An entertaining video interview with Skegss sprung to mind as the band launched into their set at The Zoo (22 June).
“Why do you guys play so loud?” the interviewer asked. The response: “The sound guy says to turn the amp down during soundcheck, but once we start playing Jimmy from the Dumb Punts turns it back up again.”
For lack of a better word, it is LOUD tonight, no doubt; what’s interesting is that listening live, the volume totally transforms the way the songs are interpreted.
Audibly, ‘Holiday Food’ track ‘You Probably Won’t Die For A While’ is summery, carefree and infectiously positive, though being immersed in the noise certainly gave the tune a punk edge, actually adding an element of emotion and etching its way into deeper waters than the shallower depths of universally enjoyable, easy-listening rock music.
The phrase ‘simple yet effective’ couldn’t be better represented with 2016 classic ‘Wake The Fuck Up’, alternative/ indie rock executed faultlessly though safely. ‘No Future’ instead ventures into bolder territory; it’s heavier, more intense, a little less guaranteed to appeal to every musical palate (unlike earlier releases) though definitely a risk well taken and well written; the crowd’s manic response was an indication of a step taken in the right direction.
“This song’s about fuck all!” the preceding statement before the breezy hues of ‘California’ emerged; only two lines of lyrics repeated throughout but surprisingly never repetitive. Fan favourite ‘Got On My Skateboard’ showcased Skegss’ impressive versatility and ability to write a brilliant tune with nothing more than an excellent riff, engaging lyrics and uncharacteristically mellow vocals; following song ‘Heart Attack’ only acted to prove those qualities were true.
The boys closed with ‘Spring Has Sprung’ and ‘L.S.D’, upbeat and brimming with '90s nostalgia, the songs warm tones defying the cooler season. Boycotting the predictable encore is a decision I applaud; the crowd fanned out from the stage eventually, drenched beneath those coats and sweaters.
Although in the past I’ve sub-consciously compartmentalised Skegss with record label brothers Dune Rats (plus a number of ‘similar’ sounding Australian bands), their gig at The Zoo struck an unexpected chord; these boys are actually quite different.
Again, that entertaining video interview comes to mind, during which the band humbly downplays their talents, uttering “we’re shit” with a chuckle and responding with genuine shock at the positive response they’ve received from fans. I do believe the modesty, absolutely.
Skegss are anything but narcissists, but the nonchalant nature they seemingly exude is a quality I’m not quite buying. After all, if the definition of ‘nonchalant’ is ‘coolly unconcerned, indifferent, or excited; casual’, these boys are at the other end of the spectrum. Skegss CARE about their fans, about their music, about their performances and the concern comes across in a subtle, though ultimately positive way.
I have a higher level of respect for the band. They don’t only have the skills to succeed in their career, but also a fierce determination and an air of seriousness about their roles as professional musicians. And that, if anything, will be a force to be reckoned with.
Pist Idiots opened the night followed by talented Brisbane trio Good Boy. These lads have been on my ‘one-to-watch’ radar since ‘Transparency’ first circulated on Triple J, constantly pushing themselves to the forefront of my mind by consistently releasing a string of cleverly-written tracks.
2016 EP ‘No Love For Back Home’ smooth crooner ‘Green Dress’ cooed as I arrived and shimmied my way into the crowd, each audience member chiming along to the chorus, swaying arm in arm to the sounds and sentiments of classic Australian mateship that Good Boy effortlessly evokes.
Set list imitating the song sequence of the EP, ‘Higher’ next picked up the pace the track laced with the band’s iconically catchy riffs, chorus spoken instead of sung, an element that effectively reiterates those smile inducing, youthful lyrics: “I hope that you are dreaming of such pleasant things and when you wake up you smile when you see me.” Oozes of textbook boyish charm.
The stage was dark and listeners surprisingly quiet as the first few notes of ‘Transparency’ teased the crowd into an excitable frenzy. Silence again, melody lingering, the audience begged the boys to surrender the song, which was warmly welcomed with an enthusiastic uproar.
2017 single ‘Braap’ showcases a palpable sound progression for the band, moving forward from short, jangly hooks to more complex melodic sequences, heavier guitar and a surprisingly intricate amount of instrumental layering for a three-piece act. It's a show of elementary indie rock turned secondary and it instils me with plenty of optimistic curiosity to hear any new tracks up their sleeves.
‘Poverty Line’ inevitably (though not disappointingly) closed the set. You could practically feel the bubbling anticipation of punters in the mosh pit awaiting the track; the boys smoothly transitioned from ‘Braap’ into the intro and like a waving a magic wand, the first few notes instantly sent testosterone levels into turmoil.
I’ve admittedly lost count of how many times I’ve witnessed Good Boy perform, although I’m certain the figure promotes me from ‘fan’ to ‘avid follower’ – trust me, these Boys are Good.
