TISM ProfileWhen TISM (or TSIM, as they helpfully renamed themselves for their latest era) announced their first national trek in 30 years a few months ago, you didn’t have to be a diehard to know that it was going to be an affair to remember.
For the uninitiated, TISM’s history can be traced back to 1982 when the group of Melburnians came together and ostensibly decided that instead of forming a traditional band, they’d pioneer a group that is as unique and subversive as they are talented.
Adopting masks, stage names, and all manner of bizarre performance ideas, the unwieldy septet seemed to succeed in spite of themselves, going from being underground favourites to – somehow – storming the charts with their third album, 1995’s Machiavelli And The Four Seasons.
With ARIA Awards, Gold records, and a ravenous fanbase to their name, TISM would quietly split in 2004, though would reunite in 2022 for the Good Things festival.
The reformation stuck, the band continued on, and a new record would arrive alongside one-off events, secret gigs, and even a controversial two-night stand at the Sydney Opera House.
So when TISM revealed they’d be hitting the road for their No Mistakes tour, fans were on high alert for a series of massive events.
Launching their batch of headline shows with a trip to Hobart last weekend, the group kicked off the hometown leg of their trek with the first of three nights at Melbourne’s iconic Forum Theatre.
Of course, the idea of a band such as TISM performing at a venue like The Forum feels ironic in its truest sense.
One might expect an evening of high class artistic endeavours as audiences mingled around Grecian statues, ornate fixtures, and gorgeous moulding.
What one would receive, however, is an almost endless parade of masks, costumes, and chants declaring that “TISM are wankers” by the band’s legions of fans (or ‘victims’, as they prefer to label themselves) as they flood into the theatre on a Wednesday night.
But then again, such is the TISM experience. The group has always been about blending the highbrow with the lowbrow, and doing so in a way that makes each accessible to the other.
So as excitement bubbled away for Melbourne’s musical mirthmakers to take the stage, fans were first graced with the presence of Laura And The Hell Cutz.
Self-described as a "rage girl grunge" band, the quartet are a comparably nascent addition to the local scene, but arrived on stage with the power and energy of a group whose timeline felt like it could be traced back years.
Labelling the privilege of opening for a group such as TISM as "pretty fucking awesome", the group harnessed a genuine ethos of the beloved grunge, punk, and alternative rock genres as they dove into cuts from their slowly-expanding catalogue, including the title track to their recently-released EP, Teethe.
At times – and through no fault of Laura And The Hull Cutz themselves, by any means – they feel like an odd choice for a support act to TISM. Traditionally, many of the groups to nab the illustrious opening act slot harness a similar vibe, or boast a noted handle on being irreverent.
In contrast, the Melbourne quartet offer up times when they look (and presumably feel) like veritable rock stars, perhaps bringing to the stage a little of that same stardom TISM had previously admitted to striving for in those early days.
Following an economical half-hour set filled with punchy riffs, choruses, and more high kicks than a Broadway show, the group wrapped things up with the moody Seattle, leaving the audience to bask in the resonance of an alternative rock cut which truly lived up its name, and definitely left the band with a few new fans in their corner.
As Laura And The Hell Cutz take their leave from the stage, excitement reaches fever pitch as the venue nears its capacity, with fans and curious onlookers jostling for prime position within the venue.
As the lights dimmed and the annoyingly prevalent habit of many fans booing instead of applauding took over, so too did the PA begin to blare out vocal snippets of a late-'80s favourite of TISM's.
As one member – presumably vocalist Ron Hitler-Barassi or dancer Les Miserables entered the crowd immediately – so too did the rest of the band make their presence felt.
Dressed in broad-shouldered robes, and sporting purple masks bordered by LED lights, the costumes were somewhat reminiscent of the group's early '90s period. Indeed, so too was the band's energy akin to that of their earliest days.
Immediately bounding into the one-two punch of their debut album by way of The Mystery Of The Artist Explained and Saturday Night Palsy, it was clear that fans were in for a good time.
Vocalist Humphrey B. Flaubert roved around the stage as the likes of Jon St. Peenis, Miserables, and Hitler-Barassi engaged in their traditional dance moves, while keyboardist Eugene de la Hot-Croix Bun offered up his trademark high melodies, and guitarist Vladimir Lenin-McCartney let the power of his six-string be felt throughout the venue (despite it being left a little low in the mix).
From an outsider's point of view, one could liken the TISM spectacle to that of a bizarrely-arrogant rock eisteddfod. As they offer insanely energetic dance moves which pair high concepts with simplistic actions, and pair it with all stellar musicianship, they adhere to tradition by never once addressing the crowd.
