The Kentish Spires- The Last Harvest The Last Harvest is an album by a band …
With no live music, no doofs, no pubs and a sea of useless opinions, we reminisce on yesterdays fondness.
The annual assault on Fortitude Valley’s live music scene proved a highlight of early 2020. Coupling the stacked lineup of independent talent and the copious amounts of craft beer, it’s safe to say the hosting venues made the non-participative dodgy nightclubs look like an absolute mockery of human interaction.
Bringing some vintage soul moods from the get-go, Talk Around Town got a reserved Black Bear Lodge swaying to timbres reminiscent of a 1980s Mac Miller. The ever so catchy Elephant In The Room proved a tasteful early addition, and has undoubtedly engraved it’s chorus in the brains of many punters.
An absolute throbbing rendition of Fatboy Slim’s Praise You was slightly reinterpreted after keyboardist extraordinaire Wade De Souza did something reminiscent of dropping four pints of beer on his laptop. But a spontaneous rendition of Stevie Wonder’s Superstitions soulfully interluded, and the best track of the festival contender Magic, slapped harder than the fuckening* on Christmas. The dancefloor banger clearly demonstrates the boys’ expertise in their soul-hop niche and promotes a promising future for the Gold Coast natives.
Closing with definitive track Golden, the terrible dancers in even the most reserved of hipsters was finally torn out. The floor shook to the grooves of the Goldy’s finest, concluding a top three worthy set.
Wrap your ears around this lot now. And save yourself the pain of regret. As you can brag loyalty to your mates, when the boys hit the festival circuit.
*The Fuckening – When your day is going too smooth and something goes wrong – “Ah … There it is … The fuckening”
In the lexicon of comfortable mediocrity, Nelipot are the optimistic romantics championing the casual insignificance of everyday life. The band’s fruitful recount of the mundane is a beautiful contrast to the constantly vomited genres of angst, so aptly performed by every second alt-rock band.
Opener Garden Hose Rainbows transformed the Foundry into an unabashed outcast disco. Vintage Nelipot lyrics and vocal melodies soared over their breed of electro-rock, for an air-tight opener. Powerful enough to evoke the dancers in all of us to have a crack, the weathered walls of the Foundry were rattling.
Older cuts Denim and Hudson Lane maintained the synthy momentum throughout the boys’ developing set, and many a punter was left in awe, asking themselves questions along the lines of, “Does anything really matter? Who fuckin cares?” come closing.
The boys from Adelaide tore a capacity Crowbar to smithereens. TOWNS’ legion of scooterposters shook the new Crowbar walls to their limit, for an easily mistakeable hometown show.
Vintage fans of the band were treated to classic cuts Sun and Hush straight out of the gate. The Adelaide duo’s heart on sleeve ethos was blatant from the get-go, and highly contagious judging from the intense fan engagement.
A cover of the Ramones’ Blitzkrieg Bop unleashed the inner punk in even the most suburban indie-rock punters. Classic TOWNS ballad Bleach served as an emotional peak in an air-tight, headline worthy set.
Arguably the band’s best tune, I Don’t Mind saw a crowd of devoted moshers unreservedly unleash the shitty moments of the last week in a unison scream … I DON’T MIND. And the big one, Safe to Stay. An incredible song. Full cap venue. Mosh at highest potential. Pure bliss.
That’s Me Done
DVNA, I’m sorry I cheated on you with the TOWNS boys. Festival clashes are a real bitch.