Live Review: The Harlots, Baby Blue, Doona Waves, Will Coyote

Watching punter reactions to the religious paraphernalia that decorates the ceiling as they reach the top of the stairs at The Curtin is truly hilarious. Christ himself watches down on the scattered audience sculling beers as Will Coyote and his band sing their hearts out. Unfortunately the mix is a little off tonight, with the guitar a touch too loud and the bass with not nearly enough boost. However, whatever is lacking in sound, the bassist makes up for in performance. He's totally living for this moment and it's a treat to watch. 

Doona Waves step on stage, glowing in the blue light. They sing summery songs, reminiscent of warm days and afternoons by the beach. Wategos is a highlight, with really nostalgic lyrics about home and holidays past. Again, the mix leaves something to be desired, with a request mid-set to adjust the kick-drum foldback. There are a lot of punters standing near the only couch in the room, with everyone ready to pounce at the first sight of an empty space as soon as the band stops, and the majority of the crowd shuffle over to the bar.

There's an odd empty space at the front of the stage as Baby Blue kick off, and after some initial intense feedback that blares from the speakers, they move on without flinching. The band call the audience in closer and everyone obediently shuffles forward. There are some really lovely unexpected melodies and tempo shifts here, all wrapped up with some soothing guitar tones and vocals. 

It's a tight squeeze as the crowd start to pile in for The Harlots. Punters spill beer everywhere as they try and weasel their way closer to the front. Rather than easing the crowd in slowly, these guys come bounding in at full volume and intensity, which is refreshing. Kudos to frontman Tom Pitts for being so lively from the get-go. "It took us three fuckin' years to make, it was long and it was difficult," Pitts says of their album, Satellite. Call On Berlin has a fantastic climax and presents the opportunity for Pitts and right-hand woman Kate Monger to whip their luscious manes around. Monger takes over to sing High Roller and, from the first note, it's clear that this one's a favourite. Her voice has a really soulful, gravelly tone, which is wonderfully compelling and it would be a treat to hear her take front and centre on a few more tracks.

The Harlots' music really shines bright live. Their energy and visible enjoyment while on stage evokes a confidence that really strengthens their songs. The chorus of Chopin is belted out at full volume as the lights dim and change to a deep red. After a quick rendition of Happy Birthday for Pitts' dad, beers are raised to the roof for the chorus of Hall & Oates classic Out Of Touch and soon it's time for easily their most popular track, Got No Soul. They close the night out with a gracious thank you to their opening acts and quickly launch into a bass-heavy banger that ends in an excellent tangle of drums and jarring guitar.