Inside Brisbane's The Princess Theatre, the cool, inviting air is a welcome reprieve from the oppressive humidity outside.
There's a subtle magic at play here, under the high ceilings of the cavernous front-of-house area. The chatter of conversations blends into a low hum, bouncing off the dimly lit walls, mixing seamlessly with the palpable anticipation of the growing crowd. The theatre feels alive, the perfect host for a night of raw, home-baked rock (7 December).Large Mirage takes the stage first. The four members standing in a silent line across the front. The room holds its collective breath, as if we've all been transported back in time. Whether it's a pre-show ritual or sheer theatricality, it's captivating.
Large Mirage - image © Clea-marie Thorne
Malia Hoffman, the group's frontwoman, takes the mic with undeniable presence – she owns the room before singing a single note. Dressed seductively in a lace dress revealing skin beneath, she exudes a magnetic confidence.
Their opening track, 'Going Insane', is a heady mix of psychedelic rock and counterculture nostalgia, invoking the spirit of the '60s and '70s. It's a transportive experience, the crowd swept into their haze of vintage charm.
The band's set is tight and polished, though the older crowd seems to be saving their energy for the headliners. For the engaged, it's a full-blown time warp. Highlights like 'When The Morning Shines' and the wild closer 'One-Eyed Man' standout, with Hoffman radiating a raw, tambourine-shaking energy that's part Stevie Nicks, and a sultry yet raw energy that's part Janis Joplin.
When she belts out Joplin's 'Move Over', her voice is a mesmerising mix of warm honey and scratchy vinyl, dripping with soul and grit. Kolya Chan's guitar work is equally compelling, blending Pete Townshend's theatrical flair with Jimi Hendrix's cosmic cool – Kolya's solos electrify the room.
Large Mirage - image © Clea-marie Thorne
Even a technical hiccup doesn't faze him; his groovy chaos is balanced with sharp precision. Meanwhile, Daniel Croft's drumming and Blake Rochester's basslines anchor the set with rhythmic perfection, creating an almost sacred pulse.
It's over too soon, but every track feels like a perfectly preserved time capsule. Large Mirage isn't just reviving classic rock; they're reinventing it with fresh fire. I'm already hanging for more.
Next up, Mammal hits the stage. Frontman Ezekiel Ox charges out in a dazzling disco-ball helmet, his presence as commanding as ever. Fans let rip, cheering to see Mammal.
Mammal - image © Clea-marie Thorne
As Mammal launch into 'Think', the room transforms. Hands shoot into the air, bodies press closer together, and the energy becomes palpable among the many fans in the room. By the time they hit 'Clear Enough?', the grooves slice through the crowd like an electric knife, and it feels impossible to stand still, it's that infectious.
'Keanu Reeves' sends the crowd into a frenzy, Ox's raw vocals tearing through the track with visceral intensity. The room vibrates with energy as the audience screams along, feeding off the band's relentless momentum.
Tracks like 'Doubt' and 'Nagasaki In Flames' are proper showstoppers, with grooves so irresistible they hit even harder in the live setting. Next, coming in hot is 'The Penny Drop' and it's all go, go, go! Ox throws himself between the stage and the front barrier singing up close to the faces of fans and new converts. It's chaos, but the best kind.
The pit has pockets of surging bodies colliding, but there's this sense of unity, even with those unfamiliar with Mammal giving the fans their space to cut loose to this brutal banger.
'Community' follows with Ox introducing us to Pete Williams' stand-in (Dave) – who is doing a blistering job as we get 'Slings And Arrows' introduced as another from the latest album 'The Penny Drop'. Ox is belting out the lyrics like he's tearing them straight out of his soul – his connection with the crowd is magnetic.
Mammal - image © Clea-marie Thorne
Ox asks fans to sing-along to one of our favourites 'Smash The Pinata' and tells those in the crowd who don't know it, to clap along with us. By the time they roll into the massive closer, 'Hell Yeah', the entire room is roaring the chorus back at them. It's not just a performance; it's a visceral, communal experience. Mammal leaves the crowd breathless, charged, and wanting more of their chaos and groove.
After a break, finally the lights dim, a curtain is raised blocking the back half of the stage. We wait patiently for The Screaming Jets who are a few minutes behind time.
Behind the thin curtain, red lights illuminate the band logo behind the outline of a drum kit. We see the silhouettes of Jimi Hocking (guitar), Scott Kingman (guitar), Cam McGlinchey (drums), and Paul Elliott (bass) with frontman Dave Gleeson easily made out doing Gleeson-esque poses.
