West Envy‘s new single No Breaks leans heavily into the reggae side of their sound, and it feels like a good direction to head in.
The band have always cited that influence while mixing it with indie rock, but this track has the production and tightness to really elevate the offbeats. Gaz’s lead guitar tone and licks are spot on, giving them an edge that could almost be described as post-surf. It definitely has a west coast vibe.
When it hits the pre-chorus, it dips into the UK-influenced indie side of their sound and singer Riley really hits his stride. The vocals dance around the music with excellent phrasing, before the band burst into chorus catchiness.
West Envy are a young band to watch and regular giggers around town. Go see them and buy some merch — we want to see how far they can go.
No Breaks is launching at The Bird on Friday, May 15. Get your tickets here.
The Kill Devil Hills have a reputation as one of the most experienced and battle-hardened bands to come out of Perth/Boorloo. Seeing them strut their stuff to a sold-out Mojos only added to the legend.
Opening the night were 4-piece Phantom Island. The band play a classic brand of indie rock, with an edge coming from the demon lead guitarist doing a lot more than the average melodic licks you would expect – giving them a slight proggy edge. Combine that with shared singing duties including the Britney-style mic’d up drummer and you’ve got a good formula. The stomping second-last song Adam was a highlight.
Time to up the ante and who better than the triple guitar threat Grub to do it. Matilda up front drives the sound with her tele and ocker wit. Mix it with two more guitars and a ridiculously heavy rhythm section, and the force of sound coming from that stage is nothing short of mind-blowing. With singles like Ghost (stupidly heavy) and the crowd singing along to The Floor, it’s clear why these guys are getting plenty of radio play and hype. Thrashing it out in their hometown of Freo, they were magnificent and clearly having a good time.
With the bands done and dusted, the stage fell into smoke and red light — and into the hands of The Kill Devil Hills. They took to the stage to a packed house and made it their home.
Working from a formidable song catalogue, they went through everything from The Day the Dinosaurs Died to This Is Karrakatta. With a star-studded lineup of musicians including Timothy Nelson on keys / backing vocals, and drummer extraordinaire Todd Pickett banging away, the Kills could do no wrong. The crowd were rowdy and drinking too much, which added to the moody, smoke-filled ghost-town bar feel, with haunting violins drifting out into the haze. The combination of Brendan Humphries leading the vocals, with harmonies and more coming from Pickett and Nelson only amplified the atmosphere.
Was it a coincidence that a black cat crossed the road outside as they played 13th Sunday? I don’t know but the devil works in mysterious ways.
Back to The Bird on a Friday night — a dangerous place to be if you’re trying to drink less. Leah Grant hosted the night and, once again, the venue was full of love from eager punters and bands alike. What a great time to be part of the Perth/Boorloo scene.
Swan Drafts opened the evening with a delicate acoustic set while the audience sat picnic-like on the floor in front of the stage. The guitar work from Shawn Cygnus is special — someone worth keeping an eye on as the music develops. Gatorade Bong is both an inspired name and a very good song.
Goodbye Forever followed and showed that two people can make a hell of a racket. Their guitar, bass, synth and looper setup was engaging, delivering a set that was somehow both casual and intense. Isn’t it great when you go to a gig for one band and another completely captures your attention? Keep an eye out for these guys, highly recommended for something a little different.
Time for the first full band of the night with Jackson Christie taking the stage. The harmony-heavy three-piece play a poppy brand of indie that is hard to pinpoint. Bright, catchy guitar-driven verses that mutate into big choruses, driven by the fine vocal work of the frontman and co.
Symmetrical Dogs took to the stage next and showed us exactly how to do it. Somehow managing punk rock energy with just an acoustic guitar, Michael Woodbridge is one of those musicians you can watch but never quite understand. Maybe the word is sublime — it goes beyond normal comprehension. Combine that with intricate drumming and the charismatic Claire up front, and you have something pretty special. Can’t wait to see what this young group does next.
Main event now. Leah Grant is a treasure to the Perth/Boorloo music scene, and the appreciation in the room made that clear. Backed by a full band and a nicely decorated stage, she showed off the depth and quality of her songwriting.
Grant’s sound is big — post-rock, with folk at its core — built on excellent guitar work and vocals that reach the stratosphere in the biggest moments. It’s a striking contrast to her seemingly quiet demeanour. Is there anything better than someone who transcends when they step on stage?
Her band rose to the occasion, elevating the songs with fine noise-making guitar and big, dynamic moments throughout. The set moved between intimate lyrics (“I give it all up”) and head-shaking heaviness — a combination that sounded fantastic in the room.
