A trip down memory lane fortified by a performance of heavy, prog rock mashed with indie rock goodness and a surging, almost epileptic energy that was sustained throughout a nearly two-hour show, Spiderbait's incredible legacy was on full display last night in Brisbane.
On an unseasonably drizzly evening (13 August) that certainly dented the number of Ekka holiday eve revellers in the Brunswick St Mall, the faithful gathered inside The Fortitude Music Hall to witness/ honour a band now well into their fourth decade of existence.The occasion? The celebration of the band's commercial breakthrough, their reworking of the African-American work song 'Black Betty' that blues musician Lead Belly first made famous (and would later be covered by American rock boogie band Ram Jam in 1977, this version being the one Janet, Kram, and Whitt first heard on 'Countdown', as Kram told us recently).
Recorded during the band's 'Tonight Alright' studio sessions with famed American producer Sylvia Massy (Tool, System Of A Down, Red Hot Chili Peppers) in Weed, California, Spiderbait's 'Black Betty' would become the group's first #1 ARIA single, place #5 on the Hottest 100, and see the band court American success for a moment in time.
With Brisbane the first stop of a 12-date national run, and with the prospect of a public holiday the following day, the excitement was palpable. Although running late, my spies inside the venue shared that opening act, local Meanjin punk-rock thrashers Worm Girlz more than once encouraged punters to look out for each other and make it a safe place.
Worm Girlz - image © Clea-marie Thorne
They even asked the crowd to raise their pinkies in the air for a pinky promise to do just that. While only having released three singles to date, Worm Girlz are on the rise and should be on your calendar when they showcase at BIGSOUND next month.
As the crowd built, Sydney garage rockers Polish Club strode onstage joking about breakdancing as drummer John-Henry Pajak outshone Raygun with his breaking proficiency (tongue firmly planted in cheek, Australia).
It wasn't long before the delicious, sensual groove of their opening song 'Clarity' had their eager fans bopping and those here for the headliners dousing conversation to stare intently at the stage. The bluesy swamp rock of 'My House' followed, its beat thumping like a giant rabbit foot, the rhythm galloping along frantically.
Polish Club - image © Clea-marie Thorne
Another of the group's early singles (which proved a theme of the set) followed with 'Beeping' accompanied by pink and yellow stage lights that flooded the stage with hyper colour, the chuggin' beat pounding the eardrums.
A track with swampy soul-rock tones with a '50s attitude and a rhythm to wear out the soles of your shoes, singer-guitarist David Novak was on his knees by song's end, he and Pajak manhandling their instruments.
Another track from their 2015 debut, self-titled EP followed in the form of the blues ballad 'Don't F... Me Over' that morphed into a blistering rock-blues burner, the duo keeping the mood upbeat with 'Beat Up' (from their 2017 debut album 'Alright Already'), a garage rock tune brimming with pop hooks that launches into a Springsteen-fuelled rockout by song's end.
The raucous, sludgy QOSTA-flavoured with '80s hair-rock tones of 'Gimme Money' maintains the momentum before the duo, who earlier stated they have plenty of covers in their repertoire, launch into a medley of four songs. . . the four songs that beat Spiderbait's 'Black Betty' in 2004's Hottest 100 they explain.
Polish Club - image © Clea-marie Thorne
It's an amusing set led by The Killers' 'Somebody Told Me', followed by Eskimo Joe's 'From The Sea', Missy Higgins' 'Scar' (to the tune of 'Undone - The Sweater Song' by Weezer) and finished off with a crowd sing-along to Franz Ferdinand's 'Take Me Out'.
With time to kill before their set is finished, Pajak again proves his willingness to entertain, once more impersonating his best Raygun moves ("See you in 2032 Brisbane!" he cheekily proclaims) and a plug of the duo's Brisbane headline show in October (they're also playing Adelaide, Sydney and Melbourne shows), which this reviewer highly recommends before signing off with the raging 'Come Party', another song from their earlier work.
With Grandmaster Flash's 'The Message' blaring across the PA and the hum of excited punters providing plenty of vibrations, Ennio Morricone's 'Il Vizio D'uccidere' plays, the 'For A Few Dollars More' soundtrack song the perfect sonic accompaniment as the spaghetti western tones welcome our three heroes to the stage to cheers and wolf whistles, Kram menacing the stage with his microphone shadowboxing to Morricone's beat, Janet surprisingly settling in behind the drumkit, the excited expressions of fans only increasing with Whitt seated next to the kit holding an acoustic guitar.
Without a word, the trio embark on a stripped-back interpretation of 'Black Betty', a bold move to lead the set with the song most have come to celebrate, yet this performance harks back to Lead Belly's rendition, Kram's gravely vocals infusing an authenticity that has my ears thinking I've time-warped to 1930s Birmingham, Alabama, Kram foot-stomping like Ric Flair.
