For fans of '90s alternative music, Evan Dando was more than just a frontman – he was a reluctant spirit guide through that slacker-poetic era.
With lyrics like 'I can't go away on a rock climbing weekend, what if something's on TV and never shown again?', (from 'The Outdoor Type' off the 'Car Button Cloth' album), he tapped into something self-deprecating and surprisingly honest.Their songs had a lighter touch than the angst-ridden giants of the time. Tracks like 'Being Around' had an almost goofy sweetness to them, while 'Into Your Arms' managed to be catchy without losing sincerity.
'Come On Feel The Lemonheads' (1993) followed the success of 'It's A Shame About Ray' (1992), both albums carved out a melodic, emotionally open alternative to the heavier grunge of Nirvana and Pearl Jam.
This tour saw the band returning to Brisbane on a Sunday night (18 May) to play those two records in full, a nostalgic treat for anyone who grew up with them in rotation. The idea of playing albums start to finish has become more common in recent years, and for good reason. It revives the old habit of sitting with a record from beginning to end, quirks and all.
The Lemonheads may have been the reason the crowd packed into The Princess Theatre, but Screamfeeder made sure everyone showed up early for the support slot and they delivered.
The Brisbane four-piece opened with intent, three guitars across the frontline (bass included), and drums tucked behind but far from background noise. Their sound hit hard but stayed melodic, filling the room with the kind of raw, focused energy that only comes from a band that knows exactly who they are.
Screamfeeder - image © Radical Imaging
The Theatre was already buzzing with anticipation for Dando's arrival, but the audience was clearly onboard with the hometown heroes. There was an undercurrent of familiarity and affection for Screamfeeder, cheers between songs, people singing along and a noticeable shift in energy during key tracks.
Highlights included 'Static' and a crowd-pleasing 'Dart', whose instantly recognisable intro triggered a ripple of recognition across the room. It's the kind of song you think you know all the words to, until you hear it live and realise you've probably been getting the chorus wrong for years (apparently it is 'I'm in denial,' so not sure what I was singing).
Tim Steward and Kellie Lloyd traded vocals with effortless chemistry, keeping the energy high and the transitions tight. There was no posturing or overplaying, just a sharp, lean set that proved Screamfeeder have lost none of their bite.
The Lemonheads hit the stage to deliver back-to-back full runs of 'It's A Shame About Ray' and 'Come On Feel The Lemonheads'. Dando took the lead with his trademark nonchalance and dry charm, joined by John Kent on drums and Farley Glavin on bass.
Evan's stage presence had an almost messianic quality at times: long hair, a simple white coat with faint paint stains, channelling his best Jesus impersonation while holding the crowd in his own kind of trance. The audience, clearly familiar with the classic albums, sang along to the lyrics with genuine affection.
The Lemonheads - image © Radical Imaging
While the focus was squarely on the two albums, there were a few detours. At one stage the band left the stage and Evan slung an acoustic guitar. A haunting version of 'The Outdoor Type' gave me genuine goosebumps. It's one of Dando's most gently funny songs, and hearing it live, delivered with that perfect mix of resignation and warmth, was a highlight.
That was followed by an affectionate cover of Paul Kelly's 'From St. Kilda To Kings Cross'. Dando's version was stripped right back, letting Kelly's lyrics do the work. It was a quiet nod to the local crowd and slotted in seamlessly with the tone of the night.
He followed that with 'Stranded', covering Brisbane's own The Saints. Played solo and acoustic, it felt raw and reverent, a fitting tribute to the city's musical DNA. The band rejoined him for 'The Great Big No', which hit like a reset button. Loud, fast, and gloriously loose, it brought the energy back up just when things were veering into sentiment.
The Lemonheads - image © Radical Imaging
Later, Frank Mills (a Hair cover that's become a Lemonheads signature) turned the entire venue into a choir. For a song that's barely two minutes long, it delivered one of the most unified and quietly emotional moments of the night.
In the mix was a fast and heavy version of 'Being Around'. Normally a sweet, almost throwaway acoustic tune, it came out charging, funny and chaotic, like a break-up song performed mid-sprint. It was a reminder The Lemonheads can still twist their own material into something fresh without losing its heart.
After running through 'Ray' and 'Come On Feel' in full, the band didn't stop to bask in nostalgia, they kept going. The crowd got to experience the new track 'Deep End' live. The fresh song felt right at home alongside the classics.
The Lemonheads - image © Radical Imaging
It's got that same melodic pull and slightly off-kilter charm, but with a sharper edge. The crowd might not have known every word, but they locked into the rhythm quickly. It was a subtle reminder that Dando's still writing, still creating, and not just reliving the past.
Then came a curveball: 'Fear Of Living', a much earlier track pulled from deep in the Lemonheads' catalogue. It had more of that ragged punk edge from their early days, louder, faster, and rougher around the edges. A reminder that before the alt-radio hits and acoustic strums, The Lemonheads were scrappy and fast.
They closed the night with 'If I Could Talk I'd Tell You', a jangly, bittersweet gem that landed like a farewell wave. It was the perfect final note: melodic, confessional, and just a little unresolved, like most of Dando's best work.
The Lemonheads - image © Radical Imaging
These albums aren't just nostalgic throwbacks, they are touchstones in alternative rock history. If you haven't spent time with 'It's A Shame About Ray' or 'Come On Feel The Lemonheads', listen front to back; and while you’re at it, revisit 'Car Button Cloth', which might hold some of Dando's most overlooked writing.
Seeing The Lemonheads live brings it all back into focus. They haven't polished the edges or tried to update the vibe. Instead, they just showed up and played the hell out of the songs; still loose, still sincere, and still sounding like themselves. If you get the chance, grab a ticket.
More photos from the concert.