Leah Grant has released EPs Vol. 1 and Vol. 2, and after seeing her live for the first time, we’re ready for Vol. 3.
Showbag! are back! After a couple of decades on hiatus, the much-loved Perth/Boorloo indie-rock favourites are returning with shows—and a new album! Not stopping with the exclamation marks, aren’t you excited!
The first single from the upcoming Waterhouse record, All I’ve Got is pure 90s indie-rock goodness. It’s short, hits hard from the first note, and full of catchy-as-hell guitar melodies. It’s both reminiscent of the past booming indie scene and completely at home in the 20s. Pocketed somewhere between R.E.M. and post-green-day punk, with threads of down stroke rock bands like Pavement, it also has that bop to it that screams 50s American diner.
The lyrics show nothing has changed since the track first took shape in the 90s—we’re all still full of doubt and need to deal with it through self-deprecation and humour. Has there ever been a better medium than indie-rock?
The debut EP from Ullah is here, bringing together a mix of previously released singles and a couple of live favourites. The Perth/Boorloo songwriter, now based in Melbourne/Naarm (yep, another one), makes a strong opening statement.
Opening track I Want It All has been a radio darling since its release, showcasing Ullah’s knack for catchy, singalong songwriting. It’s a declaration of dreams and desire, balanced by the uncertainty that often comes with them. There’s a playful edge to the vocal delivery—especially in lines like “how did you know where to go?”—before the track swells into a climactic, emotionally charged finish. It’s pretty special indie-pop.
If I Were A Fish leans into Ullah’s alternative-rock side. Full of interesting rhythms and weighty guitar riffs, it digs into self-reflection with lines like “tell me who you think I’ll be, even if it means dishonesty”. It’s a short track that erupts at the end, like a release of pent-up energy.
Previously released single Shoulder to Shoulder is a gorgeous stripped-back alt-folk song, exploring the subconscious voice that wears away confidence. “I wear it” suggests an acceptance of that inner dialogue—learning to carry it, rather than silence it. It’s a quiet standout.
How To Dance parts one and two offer a clear indication of what the band are capable of. Pt. 1 is a quiet, introspective exploration of the inhibitions that grow with us as we age, building into a short, anthemic release. Pt. 2 flips this—and is the most energetic and danceable track on the EP. The singalong moment “I’m looking through my own eyes” is punchy and memorable, with soaring guitar work driving it forward.
It’s clear that Ullah uses music as a vehicle for self-exploration and healing, and the songwriting is raw and honest because of it. The ability to turn these feels into both compelling alt-rock noise and indie-pop hooks suggests there is something genuinely special developing here.
Drawing on their production background, Dale Nelson and Jacob Borgward created Roomtone, a platform spotlighting local music and emerging artists. The team hit a new milestone with the first live show at Four5Nine. Not just a gig but a celebration of the fast-growing scene around them, and yes, someone drank from a shoe.
The men of the moment took to the stage – first for MC duties and then with their band Time Out Corner Kids. The first band to appear on the online program, they were relishing the occasion – bouncing around the stage and getting the crowd chanting.
Sharing vocal and guitar duties, they powered through the emo-influenced set while getting everyone in the spirit of the occasion by threatening a shoey finale. With hints of post-blink-punk, the band were tight and mixed it up with big riffage and lighter numbers. There was a 12-string ballad full of sweet harmonies, and a drink out of a sweaty, post-set sneaker (yes, he did it).
Now for the other bands who have graced the Roomtone lenses, and first up was Forget Me Not. Getting the crowd dancing and girls to the front (always a good sign), Luke Chandler and his band brought youth and indie-pop magic to the crowded room.
Locked tight with chiming guitars, the band showed plenty of charisma and memorable tunes to match. It’s a winning formula with lyrics like “kiss me like the last time”, and a sound somewhere between R.E.M., Placebo, and The Wombats.
Deep Beep, fresh off the release of their second album Soft Honk, opened with Diesel & Meth and wowed immediately. The songs are sonic journeys, intersected by big riffs and melodies. Even the bar guy was enjoying the wall of sound coming from the 5-piece.
Atlantiss with two ss’s (what) was the set closer that brought the house down, and pretty sure it’s not about the sunken city but the abandoned theme park in the northern suburbs of Perth. Prove me wrong!
The Terror Adaptors (or pterodactyls if you ask Dale) got headline duties and were full of heavy riffing energy as the crowd got rowdier.
