Brisbane has waited a long time for The Wonder Years to return, and last night they brought their touring mates Joyce Manor and our Melbourne's Suzi to The Tivoli (27 March).
Suzi and co. hit the stage without fuss and an air of casual confidence. 'Canberra' kicks things off, a slow burn that builds into something bigger, like a smirk turning into a full-blown grin.Suzi's vocals sit somewhere between heartfelt and taking the piss – with just the right amount of spice. Holly Ditchfield (bass) and Ali O'Sullivan (drums) lock in tight, the rhythm section keeping it all stitched together while Nick Keogh (guitar) adds just enough grit and great harmonies.
'Everyone I've Met Hates Me' is next, and if that title doesn't resonate with at least half the crowd, they're lying. It's a punchy tune that gets their fans' heads nodding along with some new fans, and even headliner die-hards who rocked up early just to secure a good spot for The Wonder Years.
Suzi throws in some banter – dry and effortless, like someone who's seen enough late-night shenanigans and tears to know not to take themselves too seriously, but at the same time could be your bestie.
Suzi - image © Clea-marie Thorne
'It's Not A Competition' keeps the momentum rolling, co-written with Keogh, who absolutely nails the guitar work and vocals. There's an undercurrent of melancholy to the whole thing, but it's wrapped up in a drive that doesn't let it get bogged down.
Then 'My Guilt'. The gathering crowd has warmed up, and you can feel it in the way people start shuffling forward. There's a rawness in Suzi's delivery that hits hard, and she's written tracks that make you want to scream the lyrics even if you're not quite sure what they are yet.
Suzi throws a nod to their new forthcoming album with 'One Way Ticket', and it's clear this one's got some legs; catchy as hell, with a hook that could stick in your head for days. 'I Don't Understand How Planes Work' follows, a tongue-in-cheek slice of indie-punk that keeps the energy up.
By the time 'Centrelink Summer' rolls around, Suzi's got 'em. The song's a perfect closer; equal parts nostalgia, frustration, and that uniquely Aussie feeling of being slightly cooked, but still pushing through.
Suzi - image © Clea-marie Thorne
Just like that, they're done. No unnecessary fluff, no dragging things out. Just a bloody solid set from a band that knows exactly what they're doing. Suzi came, played, and left with her crew, leaving the stage hotter than they found it.
California's Joyce Manor saunter on to the dark and smoky stage. Their silhouettes seen raising cups before ripping into 'NBTSA' like they've just been booted onto the stage with fire ants in their pants. Joyce Manor don't do slow build-ups; they go from zero to full-throttle faster than you can say "who's shout?".
Barry Johnson (vocals/ guitar), Chase Knobbe (guitar), Matt Ebert (bass), and Neil Hennessy (drums) barely stop for a breath between songs, rattling off bangers like 'Derailed' and 'If I Needed You There' with the same punchy, frantic energy that makes this band such a bloody live treat.
Joyce Manor - image © Clea-marie Thorne
The pit starts to get rowdy, and by 'Gotta Let It Go' there's already a few reckless legends launching themselves around like ten pins toppled by a strike. Then comes 'Falling In Love Again' and 'Victoria', and it's sing-along time in the Tiv!
Johnson's voice, that signature mix of half-angsty and half couldn't-give-a-sh.t coolness, is in fine form. He's backed up by Ebert's basslines, which keep everything tight even when the rest of the set feels like it could fall off the rails at any second – not that anyone here would care. That's half the fun.
By the time they hit 'Violent Inside' and 'House Warning Party', the energy's reached that perfect point of chaos where the punters up the front are either hugging their mates or trying not to lose a shoe. 'Ashley' and 'Constant Nothing' keep things moving.
Fans go nuts with 'The Jerk' and 'Beach Community', which receives the biggest cheers so far – nothing like a couple of golden oldies to get the Joyce Manor fans all foamy at the mouth and lathered in sweat.
Joyce Manor - image © Clea-marie Thorne
Then 'Heart Tattoo' drops on us. An absolute anthem. The whole place sings it back so loud it drowns out Johnson at points, which is exactly how it should be. It's scrappy. It's messy. It's pure magic.
With 'Stairs', 'Five Beer Plan', and 'Big Lie', the home stretch is nothing short of a joyride through all the best bits of being young, dumb, and too drunk to care. It's over too soon, but Joyce Manor have never been a band to linger.
