"I started getting texts one day last year from friends saying ‘The Whitlams are on triple j’, and I was like ‘bullshit’, because we hadn’t been for ten years, so it was a real surprise to turn on and hear these album tracks."

"There’s the lighter, more popularist sort of an easier listen on the one album whereas the other is a bit edgier and even lyrically is probably a little bit harder to digest."

"My dad is part east Indian and his family came over from India, into America, and travelled up into Canada. There was a lot of violence in India at the time, it happened during an uprising, so they basically escaped."

"I wanted to distil all my jazz stuff and my rock stuff and my stuff with an orchestra into one project that reflects all those projects, but in a new, intimate way."

"Trying to get more into like [that] four people playing kinda feel. There’s really no rules about how you go about producing or recording a song, it’s all about what you think can make the best presentation of the idea."

"Some people see what they perceive to be a glamorous decade with retrospective chic, retrospective charm, but any simple reading of that time, whether it’s of it being stylish and libertine, or repressive and sordid, is too simple."

"You’ve just got to sort of decide what is definitely going to make you happy, and then back yourself 100 per cent. Otherwise you’re going to regret what you’ve done."

"Slayer are one of my all-time favourite bands and Jeff was the coolest dude in the band and wrote some of the greatest thrash riffs of all time. Angel Of Death, Raining Blood, you just don’t get better than those tunes."

"I was hit by a car and basically almost died – my spine was broken in three places, and about fifteen bones in my body were broken, so I was out of action for a while."

"It was this juggling act between writing and recording and being away. We wanted to take our time and not rush out and knock up something that was like the EP songs smooshed together."

Kekaula and co succeed in turning “tonight into Friday night”. They exit the stage with a confident and deserved swagger. Wailing vocals, Chuck Berry guitar moves, pounding drums and solid basslines: make mine a double!

While the group provide fuller arrangements, we miss out on Khan and BBQ’s guitar playing as they concentrate on singing and playing the tambourine for the rest of the gig. Nonetheless, they provide a carefree evening of guitar rock‘n’roll that has the joint jumping.

The band does the obligatory encore, finishing with Déjà Vu and the rambunctious Electricity, the near-two hour set once again showing that Something for Kate can truly bring it.

Black Isn’t Black closes the encore, complete with projections of a trampolinist. With the lyrics “Placed on this planet, darkness at the door” hanging in the air, the audience dopily exits into the clear night air.

Drummer Dan Lucchesi is pretty much a genius. He produced the record and also contributes a hefty amount of vocals while drumming.

Hopefully punters will show their support to the Old Bar and other live music venues this winter, especially when amazing, energetic line-ups such as tonight’s are billed.

Overall, tonight is an excellent showing from Them Swoops, both the band and the crowd surely giving the camera crew that captured the proceedings plenty of good footage to work with.

Perhaps most impressive though is how Wainwright manages to swing her hips so wildly, whilst keeping her guitar perfectly still and singing at the same time.

Claire Moore

Dylan Stewart

Sebastian Skeet

Brendan Crabb

Chris Yates

Ross Clelland

Last night's King Kong opening in Melbourne dropped the famous primate into a mix of Great Gatsby-era red carpet decadence and EDM relevance.

"No-longer-fat-and-sad Betty, unlikely proud mother, offers Sally a passing-the-torch smoke."