PerthZine

Tag: gig review

  • Gig Review – Deep Beep + The Tigers + Adem K

    Gig Review – Deep Beep + The Tigers + Adem K

    Four5Nine, Saturday June 20, 2026

    Four5Nine on a Saturday night and what better place to be. This time for Deep Beep and friends. As we’d expect from the band, they brought epic psych rock, with a bit of extra playfulness thrown in for good measure.

    Adem K opened the night. The man from Turnstyle, with a last name too tough to go beyond the first letter, and wearing a Deep Beep shirt, showed off an eclectic set and his range. He played electric guitar but was also able to add some synth and looping dynamics, taking the show beyond basic singer-songwriter. It was pretty clear the man has a wealth of experience and can hold a crowd.

    The Tigers were up next and continued the synth-heavy experimentation. The veterans of the Perth/Boorloo scene combined guitar and bass with synths and some horns and played through an interesting mix of songs. It felt like an organised jam session with a sense the band were on the edge, but knowing glances between the three of them showed they knew what they were doing.

    Deep Beep were in a playful mood, showing the big epic tunes don’t have to be all seriousness. With friendly kicks thrown between members (Jerome on bass seemed to be the main instigator) it was a fun show to watch. The band are clearly mates and work together well, and their recent busyness playing plenty of shows is paying off. From epic moments like Tell it to the Mountain to the pure rock-out bliss of Atlantiss, it’s going to be hard to find a bigger sound in this little city of ours.

    It was another night of music goodness, showing off what this fine little isolated city has to offer. Alongside Deep Beep, Adem K presented the night via his indie label Igloo Records, and we take our hat off to anyone trying to promote local music new and old.

  • Gig Review – Stereolab + Mick Harvey & Amanda Acevedo

    Gig Review – Stereolab + Mick Harvey & Amanda Acevedo

    Freo Social, Tuesday June 16, 2026

    It’s incredible to think that Stereolab have been around since 1990. The band have been a shining example of originality and influential despite never being a mainstream band. For those in the know, we jumped at the chance to see them, especially given it has been fifteen years since their last album, about the same time since their last visit to our remote city.

    Mick Harvey got things going, first playing a few songs on his own before introducing Mexican singer Amanda Acevedo for the rest of the set. The solo opener, When We Were Beautiful & Young, could have been a song from either Nick Cave or PJ Harvey (both collaborators with Harvey). It set the tone for the rest of the set, with loops and subtle backing tracks accenting what is excellent guitar work that doesn’t rely on flashy twiddling, instead focusing on locking in the rhythm, played via straightforward chords. It was impressive to see up close.

    He was then joined by Acevedo. They bounced off each other for a lot of the material — Harvey casual but confident, and clearly comfortable allowing songs to evolve without sacrificing the performance. Meanwhile Acevedo was a quieter presence but also got better and better as the show went on. Bonnie and Clyde was a notable cover, the smooth French classic performed in a subtle, darker form. There were some big moments that ventured into psychedelic territory in what was a generally captivating set.

    Stereolab took to the stage, and you could tell the crowd were damn excited to see them. Playing songs from the latest album Instant Holograms on Metal Film (great title) and crowd-pleasing classics, including one from the 90s, the band’s infectious rhythms engaged the audience from start to finish. The crowd were a mixed bunch. It was good to see they are still being discovered by the younger generation, albeit in a slightly lower ratio than the older folks.

    Multi-instrumentalist frontwoman Lætitia Sadier was a force up front, and encouraged the crowd to have fun and party. She switched seamlessly between synth, guitar and trombone and blew a few minds as she did it. Confident, yet not overly talkative, she had a rare air about her that just said watch and listen and have your mind blown.

    Aerial Troubles showed off what a tight outfit they are, with Tim Gane’s rhythmic and melodic guitar a perfect counterpoint to the looser Sadier. It seems to be what gives the band an edge — her various instruments grooving around the almost metronomic tightness of the rest of the group.

    The newer material is as good as any era of the band, who’ve consistently released quality for over thirty years. When they hit the classics, like Peng! 33 (sounding both like them and like the early 90s), the crowd response went to another level. Percolator, later in the set, had even more impact. Band and crowd were primed for a grand finish.

    It was great to see Stereolab in Perth/Boorloo again, showing no signs of slowing down. They were full of musical energy, and beyond the synth-heavy side of their sound, there was a warmth and sense of fun once you settled in for the ride. Let’s hope they keep doing what they are doing. That goes for Harvey and friends too.

  • Gig Review – The Shakeys + Zerodent + False Cobra + Bobby Burgess (The Barstools)

    Gig Review – The Shakeys + Zerodent + False Cobra + Bobby Burgess (The Barstools)

    Four5Nine, Saturday June 6, 2026

    The Shakeys took over the Rosemount Four5Nine bar for a night of punk rock mayhem. It’s been a while since we’ve seen them, but it didn’t show as the seasoned outfit returned as if they’d never been away.

    First up, The Barstools‘ Bobby Burgess took the stage solo on the acoustic, and he made that thing wail. The band are fast-paced and heavy blues-rock, so naturally Burgess played with plenty of gusto. It worked nicely for the opening slot – both stripping back the songs and showing off the songwriting, without sacrificing the energy needed for the heavy night ahead.

