Live Review: Saskwatch, The Creases, Mt Warning

The first warning sign is the guest list at the door. It looks roughly three pages long, which is at least three times longer than most guest lists. The show is sold out, although one has to wonder how many tickets were actually able to be sold given the size of this list.

The Triffid, Brisbane’s newest music venue, was designed largely by John Collins and Paul Piticco, former bassist and manager of Brisbane band Powderfinger respectively, and it appears they’ve invited all their mates along this evening. The outdoor beer garden is full of men in floral shirts with greying beards and hipster glasses.

While there are more people outside than inside the venue watching Mt Warning, it’s unclear whether the crowd hasn’t come for live music or just doesn’t like it. The New South Wales band is doing a fine job regardless. They fill the spacious concert area with their atmospheric rock, the resounding drums of Forward Miles echoing powerfully through the room. The awkward literary leanings of Youth Bird’s lyrics are delivered so passionately that it’s tempting to feel that lines like “My bluebird’s gone away” are more than simple clichés.

The Creases are up next, the Brisbane four-piece playing to a slightly fuller room. The band has guitars that sound like synthesisers and boys that look like girls. However, the crowd has none of it. They seem unwilling to look under the thick layer of guitar fuzz to the songs beneath, or unable to appreciate their style for what it is. Nonetheless, the blissful pop of I Won’t Wait bounces around the ceiling, and bassist Jarrod Mahon lifts the mood with new song, Fall Guy, as his higher voice cuts through the hazy mix.

Saskwatch are a sure bet with the older crowd. Their clean production and accessible soul tunes are hard not to like. The Melbourne group bring out Your Love early, before switching into one of the cathartic ballads the band have been working on of late, Left Me To Die.

The audience seems relieved to be able to coherently hear lyrics, and is treated to some new material. A mesmerising drum beat and a guitar riff laden with delay circles around lead singer Nkechi Anele’s enchanting voice, lending the song an hypnotic trip-hop feel.

Born To Break Your Heart receives a swirling intro, while Call Your Name rightfully receives an enthusiastic audience response. However, it’s when Anele thanks Collins for the opportunity to perform that the apathetic crowd gives their loudest applause of the night. Hopefully The Triffid will eventually evolve beyond being an art space and into a place where people actually have fun.