Live Review

Viet Cong w/ Twin Haus & Good Boy @ The Brightside

Arriving at The Brightside the air feels especially thick and muggy – the kind of disgusting Summer evening only a Brisbanite would put up with. It’s weirdly appropriate to see locals Good Boy and Twin Haus in this weather – but I wonder how Viet Cong are coping. 

First up this evening is Good Boy – a band I’m not too familiar with. I know that they have secured a couple of epic support slots this year not to mention a position on the Laneway line-up so I’m kind of amped to see what they can do.

Good Boy embody that classic Brisbane, sun-drenched sound. They offer bright, summery tunes with infectious hooks and cheerful melodies. Interestingly, I can also detect shades of post-punk influence creep through the driving bass line and thumping drums. Good Boy’s spot on the Viet Cong line-up makes more sense when you can appreciate their nuances in a live setting. The guys are actually kind of awesome for a first support – really tight and clearly well-rehearsed. I’m impressed.

Next up are Twin Haus – another Brisbane act I’m excited to see. The group open with a slow-building, guitar-led track. They sound lush and atmospheric. Daniel Grima’s dreamy vocals are buried deep in the mix this evening, giving me serious shoegaze vibes. Just as I think I have them totally pegged Grima transitions from a mid-range vocal into a deep growl and suddenly the guitars get heavy taking the tune from a soft melodic opener to a massive heart-stopping crescendo. 

Twin Haus seem to reject the idea that an artist can be easily branded as any one single genre. Their influences are so varied and their songs are just bursting with different ideas and inspirations. At times I wish they would pull back a little and focus on one concept at a time. But overall I like what they’re going for.

At 10pm when Viet Cong walk out the stage is bathed in red, setting the theme of the night. They crack a few jokes, thank the crowd for coming and then launch into the set. Viet Cong sound immediate and so present - the way a good post-punk act should. I found the group to sound much brighter live, removing some of the gloom that punctuates their album. The jangly 12 string seems much higher in the mix which pulls my focus and enhances this effect.

Viet Cong are expert at engaging a crowd. Right from the get go a hectic mosh assembles in front of lead singer and bassist Matt Flegel, and he laps it up. ‘Play Continental Shelf!’ yells one enthused punter to which Flegel responds, ‘Yeah I forgot the words to that song’ and then changes his mind, announcing, ‘Ok, this song is called Continental Breakfast!’ Flegel is indecipherable at times – often reducing his vocals to a mono-tonal growl with word after word blurring together. Though you really don’t need to understand the lyrics to recognise the emotion inherent within each track. 

Throughout the night my attention continually diverts to Mike Wallace. Wallace is a ridiculously skilled drummer, approaching each track with an insane level of energy and precision. He doesn’t seem to play the drums as much as he beats them to a bloody pulp. The mental and physical fortitude it would take to keep the pace that Wallace does is unthinkable – but he does and then some. Wallace’s drumming helps anchor the angsty madness of Scott Munro and Daniel Christiansen’s frantic guitar playing and Flegel’s gritty bass.

Like so many post-punk outfits, I think Viet Cong are underrated as musicians. Their timing and intricacy is so impressive - this was obvious in the final track. The group close their set with an extended instrumental breakdown whilst synth and reverb echo through the room. A solitary strobe light flashes which further hypes the already manic crowd. Not once in this 10 minute long instrumental did one musician fall out of time or strike a wrong chord. Speed up, slow down - hair, limbs, guitars flailing – at one point I am worried for the physical safety of the 12 string but I’m hoping a live guitar smash is too cliché for Viet Cong to consider. The momentum of this finale builds up and slows down, builds up and slows down again, eventually decelerating to a crawl that marks an incredible, undeniable conclusion. 

Viet Cong really delivered tonight. A brilliant example of the post punk genre and one not to miss live. I’m wondering if by their next Australian tour the band name will have been dropped and changed to something less controversial – I notice that none of their merchandise has ‘Viet Cong’ inscribed. Name change or not the music was great, which mattered more to the crowd than anything else seemed to.

- Sarah McGowan

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