Last night, The Triffid hosted the Brisbane leg of Bad Manner's 50th anniversary Greatest Hits Australian tour.
First up were local punks, The Dog Trackers who originally emerged in 2016 as a side project for members of the legendary local act Blowhard with Brentyn 'Rollo' Rollason (RIP). The Dog Trackers have since regrouped and they tell me they continue to honour Rollo's legacy while pushing the boundaries of their sound.
I can vouch for this, because after acknowledgement of the traditional owners and tribute to recently passed friend Annie, they kick off with 'Endless Summer'; it has all the old-school sounds of the collective bands the players have been in or are members of. I hear it even more so as they hammer in with 'Keeping It Real'.
I can't help but light up for 'Electric Toilet', the trio spurring it along with a raw energy as they play tight as; and that’' saying something, as I'm told the bearded bass man is standing in for their usual bass player tonight.
The Dog Trackers had so many fans in the crowd cheering them on while bouncing to their set. Among the set list was 'Radio Rental'; the others, so sorry I can't name them for you.
All I can say is that The Dog Trackers did well to warm up the room, which is now packed with punters, and I see why they were picked to open for the headliners – the chill demeanour and excellent musicianship and complementary style of music totally won us over.
The Dog Trackers - image © Clea-marie Thorne
The break was slightly longer than anticipated, but all in good time as Bad Manners' huge ensemble stride out onstage. Oh yeah, baby! We've got drums, guitar, keys and bass beefed up with a four-piece brass section on steroids, ha! I'm sure two of them were the two that got up with The Dog Trackers, but have had a wardrobe change.
After the entertaining, but expected instrumental 'Echo 4-2' intro, it's clear the crowd has been waiting to set eyes on frontman and OG Buster Bloodvessel, because they go nuts with a rowdy welcome as he swaggers on stage.
'This Is Ska' – yes it is! Exactly what the ska and crossover punk-reggae crews have crushed in for. There's even the hairdos to boot: shaved heads, Mohawks, undercuts, dreadlocks. The mood of the packed venue remains jovial as punters get right into skanking to the beats.
'My Girl Lollipop', their Barbie Gaye cover, transforms us into a joyous karaoke team as we sing-along with Bloodvessel beneath the bright brass melodies. Bloodvessel's cheeky personality shines through, effortlessly drawing everyone into the performance. It's one of those moments that reminds you why ska music has such a timeless charm.
Bad Manners - image © Clea-marie Thorne
'Lorraine' then 'Feel Like Jumping' has Bloodvessel telling us to do exactly that as the infectious rhythm encourages a full-blown skank-off. 'Walking In The Sunshine' amplifies the feel-good atmosphere even further. The collective joy in the room is electrifying, with each chorus met by enthusiastic cheers, the entire venue swaying in sync.
The band's ability to connect with their audience is unmatched, making everyone feel like part of the family – a hallmark of a true live performance. 'Sally Brown' brings forth the band's clever lyricism and fun storytelling. The playful banter between verses adds a layer of humour that pairs well with the lively instrumentals.
The hits keeps rolling, filling the venue with an irresistible groove. The rhythm of the songs and the instrumentals coming at us is contagious; you can feel it in your bones and solidifies the band's knack for keeping the momentum alive with their signature sounds.
Bad Manners - image © Clea-marie Thorne
As the set progresses, the energy shifts through pulsating instrumental pieces, allowing each musician to shine. This brass section is particularly noteworthy, showcasing dazzling solos that leave the audience captivated.
The interludes let us appreciate the incredible talent onstage while still living out our huge ska party. Cue 'Red River Ska', which is blindingly vibrant in tone and is brilliantly channelling the essence of ska's roots.
I see fans who can't resist getting swept up in the instrumental and the sheer joy of the performance, their pleasure seeping into every corner of the venue. Adrian Cox just can't stay still! It's the kind of tune that reminds you of the simple pleasures of live music that equals pure, unfiltered joy.
Bad Manners - image © Clea-marie Thorne
'Can't Take My Eyes Off You' has the sounds of an inventive cover that straddles romance and upbeat-ska rhythms making me feel elated. I can almost see the sentiment of nostalgia and happiness washing over us.
'Just A Feeling' is next, drawing us in with its rhythm and heartfelt lyrics. It's a poignant moment amidst the upbeat frenzy. As I nod along, I recognise there's beauty to be found in the highs and lows of life.
Bloodvessel still has the knack of doling out a bit of cheeky banter between verses or songs, which adds to the charm, and you see his eyes dart about the band. Aligning with this, tonight's 'El Pussycat' rendition of The Skatalites cover is packed with energy and spunk, injecting a fresh burst of adrenaline.
As 'Ne-Ne Na-Na Na-Na Nu-Nu' cascades into the set list, punters relish the chance for a little call-and-response fun. The crowd's enthusiasm is infectious, creating a sense of unity as everyone joins in. 'Skinhead Love Affair' reinvigorates our energy, encouraging fans to dance and let loose. The upbeat tempo and catchy hooks pull everyone back into the heart of tonight's show as the band masterfully keep our eyes and ears in their direction.
Bad Manners - image © Clea-marie Thorne
The classic 'Don't Be Angry' brings the blasting shouts of "you fat bastard". While 'Woolly Bully' (Sam The Sham & The Pharaohs cover) creates a vibe shift into pure celebration. Fans light up at this warm blanket of a tune and the band's spirited approach turns it into a raucous sing-along.
As they dive into 'Inner London Violence', with its lyrics of gritty realism, it reminds us that ska can be fun and thought-provoking at the same time. This banger adds depth to the set, with fans lapping it up.
Bloodvessel dedicates 'Special Brew' to us, the beautiful ones, and it seems like it may be the last song. Chaotic energy is now peaking and a massive sing-along, filled with laughter and camaraderie, has exploded on the floor. It's a party atmosphere that's enveloping us in a huge hug and demonstrating the undeniable connection between Bad Manners and their fans.
Most of the band leave the stage, but then return before the rest can make it off the stage. There was definitely not much more than a few seconds to call for an encore. Of course, it's the one that all the fans have been waiting for, 'Lip Up Fatty'.
The excitement of diehard fans front row and back in the mosh reaches dizzying heights, its irresistible hooks have the crowd lost in the moment. Many punters skanking madly, reflecting the effervescent joy Bad Manners is creating with their music. This track is a true anthem of the ska revival, showcasing what makes the genre so infectious and perpetual.
Bad Manners - image © Clea-marie Thorne
Finally, they close the night with the brass section stealing the attention yet again doing their can-can dance moves in a line. This fast-paced finale has fans hopping and bopping about, leaving everyone breathless.
Bad Manners have proven their music transcends its 50 years and the band remains an entertaining live performance. Tonight The Triffid witnessed our laughter, heartfelt connections and the undeniable spirit of ska as it pervaded its hangar space.
Bad Manners still encapsulates the essence of live music: a joyous celebration where the boundaries between performers and audience disappear and unforgettable memories are forged for all in the room.
Bloodvessel may not leap around onstage as much any more, but he still takes you on one hell of a twisting rollercoaster ride of emotions with his wide-range, frantic vocals. The musicians alongside him cavorted onstage with an unrelenting energy blending fun and seriousness like they were soul mates.
More photos from the concert.