Playing a fine mix of post-rock and hints of everyone from Iron Maiden to Faith No More and System of a Down, they weren’t afraid to go weird with Beach Party on Uranus and plenty of other songs about aliens (at least one was about a demon). They even threw in an encore for the moshing crowd and smashed out Silverchair’s The Door for a huge finish.
Dale and Jacob came back up and had a list of people to thank longer than Meryl at the Oscars. They threw out more merch (thought it was a tiny shirt, was a tote bag) and looked every bit like a team who’d just pulled off something special with Roomtone Live!
It is becoming tradition now – Friday nights at The Bird – this time with storm threatening and courtyard soaked. How fitting then, that flood should launch their debut album Like Glass on such a night – like it was meant to be. With support from Ursula and lovemenot.
Opening the night with lower-case love – lovemenot gave us post-rock intensity and got the crowd moving. Big sounds and singalong choruses carried through from start to finish. Eleanor Edwards was full of energy up front and commanded the small stage the moment the band powered up.
On a night filled with a high standard of guitar playing, the riff work from Michael Bourguignon, spiced up with noise throughout, was exceptional. Definitely one of the most creative guitarists around. Add a tight rhythm section and Qayla Locke driving the synth and you’ve got a hell of a rock band. Ending the set with their latest single The Tower was a high point.
Ursula was a perfect fit for the middle slot, shoegazing while bashing heavy rock riffage. The Perth/Boorloo supergroup sludged their way through a powerful set as the venue kept filling up.
The switching guitar and vocal work from Robbie Rumble and Ashby Ranson kept it interesting, with riffs, noise and harmonies big and tight. If the aim was to get the place warmed up, they did that and then some. The sound is somewhere between 90s shoegaze and stoner rock but with hints of post in the busy beats and space-y lead lines. Keep putting out music please.
The deluge did not stop all night and so came the flood (maybe too far with the imagery). Mixing intense math rock rhythms with post-rock catchiness, flood have stepped up their set with impressive new album tracks. Borders and Icarus in Amber stood out early, finding that blend of laid-back melody and heavy angular riffs. Sounding heavier than ever with the energy of the occasion, Jack Williamson and Max Lockitt’s guitars danced around each other with fluid ease while the rhythm section mathed out.
Playing mostly tracks from the new record; the venue was as warm as a fireplace projected on the wall behind the stage. Meandermore was a peak moment as it worked up from clean rhythms to a big finish, going around a few times in the process. Jack Duffy’s hard-rock drumming was on full display and locked in with the outstanding bass work from Benjamin Vaughan. The band finished with a couple of older tracks, because of course the crowd wanted more, and Blue was as solid a finish as you could hope for.
It was a well put together launch by flood – the mix of bands worked, all linked via a post-rock thread, while far enough away from each other to avoid post, shoegaze or math overload. The Perth/Boorloo live scene is alive and kicking and getting stronger with gigs like this right in the middle of the city. More live shows, more albums – more everything.
Lynott’s Lounge, tucked away behind a busy Irish pub in Northbridge, hosted a mix of young bands on a balmy March Friday night.
Tritus opened the evening with some classic 80s style rock – flying V guitar, a shortage of sleeves, and plenty of screaming solos to satisfy any rock fan. There was more to them than sounding like a hair metal band, with what was actually a nice mix of metal and punk/hardcore. They had a solid set which included a cover of Toto’s Hold the Line – hard to argue with that choice.
Next to the stage came West Envy, with plenty of merch available and an indie-reggae vibe. Think Ocean Alley meets noughties rock. The young band have catchy hooks and some excellent lead guitar work from Riley number two (or Gaz, to avoid confusion with singer, Riley number one. Apologies if I have the rankings backwards). If you want wah, go no further than Rage’s Bulls On Parade. The only cover in the set, and it gives you an idea they aren’t as laid back as the indie-surf-reggae description. A band to keep an eye on for sure.
Closing the night were Lazy Drive and the five-piece brought tight, heavy indie-rock, and most notably a serious keytar. The band have strong modern indie vibes but with some heaviness in the 90s punk rock realm (I heard some Nirvana riffs in that soundcheck). They made a lot of noise, clearly embiggened by the keytar on top of the two guitars and tight rhythm section. Quality riffs and vocal hooks including some great shout-along choruses, by the end it was an epic wall of sound and the crowd relished it. More originals please!
A good night of young bands and the venue has an epic lighting rig to add to the rock show feel. Kudos to the sound guy for playing plenty of Fontaines DC. These are bands to watch.
