From the swarm of buzzing punters squeezing themselves into The Tivoli in Brisbane, I'm not the only one over the moon about Kim and Kelley Deal, Josephine Wiggs and Jim MacPherson bringing The Breeders to our backyard.
I hustle past the fans waiting in long lines at the merch table so I can be closer to the stage for the start of the support act. I love a great opener and I reckon MOD CON will bring the goods. I'm fan-girly excited to see Erica Dunn shine in her own light as lead vocalist (and guitar) for MOD CON – her guitar chops already precede her and vocal input to Tropical F... Storm has always been cheer worthy. I can't believe I haven't boarded the MOD CON bus before now.
Dunn thanks the packed crowd for showing up early to catch MOD CON's set before the three-piece set our ears on fire.
These alternative-punk rockers have an awesome sound with the added flavouring of the likes of Bikini Kill with the intermittent spicy vibes of The B-52s and Black Flag among others from that era. This blend makes for a unique recipe and it's a moreish sound to savour.
MOD CON - image © Clea-marie Thorne
With ease, MOD CON are pumping up the diverse crowd with a contrasting yet wicked collective energy. Dunn sings to suit the mood of the song and is often aggressive in her axe work, making it scream out to us.
Meanwhile Isobel D'Cruz (bass) is uber chill, cool as a cucumber in fact, plucking and hammering her steels. Raquel Solier (drums) has the bottom end covered and is often grinning behind the skins showing us she's having a smashing time pummelling the tubs with such precision.
Even if you had not heard one song previously, their sound is totally infectious. Not familiar with their discography, I can only tell you from generous fans in the crowd that their set list included 'Scorpio Moon', 'Electric Whip' and 'Do It Right Margo'. I'll be checking their songs in more detail after tonight. Can you tell I loved 'em?
As the starting strains of Bauhaus' 'Bella Lugosi's Dead' wash over the crowd, The Breeders emerge from the shadows and wave us g'day.
Fans let out cheers as they take their places. Kim, Kelley and Josephine all have their own rugs, amp stacks, guitars on stands; Kim even has a whistle hanging from her mic stand (we all know what that is for!), and there are enough pedal boards to. . . well I just don't know what!
The Breeders - image © Clea-marie Thorne
Behind MacPherson's drum kit the digital backdrop displays the colourful celebratory album cover as they commence with 'Saints' from the 1993 album 'Last Splash'. I can feel and taste the '90s as the band has my body humming and reverberating with the guitars and bass – even with the change of tempo moving into 'Doe'.
I'm in awe of Kim's vocals – like a 20-year-old malt whiskey beautifully mellowed yet still packs a punch where it counts and can lend itself to a raspy line or two. 'Wait In The Car', 'Hag' and 'Invisible Man' have us trapped in a time warp of music delight – I don't want to escape this sonic grungy heaven!
Next the Deal twins change it up, with Kelley singing 'I Just Wanna Get Along' (also off 'Last Splash') before they unload more fan favourites: 'Safari', 'Iris', and 'Opened'.
'No Aloha', 'Fortunately Gone' and 'Glorious' each arrive before big banger 'When I Was A Painter' – the crowd did not hold back joining in with the vocals on this one.
'Lime House' went over a treat, but it's 'New Year' and the well-known and much loved 'Cannonball' that send the crowd into a rapture of nostalgia. Deal digs deep into the 'Cannonball' hook as she sings out to us "Ahh ooh ooh! Ahh ooh ooh!" – and we give it back at her. That bassline. That whistle? Yep this is it!
The Breeders - image © Clea-marie Thorne
'Do You Love Me Now?' – did the band even have to ask? Ha! Kim then introduces 'MetaGoth' before there's another change-up onstage. Ecstatic glee erupts throughout the venue as Kim and the band give up a Pixies cover – you probably guessed it.
Yes, it is her masterpiece and one of the absolute best if not THE BEST Pixies tune! The nostalgic 'Gigantic' of course and she is wielding Wiggs' bass, which is nearly as tall as she is! This song leaves chests heaving and sparkles of joy in our eyes, The Breeders are giving waves of thanks and leaving the stage.
I thought for a minute they were finishing the night with 'Gigantic' as huge and fitting ending as it could be – but wait we are getting our encore. The extra set of steak knives aimed at our hearts starts with 'Walking With A Killer', then an amazing rendition of Ed's Redeeming Qualities' 'Drivin' On 9'.
There was only imaginary violin for the Brisbane crowd, but we bask in some fun banter between the Deal twins as Kim tells us about Kelley's violin vocals from back in the day while trying to coax her to do it but ended up wailing at us herself.
Song bursts forth from the crowd from the start of 'Divine Hammer'; this has to be the last gift of the night and the audience are all in. With every ounce of energy left, fans sing with heart and soul at the band who are giving it back with grins and nods.
The Breeders - image © Clea-marie Thorne
Raucous cheers fill the venue in thanks to the band. Each band member coming to the ftont of stage to acknowledge fans as they share copies of the set list while McPherson gifts a set of drum sticks to a lucky punter in the front row.
The band have smiles a mile wide as they hold up their hands in heart shapes towards their fans in sincere gratitude. It's a misty-eye moment.
I had a hunch I'd get a kick out of this show, but I underestimated the continued intensity and relevance of The Breeders' music, not just an act of nostalgia. I should have twigged when seeing the younger faces in the crowd earlier, but it hit me about halfway through the show.
The Breeders legacy will continue to be timeless and precious for generations to come.
More photos from the concert.
