It's a love-hate relationship on a brisk Thursday night. Expensive beer, but excellent vantage points to watch a gig at Felons Barrel Hall in Brisbane for US band The Growlers.
Melbourne's The Grogans have warmed the crowd with their wave of garage rock across the hall (29 January).
California's The Growlers have not made the long trek down under in over six years; a new scene of fans have emerged as the band themselves reemerge after a half-decade absence. The anticipation is contagious.
Brooks Nielson (vocals) and Richard Gowan (drums) are the only remaining members of the 2000-10s beach-goth band. Since their involuntary COVID-19 hiatus in 2020 (aided by some allegations on social media), Nielsen has rebranded the face of The Growlers with newer members.
The bossa-nova-esque Nancy Sinatra song, 'Some Velvet Morning' serenades the crowd as each member of The Growlers takes place upon stage. Nielsen enters last to an almighty roar from the crowd.
The band opens with 'Drinkin' The Juice Blues (Hashima)', creating a clear message of unity and growth to the crowd. The single, which the band released last year (the original was released in 2015), features Cole Riddle on keys who incorporates a new bongo sound.
Image © Chris Searles
Gowan and Nielsen's inputs intertwine all the new features to create the iconic Growlers sound. After a killer opener (and a spontaneous dance from Nielsen), The Growlers performed a song that strays away from their typical set list: 'Dope On A Rope'.
The well known ear worm gets the audience up and moving immediately. Riddle takes hits from his vape between notes as Nielsen characteristically dawdles with the microphone lead in hand.
An old fan favourite 'Row' begins as a new member of the band enters the stage – the group's photographer and videographer. Don't get me wrong, I respect the hustle, but this writer can only focus on one thing at a time, and unfortunately that focus is fixated on the photographer who is darting here and there across the stage.
I try to push it aside and exert my attention towards the band – this filming could be for a new music video, a raw live take on these songs? However, it's my one criticism of the night; the (ever present) videographer filming entire songs at a time.
With the commencement of 'Love Test', Nielsen faces some technical difficulties with the mic. Conveniently, only Nielsen's mic is muted. He takes this opportunity to use Riddle's overhead mic, which is poorly mixed, to sing the song. Nielsen's annoyance was clear – and fair enough.
Image © Chris Searles
After successfully completing the song with no more mishaps, he chucks out a "let's go, we’re losing them!" The Growlers breeze through the middle portion of the set. The set list is perfectly crafted with a mix between original Growlers songs and newer, more experimental ones.
Each musician onstage is given the opportunity to have a jam and let loose; the crowd uses this opportunity to have a chat or a banter about Nielsen's erratic movements onstage.
As testament to Nielsen's clear influence of classic pieces, The Growlers play a cover of their walkout song, 'Some Velvet Morning'; and as I'm solely hooked on the cover, the photographer is back. Honestly, I'm not alone in my annoyance – fans around me are nudging their friends about the invasive filming.
Yet the cover fortunately wins back my attention. Nielsen leads the tune with his growling vocals, beckoning to the crowd. Guitarists J.D. Carrera and Elyadeen Anbar take the backing harmonies to imitate Sinatra's parts.
Despite the crowd's growing chatter, and the videographer's own performance onstage, Nielsen's vocals are captivating. There's no doubt his tone is identical to the studio recordings. Even as he indulges himself in the performance, tampering with the mic placement, his rasp can be heard easily. The cover is masterful and truly a Growlers tune.
Image © Chris Searles
Unbeknownst to myself, The Growlers are notorious for long sets. This cover is a mere turning point in the set, showcasing itself just past the hour mark.
Despite the changing nature of the band, it's clear their illustrative songwriting features across the whole discography. Newer releases like 'Empty Bones' and 'Feel My Funk' transcend the storytelling nature, with clear undertones of a Southern California underground mythology.
With the clock ticking towards the two-hour mark, The Growlers enter the encore section of their set. A quick refresh for the band behind stage has provided a new aura – it is a new gig with new sounds and lighting.
Felons' disco ball illuminates the crowd in a blue iridescent light as 'City Club' begins. Moshes are starting at this stage in front of me; fans are jumping together, picking each other up and revelling in the nostalgic joy coming from the stage.
'Feel My Funk' and 'Something Someone Jr' follow with the crowd's energy building further. The sound crew are immaculate (except for that one mic mute). Nielsen's vocals are perfectly raw and perfectly delayed at the best times. You can tell the mixing is intricately planned and operated for peak performance.
Image © Chris Searles
As the set hits the two-hour mark, fan's feet are sore and some yawns can be seen across the room. Yet we hold on to the one song that is yet to be played, 'Night Ride'. The song's nonchalant bass begins as Riddle's sparkling keys pair the tune.
Everyone is swaying their hips to the funk, giving each other the look of 'I know this one!'. As the disco ball's speckles cascade on the stage, The Growlers create a scenic painting of nostalgia and romanticism of the late 2000s.
Despite the growth and turmoil of The Growlers, the sound has both distilled and flourished into the band we see onstage today.
