-soul. The crowd were steadily descending on the venue as she sang singles released over the last year or so. Butterfly (not the Mariah one), No Hero, and soon to be released Good Thing were highlights, and nice to see original R&B being produced right here in Perth/Boorloo.
Iconyx next, and the Pintupi and Kukatja (Kimberley and NT) 18-year-old is blazing a music trail. The singer, who is also blind, showed off her singing prowess from the first song, sung a cappella with lovely backing harmonies from the band. The setup on stage was simple but effective – samples from the decks, plus live bass and drums. A highlight was her singing the Archie Roach song Mulyawongk, her version approved by the late great himself. Iconyx was clearly enjoying herself up on the big stage, with the set taking on a more hip-hop tone for the second half. Her album, Blak on Trak, provided most of the set material, we highly recommend you check it out.
Time for Symmetrical Dogs to take the stage, and they are one of the city’s most exciting young bands. The band sit somewhere between acoustic folk and punk (think stripped back, early Big Thief) and keep the set interesting with plenty of banter between Claire and the dedicated audience, with some interesting stories coming from Boyd when handed the mic. The other Mike, playing acoustic like no one else, shifts casually between delicate fingerpicking and thrashing along with Boyd’s bashing and Claire’s primal scream. Nowhere is this more evident than in epic set closer Americana.
Cryptids on stage next with their country-tinged Perth/Boorloo sound. The somewhat slacker styling suits a Sunday arvo nicely, and their tunes go a bit further out there with songs like Hunting for Ghosts in Abandoned Buildings. From the flutey, laid back early parts of the set, the band quickly escalated into shoegaze, post-punk, Joy Division-esque territory. A nice mix of that Perth/Boorloo sound and beyond.
Hailing from the Kimberley/Mowanjum region, Kallum Mungulu brought some music from remote WA to the stage. Playing hard rock, full of lyrical depth and including a guest spot from Nick Allbrook on Ngiya Ga Ngiya, the four-piece gave the growing crowd a taste of what’s happening further afield. Kudos to RTR for including these guys.
Clare Perrott is about as country as it gets for someone from Melville. She has a twang to her voice that suits the genre perfectly. With a tight band and great originals, plus throwing in Streets of Your Town for good measure, the band really hit a nice groove. Clare played the banjo for Biting on the Hand and made it clear the band are just as important as its frontwoman, declaring “we’re Clare Perrott and we’re here to bite y’all.” Sounds like fine modern Aussie alt-country.
One of the older bands on the lineup were Showbag! For anyone over 40, their sound slots in perfectly to what you might remember being played at day-festivals like Yak It Up and Mudslinger. For the younger generation — the late 90s are back in fashion, you’ll find plenty to like here. They mixed it up between the just released Waterhouse album and older material. The mini keyboard, loop-driven single Break My Arm was a highlight.
Right in the middle of the day, the program of rock bands was broken up nicely by Tchega. The highly danceable Créole rhythms got the crowd on their feet and moving and set the atmosphere to party. Well done to the RTR event coordinators for timing this perfectly to break up the sound (and this review).
New Phono up next and we are into the second half of the day. These guys are indie at its best, with big, atmospheric synth sounds driving them into post-rock territory. Playing songs mostly from their very good album Troubleshoot the Rain, the band sound like somewhere between 80s post-punk and modern bands like Stereolab.
Well done RTR programmers for adding a bit of variety with Halo of Teeth. The black metal band punished the audience with ridiculously fast drum patterns and guitars to go with. These guys are definitely not easy listening and a good time for the kids to either run away in fear or hang around and learn the ways of the metal lords. These guys will eat any children remaining. Setting aside the horror, the band were tight and relentlessly heavy, despite being down a guitarist they still managed an epic sound.
Kayps next, representing the hip-hop scene, and with just himself and a backing track on stage he grabbed the audience and pulled them in for the ride. With plenty of bouncing from the crowd, encouraged by the rapper, the party vibes went up a notch. He regularly called on people to get involved and have fun, including a call and response ending to make sure the audience didn’t forget what they just saw.
What can we say about Grub? First of all, despite following death metal and hip-hop acts, they held their own as one of the heaviest of the night. The three-guitar band are a perfect mix of catchy, radio-friendly and Sonic Youth-esque thrash. Matilda up front is just oozing personality, and it’s reflected in both her stage presence and songwriting. The band have a quality about them that makes it feel both a little old school Aussie while sounding very much in the now with the wall of guitar noise.
With the sun going down behind the pines, Anna Schneider seemed like a perfect choice to say bye to the light. Her angelic vocals mixed with trip-hoppy sound gave the crowd a dreamy, swaying vibe. Her songs often start off delicate and light, before riffs and beats introduce themselves and the songs build into something bigger. The guitar work was a particular highlight, with Anna producing some dazzling riffs on the acoustic.
Getting towards the home stretch now and veterans of the scene Gunns turn to show us what they’ve got. Another band to boast the triple guitar threat, they blasted the crowd with psych surf sounds, sitting in that 80s/90s post-punk pocket. With new single Peppermint Waves out in the world, the band have a lot to offer the modern Perth/Boorloo scene.
Not to be outdone, RTR pulled another left turn with electro 3-piece Sarco. Playing acid techno, the line was officially drawn and time for the kiddies to get home and let the grownups keep partying. Singer Shinead Ruby, singing/talking live with loops and effects, connected to the audience and gave the band a charismatic stage presence. It makes all the difference to the electro setup having this personality acting as master of ceremonies.
