Reviewed on Friday August 14 (photo by Ashley Mar)
Brisbane duo Pleasure Symbols share at least a degree of common ground with South Park’s Kyle Broflovski – they both think Disintegration by The Cure is the best album ever. This is electronically tinged post-punk that’s often shrouded in reverb and harsh distorted fuzz, letting the repetitive structure build up to a boiling point before withdrawing back into its shell. It’s an intriguing choice for opener – both in terms of energy and stylistic approach – yet it works in its own way in the duo’s favour. Music for those who like ‘Pictures Of You’ on repeat.
Straight Arrows, at this point, are an institution. Even when they’re down a member (in this case, bassist Angie Garrick), they still put on one of the most electric, loose live shows in the country. Owen Penglis is on double duty, also stepping in as bassist for the headliners. Don’t think for a second, however, that it means he is at all reserved – at any point of proceedings, he is found bounding about his side of the stage and rattling his guitar into a fit of pure feedback ecstasy. Too much of a stretch to deem them a national treasure?
For The Grates to open with a song as ubiquitous as ’19-20-20’ meant one thing: much like the vampire costumes suggest, they are out for blood. There are two notable firsts for the band this evening – it’s their first show here since the release of their fourth album, Dream Team, as well as their first show here as a five-piece. The latter is on account of guitarist John Patterson’s broken hand, reverting him to keyboards and percussion. It thankfully doesn’t stunt his own enthusiasm, and fill-in guitarist Jack Richardson is a very capable equal to Patterson’s jangly, scratchy style.
The newer material blends in considerably well, holding its own against staples like ‘Trampoline’, ‘Rock Boys’ and ‘Burn Bridges’. In particular, the slithering ‘Back To Back’ provides a smartly timed change of pace, while ‘Holiday Home’ stands proudly as one of the band’s greatest power-pop moments. For many in attendance, The Grates are an act they (for lack of a better phrase, and not to make them seem old) grew up with. As such, a Grates show in 2015 feels like recapturing the more joyous side of those years. Party on.