We see Gleeson's shadow jump high just before the curtain drops. The legends then explode into 'Needle' sending the crowd into a frenzy, as beer froth flies as die-hard fans surge forward.
The Screaming Jets - image © Clea-marie Thorne
Gleeson's voice cuts through the welcoming noise of cheers, gravelly and perfect. He sounds exactly the same as he did in the late '80s, '90s and '00s – ok let's just say he's singing as great as he has ever.
'C'Mon' keeps the energy high, the chorus a unifying shout-along from fans, some clutching plastic cups or cans, others thrwing fists in the air, shouting the lyrics loudly. 'Shadows' and 'October Grey' slow things down a notch and the emotional weight of 'Nothing To Lose' has the room swaying, couples hugging each other.
However, it's 'Eve Of Destruction' that really hits hard – a timeless cover delivered with ferocity, the lyrics ringing all too true. The band seamlessly transitions into crowd favourites like 'Everytime', 'Shine On', and 'When I Go', with Gleeson's rockstar moves, facial expression and cheeky glib remarks absolutely crackers.
The Screaming Jets - image © Clea-marie Thorne
Honestly, his sense of humour is not lost. Gleeson grins, wiping sweat from his brow. The crowd roars, clearly loving the local banter. Following this are 'Black And White' and 'Scar' as Gleeson prowls the edge, connecting with the audience of seasoned rockers alongside younger fans as the ringleader of this wild and boisterous chaotic symphony of spilled beer, hoarse voices, and flying elbows.
As the night progresses, Dave takes a moment to shift the energy in the room again, retelling the origin of his early love for country music and its inherent honesty and that he's dedicating a song to his wife, Katie, celebrating their 27th anniversary.
He settles onto a stool, inviting the crowd to soak in the moment as he gently strums and sings a countrified 'Lying With Her' and a vulnerable rendition of 'Impossible'. The mood softens during these songs, and the audience leans in, captivated. It's creating an intimate atmosphere that contrasts beautifully with the earlier frenzy.
As he sings, Katie makes her way into the pit barrier, glass of wine in hand, capturing these moments on her phone. It's a sweet scene, highlighting not just the connection between Gleeson and his audience, but also the bond he shares with his wife.
The Screaming Jets - image © Clea-marie Thorne
Next, we move from fists pumping during the war theme of 'Blue Sashes' to having a few phone lights raised for the classic slow burner 'Shivers', with just as many voices joining in to sing-along to both.
Gleeson's connection with the audience is undeniable and unbreakable as the band dishes up 'Come Down' and 'Helping Hand', the latter a moment of pure communion between band and fans, with every voice in the room belting the words.
I didn't think it was possible, but the vibe in the room is electrified even more as we recognise the beginning of big banger 'Better'. Cheers erupt like the sound of waves crashing against rocks. The band's endurance is impressive as is the stamina of the fans who are shouting and stomping along to the thunderous beats and riffs pouring from the amps.
When the chorus hits, the venue becomes a choir of gravelly voices, all yelling to the end when the lines "Never, never, never, never, never, never, never gonna get anywhere. They don't care, and that's not fair!" are screamed out. As the solo comes to the party and steely notes also scream, it feels like it might shake the bricks apart with this sheer force of collective passion.
The Screaming Jets - image © Clea-marie Thorne
The encore begins with Neil Young's 'Rockin' In The Free World', a fiery, crowd-pleasing finale that gets us hyped one more time. Gleeson's grin spreads wide as the audience takes over the chorus, their collective energy filling the room. His voice is as sharp and powerful as ever, blending seamlessly with the band's unrelenting power.
Even after a minor stumble while crawling off the riser he leapt from earlier, Gleeson doesn't miss a beat, proving he's as dynamic and fearless as ever. He even donned a sparkling cap to Ox's mirror ball helmet that gets passed around the band. Ha! It's a fitting end to an unforgettable night, leaving the crowd buzzing with energy and satisfaction.
The Jets have proven once again why they're legends at delivering balls-to-the-walls, true-blue Aussie rock that is loud enough to shake the walls and wild enough to shake the soul.
I guarantee you, that tonight's crowd won't tell you any different as I see their many smiles and eyes twinkly with deep satisfaction walk away with their first or latest Jets experience.
The Screaming Jets - image © Clea-marie Thorne
I drive home, my ears are ringing from the sheer volume of the performance, but as I replay the night in my head, the memory of the songs overrides the sound of tinnitus. I'm already eager for my next encounter with The Screaming Jets certain that no recording could ever capture the raw, electric magic of seeing them live.
More photos from the concert.
