Last Tuesday, Brisbane's The Triffid pulsed with the kind of electricity that only a pop-punk crowd can generate.
Taylor Acorn's headline stop (3 March) wasn't just another date on the tour schedule; it felt like a milestone moment, both for her and the fans who have followed her rise from online covers to commanding international stages.
The night was opened by Arrows In Action, featuring band members Victor Viramontes-Pattison (vocals, guitar), Matthew Fowler (guitar), and Jesse Frimmel (drums), who, for a few lucky fans, were found wandering through the beer garden and even stopped for a couple of photo opportunities before the main doors opened.
As they are known to do, they bounded onto the stage with the confidence of a band determined to make their mark. From the first notes of 'Empty Canvas', it was clear they weren't easing the crowd in gently.
Victor's vocals were sharp and controlled, cutting cleanly through the mix, while Matthew's guitar added bright, anthemic layers that bounced off The Triffid's walls. Jesse's drumming anchored it all with tight precision and explosive fills.
Arrows In Action - image © KealiJoan Studios
Later, they played one of my personal favourites, 'Put You Through Me', leaning fully into their glossy, emotionally charged alt-pop sound. The audience, initially cautious in that typical early-set way, quickly thawed, hands lifted, heads nodded, and lyrics were shouted back.
However Arrows In Action's set wasn't just about polished hooks; it was about personality. Jesse, in particular, became an unexpected comedic highlight.
Addressing the crowd, he declared: "We are quite far away from home, thank God. Now, I'm gonna say something that I'm sure you've heard every American band you've ever seen say at a show, but we did not come here to f... spiders."
The reaction was immediate and deafening. He continued: "I have a theory that it's sort of like a peaceful statement to the spider so that they don't, like, kill us. They're like, we didn't come here and f... with you guys, all right? So you f...ing stay over there.
"Have you guys seen American spiders? They're small. This big. First of all, they kill you, but they're not as scary, okay? You're just, they bite you and then you're dying, it's like, okay? You're not scared at all."
Arrows In Action - image © KealiJoan Studios
The absurdity of it, combined with the band's genuine enthusiasm, made the exchange feel less like rehearsed banter and more like a chaotic group chat brought to life. He then proceeded to teach the audience a stomp-clap routine for the bridge of 'Head In The Clouds'.
For that moment, he sang alongside Victor and Matthew instead of playing, transforming the theatre floor into a synchronised percussion section. The stomps reverberated through the venue, turning the crowd into an extension of the band. It was playful, slightly chaotic, and completely unifying.
By the time they played 'Uncomfortably Numb', the collaboration they released with Taylor Acorn, the energy had fully locked in. Even without Taylor joining them onstage, the song felt like a bridge between the opener and headliner, foreshadowing the emotional intensity still to come.
They also treated Brisbane to a debut of a brand-new song, 'Stop Talking', making Brisbane one of the first audiences to hear it live. The track felt punchy and immediate, and judging by the cheers, it won't take long to become a staple in their set lists.
After a brief changeover, the lights dimmed again. Guitarist Ricky Jab and drummer Ethan Harb emerged first, launching into an instrumental intro that simmered with tension and built anticipation.
When Taylor finally stepped into the spotlight, the room erupted. The first full track of her set was 'Poster Child', and it hit hard with its gritty guitars, driving drums, and Taylor's insane vocals cutting through the chaos.
Early on, she addressed the crowd with refreshing honesty: "My voice is hanging on by a literal thread. So thank you so much for singing so loudly with us. It means so much."
Taylor Acorn - image © KealiJoan Studios
The response was immediate, and it was clear that if her voice was fading, the crowd would carry it. However, the set proved there was nothing holding her back and vocally throughout the songs, you couldn't even notice it.
Before performing 'Home Videos', she shared a heartfelt reflection: "All right, so I want to talk a little bit about the next song we're about to play, and it's one that's really, really special to me, and, um, I'm a very nostalgic person.
"I really love '90s music. I know the thing is, '90s, and I feel like it takes me back to a place where it was a lot better than it is right now, and I think we all kind of know what's going on, and it's scary, but we're all here, and we can be present. We can forget about that sh.t for a little bit."
Taylor Acorn - image © KealiJoan Studios
During 'Birds Still Sing' emotion crested again. "How crazy it is to feel like I'm so lost, to be all the way across the world, and I feel so seen. I feel so loved. I just so, I love you so much. I thank you so much for being here today, it means everything to me."
The vulnerability didn't feel performative. It felt lived-in. For the encore, she returned with 'Shapeshifting' and the explosive 'Psycho', sending the crowd into one final, cathartic frenzy.
As the last notes rang out and the lights slowly came up, The Triffid felt lighter somehow, like the collective weight everyone carried in had been screamed into the rafters.
Taylor Acorn - image © KealiJoan Studios
On a humid Tuesday night in Brisbane, Taylor Acorn didn't just headline a show. She built a temporary sanctuary, loud, nostalgic, and unapologetically emotional, and by the end of it, she'd completely sold out of merch, leaving nothing behind but ringing ears and empty tables where t-shirts used to be.
I have never missed a Taylor Acorn show in Brisbane. From her first one at The Zoo (now Crowbar Brisbane), to her set at Good Things Festival, and now to this sold-out night at The Triffid, she has continuously proved that she is undeniably a show to be at.
However it's more than consistency, it's evolution. Watching her climb from smaller stages to commanding rooms like this feels personal, like witnessing someone fight for every inch of ground and finally stand in it.
Taylor Acorn - image © KealiJoan Studios
She is also one of the very few artists I have ever genuinely cried during a show. Not because the songs are sad in a simple way, but because they feel true in a way that catches you off guard.
There is something about the way you can see it in her eyes while she's performing, the way her expression tightens on certain lyrics, the way her voice cracks, but she pushes through anyway.
She doesn't just sing about heartbreak, confusion, or resilience. She has been there. She is still carrying it, and somehow, in carrying it so openly, she reminds the crowd that it is okay to feel the way you do.
