Scottish art rockers Franz Ferdinand have returned to Australia, promoting their latest album, 2025's 'The Human Fear', with a set dutifully honouring the new material, while also catering to old-school fans with banger after banger.
Personally, the second night (back to back) of my nostalgic trip to 2005, having witnessed Kaiser Chiefs the previous evening, when Franz Ferdinand arrived in the early 2000s they shifted the indie-rock goalposts significantly, delivering a catalogue of hits across their first trio of records that remain as relevant today as they did two decades ago.
I won't lie, my mid-40s bones were most certainly aching after bopping about like a mid-20s groover the night prior, and with Queensland's sultry, salty, sticky, suffocating, and stifling weather conditions not easing up, I felt like a wounded solider crossing the Goodwill Bridge just after 8pm on Saturday (29 November).
While my serotonin levels may have been dangerously low, the brisk walk did release a stack of red blood cells into my system, the oxygen slowly entering the rest of my frame thanks to the power of osmosis.
Image © Chris Searles
I was also expecting a longer queue time, but found the outside of The Riverstage relatively quiet and quickly found myself moving towards the bar area for refreshments (gotta stay hydrated Alexa!). It wasn't hard to find a solid possie either just back from the paved, flat area in front of the stage, the venue about two-thirds full.
At this juncture, I need to apologies to the two Aussie indie support acts, Teenage Dads and Delivery; two emerging bands putting their own spin on the post punk, new wave, indie rock scene. Blame it on Ricky Wilson wanting more energy from the Kaiser audience, but I just couldn't summon the strength to arrive earlier (when you reach the mid-40s, a late afternoon nap is better than most things!).
You'd do well to search both groups out and give their respective catalogues a spin (I recommend 'Floored', 'Deadlines' and 'Baader Meinhof' by Delivery; 'Hey, Diego!', 'Cheerleader', 'Teddy' and 'Sunburnt' by Teenage Dads), 'cause they'll be headlining their own bigger shows in the not-so-distant future. Kudos to Franz Ferdinand too; not many international touring acts have the gumption to risk lost tickets sales in order to promote the local scene.
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Given the relatively ease navigation to my viewing spot, an added bonus of the evening was hearing the songs played from the PA prior to Franz appearing onstage. While Bowie's 'Life On Mars?' was an obvious choice, and had heads bopping, the brace of Loud Mouth's 'Come Over' and Getdown Services' 'Come On' maintained the feel-good vibes and a couple of newer Britpop acts to explore further.
Then the big band brass magic of TV theme 'Police Squad' blared from the PA, the members of Franz Ferdinand bounding onstage with an infectious enthusiasm that had the crowd quickly on their feet, ready to boogie.
Launching into 'The Dark Of The Matinée' from their 2004 self-titled album (which would have the most songs, 6, feature during the 90-minute set alongside 'The Human Fear'), it was clear this was an audience who not only knew the words but also knew their assignment, lead singer and guitarist Alex Kapranos suitably impressed by the collective energy on display (a theme that would continue throughout the evening).
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It only took the second song of the set for Franz to introduce their new material, and why not when 'The Human Fear' houses so many instant sing-along moments, 'Night Or Day' introduced by Kapranos as "here's another song". No need to labour the point like so many bands-artists do when introducing their newer material, 'cause 'Night Or Day' could have easily been written during the band's first decade of existence.
It's upbeat, vivacious vitality morphed into 'No You Girls', which Alex deemed was from their olden days (2009's 'Tonight' to be exact and that record's biggest hit – way to make the Gen Xer feel old too. . . the olden days definitely doesn't start till the '80s for mind, lol).
Alex also shared generous appreciation for the two support acts: "Two great Aussie bands." He then threw shade at Melbourne declaring it was "pissing down rain," the night prior, despite most in the audience needing a set of Chux clothes to soak up their own sweat, which was akin to standing under a backyard sprinkler.
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The hits kept coming with 'Walk Away' witnessing the crowd find their voice, Alex allowing them to sing sections of the chorus; it also introduced the wailing vocals of a woman amongst the hush, a LOL moment for many in the audience, Alex doing well to keep a straight face at the song's conclusion.