    Up next were False Cobra, the first full band to get things rocking. Interesting fact – the band name is not a random word generator, it’s a type of snake that does cobra-like things, but ain’t a cobra. Anyway, fun fact over with, let’s get to the band. Moving into the punk realm, the drummer-fronted (or perhaps drummer-backed?) band played a hard, fast set full of restless energy. That’s not an easy thing to do on the tiny Four5Nine stage. With generally short, punk-like songs, and a bit of AC/DC vibes coming from the guitars, they got the crowd bouncing and ready for some sweat. Shirts came off.

    Zerodent followed as the penultimate act of the night. The power-trio mixes old-school, hardcore punk with melodic guitar lines, the distinct licks more legible with less distortion. All this while the bass and drums power along, giving us what is essentially a tour through punk-rock – from 70s punk to hardcore 80s sounds, with even a hint of post-punk. They were a polished presence and suited the tight room perfectly. And no messing around here – short songs and get on with it.

    Onto the hosts of the evening. The Shakeys are part of the Perth/Boorloo music fabric, and it shows from the moment the rock n roll-tinged punks hit the stage. In the now packed room, they brought the energy and the crowd reciprocated. They played a balanced mix of material from their catalogue, which varies from straight up 70s-style punk to more dynamic hard rock.

    Straight Mollin was a fine way to kick the crowd into gear, the guitar work a fine example of what Jason Mirosevich is capable of. Talk So Tough showed off more of the band’s groove and dynamics, and was a highlight of the set with the room really going by this point, while drummer Lauren was tight as can be. The classic punk tunes are pure fun, a perfect example being set closer Drinkin’ Till Dawn, with backing vocals taking it to another level.

    Once again Four5Nine proves itself a fine, narrow little venue that gets cooking pretty quickly when the bands do their thing. And once again this zine has nothing to offer but front-on shots of the band, and it was even harder with no room to move the closer you got to the stage. Luckily the band gave me some shots to include from someone brave enough to get right into the action.

    Thanks Twin Pixel for the excellent pics.

  • Gig Review – Kae Tempest with Symmetrical Dogs

    Gig Review – Kae Tempest with Symmetrical Dogs

    Astor Theatre, Thursday June 4, 2026

    Kae Tempest returned to Perth/Boorloo, this time playing the Astor Theatre and performing a mix of material from the new album alongside well-known songs from a stacked back catalogue. With beat-driven, danceable songs and spoken-word poetry, it was both a dance party and a chance for a room full of people to connect through shared experience.

    Opening for Kae were local darlings Symmetrical Dogs. Reading the room well, they opened with the rarely heard live spoken word EP opener James. It was a treat to hear the track live as it moved from stripped-back electronic rhythm to melody-rich synth climax, and suited the mood perfectly.

    With a bigger stage and production, the 3-piece stepped up their show as they played both established songs and a few newer tracks to give the audience a glimpse of what’s coming. As usual, there was plenty of banter between songs with singer Claire and drummer Boyd winning the crowd over with quirky observations and barking. Meanwhile, Mike had time to tune before continuing to dazzle with his unique guitar stylings. While not quite as interactive with the audience as they are in the smaller venues, they handled the big stage well.

    Time for Kae Tempest, and he started things off by expressing how happy and honoured he was to be able to come to Australia and play for us. It was a warm way to connect with the audience who clearly felt the same way.

    Multi-instrumentalist Pops Roberts handled the music and did a stunning job with synths, percussion and vocal hooks, while Kae was free to roam the stage. The set started with a bang, going straight into the more rap-like tunes. The tracks blended seamlessly — the beat-heavy, danceable songs morphing into Tempest’s spoken-word. The more well-known tracks like More Pressure and Statue in the Square appeared in the right places, reminding the crowd that he now boasts a sprawling catalogue of music.

    The most poignant moments of the set were when Tempest’s spoken word poetry, often finishing with voice alone, brought messages of connection and love to the audience. These moments were sublime, sinking in through his confident and engaging delivery. Combined with his genuine, from-the-heart happiness to be sharing these words with people, they created something beyond simply a musical performance — something plenty of the crowd will take home with them and remember.

    That was the general feeling as we settle into winter. Everybody share your warmth and heart with others. Be connected, don’t hate. With the current state of the world, this message, combined with Tempest’s delivery, really strikes right at the core. Maybe that’s a bold statement to make, but when you get moments that genuinely cut deep like that, you know you are watching someone special.

  • Gig Review – Michael Paynter with Claudia Tripp

    Gig Review – Michael Paynter with Claudia Tripp

    Astor Theatre, Wednesday June 3, 2026

    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.

  • Gig Review – Mid Drift with Lazy Haze and Hey So Hungry

    Gig Review – Mid Drift with Lazy Haze and Hey So Hungry

    Mojos, Saturday May 30, 2026

    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.

  • Gig Review – Katy Steele with Anna Schneider

    Gig Review – Katy Steele with Anna Schneider

    Rosemount Hotel, Friday May 29, 2026

    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.

  • Gig Review – Jacobin Caesar Band + Figgy Tuna + Coldspring + Black Swamp Sinners

    Gig Review – Jacobin Caesar Band + Figgy Tuna + Coldspring + Black Swamp Sinners

    Lyrics Underground, Friday May 15, 2026

    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.

  • Gig Review – FACS + Last Quokka + Grub

    Gig Review – FACS + Last Quokka + Grub

    Mojos, Sunday May 10, 2026

    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.

  • Gig Review – Didion’s Bible EP Launch with New Phono & Botany

    Gig Review – Didion’s Bible EP Launch with New Phono & Botany

    Freo Buffalo Club, Friday May 8, 2026

    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.