The night begins with a proper Queensland introduction: a cascade of rain threatening all who dare to walk the streets of Brisbane's Woolloongabba.
With wet hair and soggy clothes, my mate and I sprint into the foyer of the heritage-listed The Princess Theatre (8 November). Inside the theatre, other punters shake off the rain, some complaining about the weather (what a first-world problem to complain about a bit of rain inside a building that was once threatened with air strikes).
As a total juxtaposition to the weather outside, The Princess Theatre is moving with revelry. As I move up to gain a better standing position, three-piece coastal rock band Nana's Pie take the stage against a cacophony of cheers.
Initially, the sight of two acoustic guitars concerns me (I am guilty of appreciating a good electric guitar set), but despite my hesitance, Nana's Pie make it work. Nash Hindmarsh (guitar, backup vocals) and Tyler Hammill (lead vocals, guitar) immediately take us to the beaches of the Sunny Coast with their harmonising guitars.
Nana's Pie introduces us to 'Losing You', moving their guitar capos to the 3rd and 7th frets respectively. Hindmarsh takes a cheeky look at his brother (Adam Hindmarsh) on the drums, syncing the music up perfectly.
A clear sense of community is ever present as the first third of the floor fills with eager onlookers of the band. The Hindmarsh family is behind me, happily hollering towards their twins onstage and making the space around them an immediate dance floor.
The band debuts their newest unreleased single 'Be Just Fine' as Nash swaps his acoustic guitar for his Strat'. The hall fills with the blending of guitars and drums; Hammill strums his guitar like a machine as Nash effortlessly plays a complementary riff.
Before finishing, Hammill thanks the crowd one last time: "As an opener, you never know what you're gonna get and this has exceeded our expectations."
After a brief intermission, the members of Mid Drift take the stage under a blue hue. The sense of community left from Nana's Pie showcases itself again as whispers are heard beside me from Mid Drift's fanbase; in all directions, someone in the crowd is either a fan, relative or a friend-of-a-friend of the openers.
With all instruments set up, Mid Drift take the stage with frontwoman Sarah Engstrom strolling on effortlessly like she owns the joint. Engstrom immediately steals all attention with their opening track 'Make You' as she lazily wraps the mic cord around her shoulder, using the microphone as a mere prop.
Mid Drift's striking guitar riffs and fat basslines perfectly sync with Engstrom's rumbling vocals, creating a crossover between the likes of RAYE and Ocean Alley. John Reid (bass) and Daniel Larsen (rhythm guitar) become one with each other as the crowd chants back the lyrics to 'Open Hand': "Don't say that sh.t that you don't mean!"
Mid Drift signal the latter end of their set with the debut of their unreleased single 'Madness' with clear nods to Ocean Alley in its syncopated reggae rhythm. The girl beside me yells in her friend's ear: "This is the reggae one that Sarah likes!" – and I'm sure Engstrom will not be the only person to relish the funk of 'Madness' upon its release.
With a final mention of their budgie smuggler merch (what a way to make the piece socially acceptable), Mid Drift take their final bow, leaving their mark on the crowd like a shot of espresso.
The air within the theatre becomes thick with anticipation (and fruity second-hand vape smoke). I make my way directly in front of frontman Jimmy Vanns' mic stand with the hope that I will be close during the 'Keep My Cool' crowd walk he does (spoiler alert, Brisbane was absolutely robbed of this experience).
A rumble of excitement trails from the back of the theatre as The Vanns walk onstage to David Bowie's 'Fame'. Despite the eager connotation with the song, The Vanns quite literally keep their cool as they energetically take their places sending a "woo!" into the crowd.
The set begins with 'Accomplice' from their latest album, 'All That's In My Head', as lead guitarist Cameron Little instantly sets the bar with his iconic guitar solos.
Regardless of the clear entertainment on the stage in front of us, The Vanns supplement each of their tracks with a breathtaking light show. The Kiama boys chuck cheeky nods at their songs with golden spotlights accompanying 'Golden Eyes' and red beams shadowing the stage for 'Red Lights'.
With a well-received welcome to new tunes like 'Strangers To Neighbours' and 'Feather', Vann captures all attention with the first strum of 'Chelsea'. Phones are (unfortunately) immediately in the air, with punters screaming alongside Vann to the chorus. The tune elongates towards the six-minute mark as Little shreds his Strat' (with his eyes closed, of course) as Vann belts the lyrics to fans on the barricade.
The Vanns' true nature shows as Little recognises the eager fans on the barricade, even addressing lyrics towards them. Each member of the crowd shares a gut-wrenching moment with Vann as he patrols the front barricade, standing on the legs and shouting the lyrics.
The high of 'Chelsea' remains at an all-time peak after the six-minute ballad; Vann makes his way back onstage taking a breather. "This is our first time playing here, very, very nice venue," admits Little. "There's a pool table in our green room."
After admitting "I feel like we've moved on from shoeys, it's more vortexes now," The Vanns move into their patriotic single, 'Keep My Cool'. As anticipated, my eyes glue to Vann as he takes the mic off the stand. Do I keep my cool as he remains onstage? No. The crowd ruptures at the pre-chorus, blending into the crescendo of crotchets from drummer Andrew 'Banjo' Banovich as we feel the sun, the sea, the ocean breeze.
The Vanns perfectly roll off 'Keep My Cool' as Vann asks the crowd: "Are you feeling good, Brisbane?" The stage transforms into the pit as, together with Vann, Little and Tom Switlek (bass), the room melts into the outro of 'Feels Good Now'.
The room – whether a guitar, bass or crowd goer – sings along to the iconic harmonic riff; the audience becomes the band, even singing Vanns' guitar slide at the end of the riff. The sense of unity flows into the Vanns' cover of Bon Iver's 'Hey, Ma'.
Together with Vann, Little, Switlek and Banjo, the crowd belts the lyrics that the Vanns have almost made their own. If not to outdo the ethereal performance of 'Hey, Ma', Little passes Vann a bottle of Jamieson, which he keenly accepts (I mean, what are you supposed to do after listening, or even playing, that cover?).
At about the hour-and-a-half mark, Little announces this set is the longest the band has ever played, stating Brisbane deserves this experience. The pure enjoyment and satisfaction radiates from the Kiama boys in front of us, who are more excited to be here than the crowd.
If not already spoiled enough, The Vanns debut 'Collide' (2023) for the first time as a special thank you to the crowd. Little takes to the keyboard as Vann swaps for an acoustic guitar – the crowd is hooked at the rare opportunity.
The Vanns go against stereotypes and neglect the "we've played our last song, but we're actually going to come back for an encore, and everyone knows it," moment. Leave it to them to exceed expectations.
The night ends with 'Fake Friends' and 'Last Of Your Kind', the title track to their 2023 record. The air is buzzing, the light show is persisting, and The Vanns have left the stage, convincing the crowd the night has just begun, who feel more energised than two hours ago.
The Vanns yet again stun with their electric riffs and soulful crowd interactions during the middle of their 2025 All That's In My Head national tour. The tour has come and gone in an instant, but for Brisbane, I'm sure it won't be the last of its kind.
