As the hyperactive 1980s rolled into the '90s, an emerging music style in the United Kingdom was catching on.
The volume-centric, effect-driven, droning, expressionistic style confused some members of the English music press and, as they often do, they responded by categorising it.Someone noticed the band members often played stationary and avoided moving about the stage. The guitarists often spent long periods looking at the ground while playing to produce an ever increasing wall-of-sound.
Strangely enough, with what began as an insult term, shoegaze had a huge impact on the global scene but was quickly overshadowed by a little band called Nirvana and the Seattle sound.
It's now viewed as one of music's most revered genres and has seen a phoenix-esque rebirth over the past decade.
The evidence of its resurgence is the long, snaking line of fans leading to Brisbane's The Fortitude Music Hall (8 May). The headlining act, Slowdive, is a legend in the royal court of The Kingdom of Shoegaze. The pioneering act from 1990 has attracted an audience that is at least 75 per cent 25 years old and under. It's a feat that can't be ignored.
Slowdive - image © Chris Searles
The support act, Beach Fossils, hail from the late '00s New York indie scene and have a respectable following around the globe. It cannot be discounted they've attracted a sizeable portion of the crowd.
In the early '90s, this reviewer was very aware of Slowdive and the genre revolution taking place. To onlookers, the indie subcultures (Swampies of old, please stand up) were perceived as a distant, confusing tribe. The 'mainstream' and 'alternative' were Lovecraftian opponents that never the twain shall agree.
Tonight, it's an all-ages gig, resulting in an eclectic selection of fashion, experimentation and personality exploration. The indies, alts, goths, swamps and mainstream have made peace over the past decades and have shown up in droves. It's a strange, but glorious, celebration of the transcendence of music across eras.
Beach Fossils enter with arms raised. It's the last night of the tour, so were they celebrating or conveying they're as strong as ever. Either way, they do a final tune of their instruments as a floating backing track gently leads them into 'Don't Fade Away' from their 2023 album, 'Bunny'.
They're spirited and melodic. The bouncing guitar lines are their signature and part of their native New York '00s indie sound. Label mates DIIV (Zachary Cole Smith played in Beach Fossils before forming DIIV), Wild Nothing and Mac DeMarco all feed from the same nectar.
Singer Dustin Payseur is coy between each song, leaving fellow guitarist, Tommy Davidson, to do most of the crowd chat. 'What A Pleasure', 'Shallow' and 'Down The Line' are all great tracks that are wonderfully written jangly tunes with strikes of The Wake and The Lilac Time plus currents of The Cure during the 'Seventeen Seconds' era.
Unfortunately, distractions happen between each song thanks to reoccurring 'just one more last tune' that each member performs on their instrument. It drags out and muddles even the most patient audience member.
I'm sure there is pedal technology these days that can pre-programme tuning? Whatever the solution is, the Beach Fossils team should explore one. They see it through and wrap with 'May 1st' – a song written about the trials of tour life offset by the wonder of the collective experience at a gig.
Beach Fossils at Melbourne concert 3 May, 2025 - image © Danielle Annetts
It's quite poignant because the crowd seems to sense the band's weariness, but are still committed to giving all they can.
Soon, the floating notes of Brian Eno's 'Deep Blue Day' ('Trainspotting' soundtrack flashbacks, anyone?). Slowdive enter the stage and take their positions. It could be a collective imagination, but it feels like the five members literally glide, not walk.
The Eno introduction is symbolic. His experimentation and place in the annals of musical influence reflects what is about to caress the audience. From the first note of 'Avalyn 1' from their first album 'Just For A Day', this can't be mistaken for anything but a Slowdive gig.
Their sound is like a Michelin-starred chef dish – a simple exterior that deliciously reveals itself with each bite. Dissecting each layer opens a treasure vault at every turn. It can't be just listened to, it needs to be experienced for full nourishment.
Slowdive - image © Chris Searles
Since their 1989 inception in Reading, England, primary songwriter Neil Halstead has shared vocal duties with Rachel Goswell. Both have a signature style that melds together like molasses and creates yet another unique Slowdive element.
It's integral to the tone of every song as each note flows to the next as delay and chorus effects are applied to the guitars. Simple, thumping basslines roll through the bars to elevate the bass drum thump.
A balanced cross section of tracks from albums mark their sonic progression and writing approaches. The sequencer effects on 'Shanty' from 2023's 'Everything Is Alive' aren't seen on 'Catch The Breeze' from 1991, but they still belong in the same family.
'Star Roving' pleases the newer fans and old faithful alike. The strobe light show during the 'Catch The Breeze' outro is visceral and spectacular, causing a flurry of phone cameras to kick into action.
Nick Chaplin's bass is thunderous during 'Souvlaki Space Station' and the majestic melancholy of 'Chained To A Cloud' hints 'To Wish Impossible Things' by The Cure.
Slowdive - image © Chris Searles
Beyond Goswell's short journey across stage between keys and mic, the band stayed true to the genre's hallmark by remaining cemented in position. There is no need for animation when the music transports the entire room to another plane of consciousness.
Christian Savill's swirling and souring guitar notes envelop all listeners, holding out its hand in an invitation into the stars. It's glorious and mesmerising. 'Sugar For The Pill' and 'Slomo' make way for perennial favourite 'Alison' and the new Gen Z favourite, 'When The Sun Hits' takes us into a short break.
A recent resurgence of the track has led to a new audience for the genre, and a positive honouring of the game-changing artists who were initially seen as pejorative snobs.
Slowdive - image © Chris Searles
The final foray begins with 'Machine Gun' from 1993's 'Souvlaki'. Boswell's vocals contain a slice of Elizabeth Fraser of Cocteau Twins. The transportation towards the astral plane is complete. It's an illustrious moment. Frighteningly awe-inspiring, in fact. They end with 'She Calls' and '40 Days'.
The lights go up as Eno's 'An Ending (Ascent)' eases the room into the night. Indeed, we do ascend up from the soft pillow of sound that nestled the almost sold-out room. They say 'you can have too much of a good thing'.
This reviewer would like to debate the great mind who concocted the phrase and argue that when Slowdive are performing, the saying is irrelevant and nonsense. Surely, this experience is akin to a Pink Floyd show at the height of their fame, or a Mozart Concerto at the Haus der Industrie in Vienna.
The perfect analogy or superlative just doesn't exist to describe a Slowdive show. Just go see them. Better still, experience them.
More photos from the concert.