Spiderbait - image © Clea-marie Thorne
As the trio shuffle to their more accustomed positions onstage, they don't utter a single word to the crowd for the next six, seven songs, rather entering 'the zone' with a string of songs showcasing the group's meatier chops that begins with 'Straight Through The Sun' (from 2013's self-titled 'Spiderbait' and the most recent release they'll play all evening) featuring the reverb-heavy vocals of Kram, the chugging bassline, powerful riffage and manic drumming bringing the crowd into play straight away.
The only track from 'The Flight of Wally Funk' (which personally is my favourite 'Bait LP) follows, Janet appearing on the lead vocals for the first time on 'Outta My Head' the crunchy rhythm inspiring larger numbers to bop along in the crowd, before the first 'Grand Slam' song appears, the electrifying 'Shazam!'.
With the trio so intent on their own playing, it was refreshing to see a band go about their business for the first 30 minutes of the set without a single comment to the crowd, yet the connection between band and audience was stronger than 'The Force'.
Spiderbait - image © Clea-marie Thorne
It felt like we were inside Spiderbait's band rehearsal space, the group gifting us access to them as it became the turn of 'The Unfinished Spanish Galleon Of Finley Lake' album to be spotlighted, with the tracks 'Jesus' and 'Monty' going down a treat.
'Chest Hair' and 'Hot Water & Milk' both from 'Ivy And The Big Apples' kept the OG fans sated, the nostalgia feels going into overdrive as the consumption of adult beverages let merriment levels surge.
Finally, Kram acknowledged the crowd welcoming us to their celebration of 'Black Betty', then performing two of "their favourite songs" from the 'Tonight Alright' catalogue, firstly the upbeat love banger 'Cows' Janet telling us we're "gorgeous", before they reverted to an earlier demo version of 'Tonite', Janet 'forcing' Kram to share vocals for a couple of verses before finishing with an extended psych-rock freakout (I can't wait for the album's vinyl re-release Kram hinted at if they include that version).
Spiderbait - image © Clea-marie Thorne
After the intensity of the opening salvo, Spiderbait managed to reign in the mood with a gorgeous rendition of 'By The Time I Get To Howlong' (off 'Grand Slam'), with Janet on harmonica and Kram wielding an acoustic guitar, the indie coolness continued with fellow 'Grand Slam' charmer 'Glockenpop' (Kram playing the glockenspiel as well as drums and acoustic guitar).
One of my favourites was next, the brilliant 'F...en Awesome' had a fervent crowd sing-along as we told Spiderbait how f...en awesome they are! Then it was time for Kram to share 'Old Man Sam', a song he said he wrote when he was 15, the rollicking call and response with the crowd whipping up a frenzy, the band indulging in another extended play, Kram saying "welcome to the family first timers" at the song's conclusion.
The return to the hectic programming was led by 'In This City' ('Tonight Alright') and 'Sam Gribbles' ('The Unfinished Spanish Galleon of Finley Lake') before a couple of songs from their debut album 'Shashavaglava' ('Scenester' and 'Run' – the latter seeing Janet return behind the drumkit, Kram sharing "how do these kids play so fast!" after 'Scenester') had the OG fans ecstatic.
Spiderbait - image © Clea-marie Thorne
The deep dive of the band's back catalogue continued with a song Kram said they hadn't played in 30 years, and was released in 1991, Kram quickly teaching us the lyrics to 'F...en Ace': "Went to a party it was f...en ace! Went to a party I was off my face! Went to a party it was f...en ace!"
Spiderbait concluded the main set with another crowd favourite 'Calypso' many fans letting lose, before they returned for a two-song encore led by Motorhead's 'Ace Of Spades' (one of the first songs they learned to cover).
Then it was time for the main event, a rambunctious performance of 'Black Betty' that seemingly never ended, Kram, Janet and Whitt not content to leave the stage till every ounce of energy had been consumed – both on and off stage.
As they embark on their national tour across August, September and October, do not sleep on Spiderbait; they've never been in greater form with a catalogue of songs that have withstood the test of time and still sound as relevant as they did in the '90s and early 2000s.
Spiderbait - image © Clea-marie Thorne
Another positive note: The all-ages aspect of the show allowed for plenty of A-grade parenting with a stack of next-gen music lovers tagging along with their 'older' adults, the beaming smiles of the 'older' kids pure joy.
Kudos to the several parents who brought along super-young fans, holding them aloft at certain junctures for that better vantage point (the sight of a silhouette-kid fist pumping during the 'Black Betty' finale was one of the best rock & roll moments of the night).
More photos from the concert.