With the giant frog mascot getting warmed up on stage as Sarco had the crowd dancing, New Nausea hit the stage running and got everyone into the indie groove. With catchy, danceable songs aplenty they were perfect for the slot (When ICU, what a track). Their music almost defines the modern Perth/Boorloo indie sound. It’s music that just oozes hanging out with friends and good-time vibes; it almost felt like the good old Big Day Out days and bands like Powderfinger. Even the RTR team were tearing it up, dancing with delight backstage.
It says a lot about both the inclusive nature of RTRFM and the Perth/Boorloo scene in general, when you can have a day of music moving from death metal and acid electro to following up with the grace and excellent songwriting of Emily Barker. Emily gripped the crowd tightly with positive energy nestled in songs like With Small We Start, and the very fitting Wild to be Sharing This Moment. Hear hear.
It was up to Nick Allbrook and his latest band Walrus to close out the east stage. There aren’t many other Perth rock alumni that could be trusted to play such a slot, especially with no recorded music for the brand-new band. Allbrook is a fully fledged performer though and took to the stage like a duck to water. With an outstanding rhythm section to hold things down, the wild frontman pulled out the moves and his lagerstick. The new tunes are the eclectic mix you’d expect from these guys, and I’m sure everyone in the crowd would agree we want to hear more.
Grievous Bodily Calm have become synonymous with the Perth music scene, and if you want to call on someone to get a gig closed out this is the right band for it. The hip-hop / electro fused jazz makes for great late-night crowd fodder (okay it wasn’t that late, but it was a Sunday). The most impressive part of the show is the performers themselves — all are at the top of their game and masters of their instruments. There aren’t many instrumental bands that can do what they do, going beyond just holding the audience’s attention but entertaining them with danceable beats and moments of pure awe.
If there is anything negative to say about the event, it is that the loos were pretty far away. This is not all negative though, as the constant banging of portaloos would have probably killed the vibe closer to the stage. They were nice toilets though. Enough toilet talk. Congratulations RTR for managing to keep this event going for 33 consecutive years. The event is a fantastic showcase of both the local scene, and RTR’s ability to nurture and provide places for the excellent music in this city. Another successful, inclusive, and diverse In the Pines — looking forward to next year already.
We’re at Lyrics Underground going down to the basement to get out of the rain. This Killing Frost hosted a warm night of stripped-back songwriters that suited the low-lit setting. It’s great to see so much variety in Perth/Boorloo — we just can’t stop discovering new music.
Opening the evening was Chris Mason, with help from fellow Lunettes alumni Kerry Fletcher. While Fletcher held the rhythm on her acoustic, Mason was free to play a bit looser with his hollow body guitar, and the combination worked well. The songwriting carries a heaviness you wouldn’t necessarily expect from a semi-acoustic duo; the songs would work well with a full indie-rock band. The hooks were unusual, but wrap themselves around you and lock in.
Elk Bell up next, and she was not afraid to open up and lay herself bare through the music, singing personal songs about loves lost and other battles. The fact she’s not afraid to tell you all the gritty details makes it all the more poignant.
The singer/songwriter was able to entertain with the music and add plenty of interesting insights in between. She has a couple of strong album releases under her belt, with another on the way. After seeing her play the latest songs live, we’re keen to hear the next chapter.
Onto the hosts, and the basement setting was perfect for This Killing Frost. Dressed all in black, with Julian Bolleter on piano and Andrew Ewing singing, the pair were engrossing to watch. There are shades of Nick Cave or the likes of Antony, but the sound goes further than any direct comparisons. The piano melodies get very cinematic, and the lyrics follow suit, moving between love songs about secret crushes and grander themes (if love isn’t the grandest).
Conquer and Divide is a perfect example — the piano sounding almost exorcist-like before Ewing croons about a relationship fading. From a literal beginning (“I think maybe it’s over, we’ve done our 10 years”), the lyrics ascend to gods and iconography like the tower of Babel (communication, that usually gets relationships). The music is intelligent but isn’t afraid to twist and play with its themes.
Special mention to the between-set music, which kept the mood right throughout. A strong showcase of songwriting talent, and one that more than delivered.
We’re out in the suburbs on this rainy Djeran Friday night and luckily, we are inside and dry with a strong lineup of bands gracing the mammoth Milk Bar stage.
First up, The Off Set and the rotating 4-piece delivered the melody-rich jangles they do so well. The rotation is seamless between the three frontmen — switching instruments and singers while maintaining a great flow of catchy tunes. Zac Yusof’s turn was a particular highlight of the set, and the ear worming single The Places She Only Wished That She Could Go.
Next up Lake Mammoth, playing the lock-in jam-session-style psych rock we love them for. Some of the guitar sounds from the back-and-forth conversation between Jason and Steve are out of this world. Lighter on the usual percussion, the band were tight and suited the larger venue and lightshow. There are so many pockets through the sprawling set, the guys clearly relish jamming, and it comes across on stage
Little Things were a new experience for this reviewer, and once again, thank you Perth/Boorloo for continuing to turn out quality acts. These guys have some serious supergroup credentials, and it shows in the grungy, 90s rock-ish songs. The edge comes from Chris Cruickshank (krʊkʃæŋk) with his violin, playing it about as close to punk rock as the stringed instrument can be. It’s always nice to see a violin up there tearing it up with the rock band.
It was left to Sascha Ion and her Elements to close proceedings, and the diminutive riff demon did what she does best — firing off lick after lick in her understated but powerful way. The band played heavy and tight with an ease that camouflages what is seriously intricate instrumentation. With a range of songs from the folkier Lilliana to the grooving, riff-based The Groove, they just kept coming at you and building that bluesy alt-rock wall.
A seriously good lineup on a Friday night, and it’s good to see these bands out there playing regularly and putting out a steady flow of records. It shows, with a combination of bands, friends, and fans filling the venue. Stay off that dancefloor!
