The collapse of another Australian festival saw the rug pulled out from under multiple touring bands on the Bluesfest 2026 bill.
The result was a flurry of short-notice gigs for international touring acts a little further north in Brisbane. One of the acts looking to fill their time was the iconic English-Irish genre pioneers, The Pogues.
After announcing the gig just five days out from the date, they still managed to fill the floor of The Fortitude Music Hall on Brisbane's human tapestry that is the Brunswick St Mall (2 April).
The Pogues head count literally fills the stage. Their tour bus would no doubt pop at the seams with 12-14 touring performers, let alone the transport of a plethora of instruments. The silver lining is this tour sees multiple guest singers and instrumentalists come along for the ride.
One of which is John Francis Flynn, an extremely versatile talent who slides in as a support act. Flynn hails from Dublin and has quickly risen through the Irish folk scene since his award-winning 2021 debut record 'I Would Not Live Always'.
John Francis Flynn - image © Chris Searles
His baritone voice provides a new angle on the usual uptempo pitch heard in Irish folk. He takes the stage with fellow 'new Pogue', saxophonist Pete Fraser. The half-hour set is a quick introduction to Flynn's talent for stripped bare, brooding folk.
It lays a collage of sound with a gentle fog of sax that floats in and around Flynn's commanding voice. A thick accent adds to the flavour as he delivers tracks such as 'The Zoological Gardens', 'Tralee Gaol' and 'My Son Tim'.
A bouncing instrumental or two unshackle dancing legs in the crowd as Flynn announces "in the home country, we call that jigging". It's a smooth entree into what would be a smorgasbord of sound and story.
2025 marked the 40th anniversary of 'Rum, Sodomy & The Lash', the perennial favourite second album by The Pogues. Produced by Elvis Costello, the album told stories about a globe of drinking, fighting and hard-working humans that are seemingly on the cusp of failure around every corner.
Blood, mud and spit connect every lyric and whisk the listener away into a world they'd never completely comprehend.
Three founding members – Jem Finer, Spider Stacy and James Fearnley – lead the troupe onstage. Together with the dearly departed Shane MacGowan, the trio formed what was to become The Pogues in 1982. They have since remained as its backbone to this day.
The Pogues - image © Chris Searles
The tsunami of band members taking the stage is a formidable sight. In-demand drummer, Jim Sclavunos covers a lot of territory with drums and a large percussion section. Scottish native, Iona Zajac is assigned to the beautiful clarsach harp, and Dundalkian, Fiachra Meek cradles the uilleann pipes.
Traditional instruments are integral to the sound of The Pogues. All add flavour and spice to the rich soundscape.
Spider delivers an Acknowledgement of Country (a subject close to the Irish heart), before the band launched into the searing album opener, 'The Sick Bed Of Cuchulainn'. The classic light and shade of Irish folk rock recalibrates the audience's ability to sit still.
The Pogues - image © Chris Searles
It's music that dares you to sit still. James Fearnley plays dizzying accordion while Spider delivers vocals in classic Pogues command. The tone is cemented for the night.
Mutli-faceted Lisa O'Neill is brought onstage to play the auto-harp for 'Wild Cats Of Kilkenny'. Bassist Holly Mullineaux launches the song with its signature banshee shriek. It's the first instrumental for the night and is lush with all the Irish jig trimmings.
Audience sing-alongs come thick and fast via 'A Pair Of Brown Eyes' (vocals by Jordan O'Leary), 'Billy's Bones' and 'Navigator'. Although performed out of running order, all tracks from 'Rum, Sodomy & The Lash' are covered.
The Pogues - image © Chris Searles
'The Body Of An American' is cinematic with its sweeping intro and outro, and 'The Parting Glass', sung by Iona Zajac, raises drinks throughout the crowd. The classic 'Dirty Old Town' brings Lisa O’Neill to the fore on vocal duty.
Her voice is a unique change for those with MacGowan's drawl welded in their mind. It adds a fresh new perspective and has the crowd singing in unison. O'Neill remains for another fan favourite, the wonderful 'A Rainy Night In Soho'.
Spider explains Shane MacGowan loved this track and would love how Lisa performs it. It's a moving song that illustrates the unpredictability of love and fortunes within a few hours on a night out in Soho, London. The crowd breaks into song, creating a bond and companionship akin to what is reminisced about in the lyrics.
The Pogues - image © Chris Searles
Eric Bogle's legendary song 'And The Band Played Waltzing Matilda' is sung by John Francis Flynn with a stripped-down band. It's all it needs. Performing in front of an Australian audience no doubt adds an emotion not felt with global audiences.
With subjects such as Circular Quay, Gallipoli and ANZAC Day parades, it's one that connects with this specific audience. Hearing the crowd sing the snippet of 'Waltzing Matilda' in unison is a genuinely special moment.
The bouncing rocker 'London Girl' finishes the set and sees O'Neill and Zajac out front with Spider. Both don sunglasses as a cheeky dig at the posh London crowd. . . or is it a homage to Shane MacGowan's love of Wayfarers? Either way, it's a fun way to go into the short break.
The Pogues - image © Chris Searles
The first encore sees the tempo double-down. Celtic pub rock blazes the crowd with scorchers like 'The Irish Rover', 'Streams Of Whiskey', 'Boys From The County Hell' (from their debut album 'Red Roses For Me') and the unshakable 'Sally MacLennane' – another crowd sing-along favourite.
'Greenland Whale Fisheries' ends the night with a cheeky poke at a certain world leader who tends to often spruik the name for head-scratching reasons. It's a classic two-finger salute to the establishment. The punk spirit is alive and well in The Pogues.
With the recent passing of longtime members – bassist Daryl Hunt (2022), drummer Andrew Rankin (2026) and the tour de force singer, Shane MacGown (2023), this reviewer had shelved the prospect of seeing this iconic band of bards.
The Pogues - image © Chris Searles
The band's 1996 break-up and intermittent reunions didn't cement any signs of The Pogues ever touring again. Amidst the loss of the aforementioned members, things changed and they've embraced the influence they've had on so many bands, musicians and fans.
The feeling of a Pogues show is nothing short of beautiful. It's tactile, wonderful entertainment that includes the audience in the party the band is having onstage.
While the music is the undefeated heavyweight champion, the humans that perform are formidable athletes who never miss a beat. The story, the history, the pride and poetry all tap into our souls and draw out an ancestral link to a country, county or time not known to us.
It's a celebration with the suction of a black hole, drawing all around into the party. As the Irish phrase goes, 'the craic was ninety'.
