Live Review: Holy Holy, The Money War, Machine Age

Two-man band Machine Age, hailing from Brisbane, sampled their way through an intense set. Leading man Adrian Mauro held our attention using his voice and electric guitar to create a powerful soundscape with crunchy guitars and electronic beats, overlayed by accomplished vocals.

The Money War were up next and brought a bit of a country vibe to the theatre. The crowd got a little closer to hear their tunes and shake their hips, as vocal duties swapped between Dylan Ollivierre and Carmen Pepper. Accompanied by a full band, they played an accomplished, but not particularly exciting set. 

A holy mantra was played over the speakers teasing Holy Holy’s arrival. Expanding to a full five piece (plus trumpeter) this evening, they delivered popular That Message as the second song of their set. 

Tonight’s set showcased their sophomore record, Paint, cycling through most of its tracks; from the melancholic Shadow to upbeat Amateurs, as well as bringing out old favourites.

On record, it’s easy to get caught up in Timothy Carroll’s soothing and intimate vocals, but live, their production really pops and the complexity and personality of each song becomes strikingly apparent. Soaring vocals overlay crunchy guitars, groovy synths, humming bass and drums that keep it all together. 

The energy in the room was electric during True Lovers, which was testament to their ability to write a stadium worthy pop song; while singalongs ensued for Darwinism and You Cannot Call For Love Like A Dog, before Elevator closed their eccentric set. 

There was disappointment in the air as calls for an encore didn’t seem likely to be met. However, Carroll and guitarist Oscar Dawson hopped onstage to treat the crowd to an acoustic rendition of Sentimental And Monday, before the whole band joined for an epic finale of Send My Regards.