Yet the barrier between band and audience is often broken. Miserables often finds himself atop the serving area of the Forum's lower bar, and Flaubert is seen walking around the perimeter of the venue, too.
Notably, it's a little less violent than usual in the moshing area due to less invasions by Miserables and Hitler-Barassi, though enthusiasm on both sides neveronce wanes.
More recent tunes such as Death To Art and The 'C' Word are paired with early renditions of Root and even Let's Club It To Death, a track absent from the live show since the early '90s. It provides a chance for towering bassist Jock Cheese to take centre stage and pair his aggressive basslines with his powerful voice, undeniably serving as one of the highlights of the evening.
The other highlight comes by way of Hitler-Barassi's standard mid-set diatribe, which is a powerful (and even surprisingly moving) piece of work complemented by the vocalist's vitriolic delivery.
As popular hits (Greg!! The Stop Sign!, Whatareya?, and (He'll Never Be An) Ol' Man River) are paired with crowd favourites (Death Death Death, What Nationality Is Les Murray?, and the renamed 14 Years – Then Death), so too do a few oft-unheard tracks get an airing, with the likes of I Might Be A Cunt But I'm Not A Fucking Cunt and the less-than-topical I Rooted A Girl Who Rooted A Guy Who Rooted A Girl Who Rooted A Guy Who Rooted A Girl Who Rooted Shane Crawford being revived once more.
As the night nears its end and the country version of the band's debut single, Defecate On My Face is unleashed, so too are a connected mass of silver balloons which have been present at the back of the stage since the show's beginning.
Presumably made of the same silver material as the band's costumes around 2004, this goon bag-like Chekov's gun finally receives its pay-off as stagehands bring it to the front of stage as the band attempt to perform from beneath.
Slowly, it gets torn apart as the song ends, and as the group return to the stage for an encore, the balloons have been turned into the equivalent of myriad silver beach balls batted around by the audience.
The new and old era of the band are paid mind to by way of Old Skool TISM and I'm Interested In Apathy, respectively, before the almost anthemic TISM Are Shit closes out a stellar evening's performance.
Seemingly agreeing with the title of the final song, one punter who wanders out onto Flinders Street in the aftermath can be heard opining, "They’re not the best band in the world, but there’s no other band like them in the world."
As TISM hyped up their tour, they promised it would be a series of events filled with different setlists, unique experiences, and – apparently – giant puppets this weekend.
It’s obvious that the TISM live experience is one to remember, but it’s equally one that needs to be seen to be believed – largely due to its presentation as an evening of contradictions.
It's that bizarre mix of high class and low class, it's that immensely communal feeling despite TISM's Brechtian performance style, and it's the belief you've witnessed one of the best bands in the country belting out highly-accomplished choruses and melodies despite a sense that anyone could do what they do.
But no one can do it to their level. Indeed, TISM are a singular sensation, and no, there are no others like them in the country – or the world- for that matter.
Given the impact of their first night at The Forum, the diehards will be in full force for two more events in Melbourne, and the newcomers will be mystified or baffled enough that they'll rightly believe one night clearly isn't enough.
Thankfully, there’s two more of these shows on offer in Melbourne, and frankly, you’d be a fool to miss them.
Tickets for TISM’s upcoming No Mistakes tour dates are on sale now.
TSIM – No Mistakes Tour
Thursday, October 8th – Forum, Melbourne, VIC (Sold Out)
(With Stupid Fuck The Silly Clown)
Saturday, October 10th – Forum, Melbourne, VIC
(With Techno 666)
Friday, October 16th – Hindley Street Music Hall, Adelaide, SA
(With Placement & Oscar The Wild)
Saturday, October 17th – Fortitude Music Hall, Brisbane, QLD
(With Shock Value)
Wednesday, October 21st – Canberra Theatre, Canberra, ACT
(With The Fuelers)
Saturday, October 24th – Metro City, Perth, WA
(With Legs Electric)
Friday, October 30th – Enmore Theatre, Sydney, NSW
(With Laura And The Hell Cutz & Itchy And The Nits)
Saturday, October 31st – Enmore Theatre, Sydney, NSW
(With Laura And The Hell Cutz & The Lost Futures)
Friday, November 6th – UOW Uni Bar, Wollongong, NSW
(With Totally Unicorn & Ashpit)
This piece of content has been assisted by the Australian Government through Music Australia and Creative Australia, its arts funding and advisory body