'The Human Fear' received another moment with 'The Doctor' (that was dedicated to Billy in the front row who'd travelled 6.5 hours to be at the gig, which amazed Alex – we're a big island, mate!) before 'Do You Want To' (from 2005's 'You Could Have It So Much Better') stoked the energy fire, the crowd reacting as if they had white-hot coals underfoot.
It led into another of standout from 'The Human Fear', 'Audacious' – part '60s psych pop, part '70s art R&B; imagine Pink Floyd meets Thomas the Tank for audio cues. The song's delightful, slowed-down chorus the perfect vehicle to power more crowd participation, the arm waving mostly in sync.
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2013's 'Right Thoughts, Right Words, Right Action' had its first representation with 'Evil Eye'; I won't shirk responsibility, but this one and its album mate 'Love Illumination' played a little later went over my head mostly; perfect timing to stock up on an adult beverage or two. Maybe it was the extended heatwave that was almost a week-old, but I've never experienced such short queues at The Riverstage. Not complaining though!
'Black Eyelashes' from the new album was a neat inclusion, Alex introducing the song by saying his stringed instrument was of Greek original (his father is a Greece national). . . in another realm, Franz Ferdinand could easily have become a Zorba-flavoured outfit.
Then it was a trio of classic bangers from their 2004 self-titled album led by 'Darts Of Pleasure', which Alex shared was their first ever single that was released just prior to their first Australian tour – fat bassline, crowd clap-along, levels turned to 11! Yes, sir!
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It was followed by 'Michael' (which also follows 'Darts Of Pleasure' on that record), nostalgia levels flowing freely, my own serotonin levels back to almost normal, my dancing knees connecting with my feet for the first time all evening.
After 'Love Illumination', Alex took us on a journey relaying how'd seen some vision of the band's live performances from their Big Day Out appearance in the mid 2000s. "Big Day Out was incredible. . . when I looked at the crowd everyone was going f...ing mental. . . and no one had their phones out. . . how about we try it for one song and keep our phones in our pockets," as the iconic guitar riff of 'Take Me Out' rung out across The Riverstage.
Having been to my fair share of Big Day Outs (seeing Foo Fighters in 2003 a clear standout, followed by Muse in 2004, and Neil Young circa 2009), this 2025 crowd did well to match that BDO energy, which also impressed Kapranos: "Brisbane that is what I'm talking about. . . magic energy. . . wanna take that energy higher, Brissssiiieee?!?!"
The fuzzy-party beats of 'Hooked' was followed by main-set closer 'Outsiders', a deep cut from 2005's 'You Could Have It So Much Better' that witnessed the entire band surround Audrey Tait's drum kit, the ultimate jam bash that was just magic to witness live.
After disappearing before returning for the obligatory encore, Alex said he would have to disappoint us after hearing the "one more song" chant 'cause their set list had four songs listed for the encore. "Is that ok?!" Does a bear sh.t in the woods?!
Image © Chris Searles
Having taken a peak at other set lists from recent concerts, I knew my favourite Franz song, '40'', had been played during the main set; fearing I'd missed out, I was ecstatic when the song's bluesy, fingerpicked bassline purred from the speaker stacks, and super happy I had plenty of space to shake a tail feather or four! My hands-behind-the-back rooster strut was on full display. Those who know, know!
New song 'Build It Up' was a somewhat surprising addition to the encore, although not out of place, the crowd bop maintained before another personal favourite landed. 'Ulysses' from 2009's 'Tonight' followed, although if I'm being honest, the song's dub remix version, 'Feel The Pressure' from 'Blood', would have had the rave going bonkers.
As it was, it was super cathartic yelling "La, la-la-la-la / Ulysses / I found a new way / I found a new way, baby," into the ether, the humidity still super high, but the wisps of cooling air strengthening as we neared the venue's fabled 10pm curfew.
The band was fully up to speed to this quirk of the venue that has claimed many a victim over the years, with Alex commencing band introductions prior to 'This Fire', Tait's drumming taking centre stage and holding the rhythm beautifully, Franz indulging in a near ten-minute extended version, each guitarist-bassist making their way to the equipment-less riser that had hardly been utilised to this point for an epic jam, the crowd making the most of these dying moments – both sides of the stage aware of how vast and grand this moment was.
Then as quickly as they arrived, Franz Ferdinand were gone leaving this reviewer's cup filled to overflowing, a stack of new memories ingrained on the soul and the hope they return soon.