Smashing through 'Catalina Fight Song', a two-minute punch to the gut, has fan fists in the air, heads flinging back – lucky it's over before any necks snap! They then play their closer, 'Constant Headache', which is really the only way this could've ended without a riot. The pit's one, big, beautiful mess of bodies, hoarse voices and spilled drinks.
Just like that we are left with their post-set buzz and ringing ears. Short, sharp and just like the tequila shots a few punters beside me are now ordering from the bar.
The Tivoli shifts, more punters appear, late arrivals or emerging from the smoking area. The spaces between punters rapidly disappear. A few diehards, who've probably been around since 'The Upsides' (their second album) first dropped, push closer to the barrier before The Wonder Years take the stage and its outright chaos before us.
The Wonder Years - image © Clea-marie Thorne
Dan 'Soupy' Campbell (vocals) throws himself straight into 'Came Out Swinging', and the whole place ignites. Casey Cavaliere (lead guitar) and Matt Brasch (guitar, vocals) are thrashing their instruments like they are disposable razors.
While Josh Martin (bass, vocals) and Nick Steinborn (keys, guitar, vocals) keep everything glued together. Mike Kennedy (drums) looks like he's fighting off a swarm of wasps and the crowd is absolutely loving it. It's relentless.
'I Don't Like Who I Was Then' hits and Campbell's belting it before taking us out to 'Low Tide', which pulls us further into their grip. Blokes who have poured a few too many beers down their gullets are hugging and screaming every word like it's a religious experience.
The Wonder Years - image © Clea-marie Thorne
They roll through 'Pyramids Of Salt', then 'Lost It In The Lights' while 'Raining In Kyoto' packs a gut punch. The energy dips for a second, but it's intentional – Campbell's has us where he wants us and knows exactly when to pull back before he and the band send it again.
The newer stuff slides in seamlessly, holding its own against the older anthems and fans eat is all up. The Tivoli's reverb catches every wail, every chorus and throws it full force at us.
After their classic banger, one for those diehards on the barrier, 'Melrose Diner', Campbell tells us the song 'It's Not A Competition' is what sold Suzi as their Aussie support. The lad clearly has taste, right?.
Read our recent interview with The Wonder Years.
In the mix are oldies as well as some new ones and we're reassured there's no judgement if we haven't kept up with their latest offerings as Campbell's favourite band, Mountain Goats, have 27 full albums and he has not heard half of them.
The tunes kept rolling at us like 'Cul-De-Sac' and 'Local Man Ruins Everything'. The newer stuff sliding seamlessly and holding their own against the older anthems, the crowd eating it all up note for note.
The Wonder Years - image © Clea-marie Thorne
Campbell tells us he's super proud of their 2022 album 'The Hum Goes On Forever' and that 'You're The Reason I Don't Want The World To End' is the best song TWY has to date. Fans lapped it up big time and from their reaction, there is total agreement in the room.
'Goddammitall', 'Cardinals', and another fan favourite (aren't they all?) 'Cigarettes And Saints', from the album 'No Closer To Heaven', still sticks like peanut butter and remains just as tasty.
Campbell tells us how it's morning back home in Philly and that his son gets a bit anxious heading off to school. He asks us to sing the next song (written for him) 'Wyatt's Song (Your Name)', one of his favourite tracks from the album, as loud as we can to send his son courage for the day; and we do.
We get a warning there is no stage exit, no encore ritual. We're getting just one more song and then they're outta here. The lad beside me is going off; he's been waiting about ten years to hear this one live, 'I Just Want To Sell Out My Funeral'. He's fist pumping, singing and living out one of his very best life moments by my side. I had goosies for his joy.
The Wonder Years - image © Clea-marie Thorne
The whole room is a choir in fact with arms raised with a sneaky shoulder rider here and there. All too soon it's over. A wave of acknowledgement to the fans and the band is off. Punters are filing out, a sea of sweaty, grinning faces reflecting total satisfaction.
This was the first leg of the tour; it was a ripper and I while I don't believe it could get anymore amped as they play to the rest of their Aussie fans, I recommend you get your booty to one of the next shows – it was already too long between drinks. I hope they make it back sooner next time.
More photos from the concert.
