Review: THE DANDY WARHOLS
Written by: Tom Wilson
Photos by: Tracy McLaughlan >> SEE PHOTOS
Thursday 25th April 2024
Bohemian ROCKMAKERS Sell Out in Brisbane w/ MAGIC MACHINE
Clearly, the return of THE DANDY WARHOLS has been highly anticipated, because the entire Australian and NZ tour is sold out, and the line to get into the Tivoli stretches all the way down the block and around the corner. The venue floor and balcony are both rammed by the time MAGIC MACHINE take to the stage, and while I’m not sure where the expression “enough room to swing a cat” comes from, even if we had a cat, there certainly isn’t room to swing it tonight.
With little fanfare, MAGIC MACHINE plunge into a set of blues-infused psych-rock which makes the 70s tie-dye-style banner hanging off the keyboard very appropriate. Between the funky basslines and organ flourishes, MAGIC MACHINE create an entrancing racket, and the reaction from the crowd around me grows progressively more intense as time goes on. You can’t take your eyes off them, particularly their drummer, and when they finish their set, the audience around me is buzzing and excitedly looking them up on their phones. You don’t get a second chance at a first impression, but it doesn’t look like MAGIC MACHINE will be needing one tonight.
I don’t mean to sound like a suspicious man, but there must be something about The Tivoli. For the third time in a year, a band has come onstage and opened with my favourite song. First it was HELMET with Milquetoast. Next it was KREATOR with Hate Über Alles. And tonight, THE DANDY WARHOLS take to the stage and launch into Not If You Were the Last Junkie on Earth with a wry smile. Eschewing the traditional placement of the singer front and centre, the band have arranged themselves in a horseshoe that curves around the back of the stage, with Courtney Taylor-Taylor taking up position next to drummer Brent DeBoer. The result is a band presented as a unified front, with no ego. But you could be forgiven for your attention to constantly be shifting to keyboardist/bassist Zia McCabe, who is throwing shapes as a fan set up on the floor blows her hair straight up in the air. She might not carry herself with a rock star ego, but holy shit, she looks like one tonight. Despite opening with a famous song, tonight’s set is far from a greatest hits affair. We get several tastes of their excellent new album ROCKMAKER, and they do a stellar job of filling the big shoes of Slash on I’d Like to Help You With Your Problem. But as you might predict, the audience reaction to the opening of We Used To Be Friends is ecstatic, and the hand claps during the verses sound like someone cracking a stockwhip.
Today has been a long day for your scribe, who was up at 3AM for the Dawn Service, so it’s appreciated that Courtney takes a second to acknowledge the date, and remarks that the only time they haven’t been able to get their hands on ANZAC biscuits is on ANZAC Day. Danzig With Myself, Plan A and Be Alright see the band lock into a groove that carries through the majority of their set, and it becomes clear just how tight they are as a unit. Zia pulls off a pitch-perfect Debbie Harry during I Will Never Stop Loving You, before something magic happens. Peter Holmström unleashes a long, unfurling note of reverb, letting it hang in the air, before he gently bends it into shape, and reveals the intro to Godless. Courtney’s guitar rises behind it, the band strike their groove, and the result is utterly flawless.
Mega-hit Bohemian Like You triggers a giant singalong, and as they bring their set to a close, Zia starts hammering on her keyboard as the rest of the band depart. With an infectious smile, she invites us all to the afterparty at Stranded Bar. A fine party, to be sure, but SENSE has had a long day, so there’s only one thing to do. That’s right, crank grindcore in the car to keep us stimulated and alert for the drive home. Why, what did you think I was going to say?
Photos by: Tracy McLaughlan
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