Words by Natalie Blacklock
Photography by Elizabeth Sharpe // @ummagummamumma – VIEW FULL GALLERY HERE
Few bands have left a bigger mark on Australia’s alternative music landscape than Spiderbait. 37 years on from their humble beginnings in the regional NSW town of Finley, the genre-defying three-piece—Drummer and Lead Singer Kram, Damien ‘Whitt’ Whitty on Guitar and Backing Vocals and Janet English on Bass and Vocals—have built a reputation as one of the country’s most enduring live acts and a cornerstone of the Australian music scene. Playing two massive back-to-back shows in Brisbane is no small feat. Sunday night’s all-ages crowd was a testament to Spiderbait’s enduring appeal, bringing together long-time fans with the next generation, many attending with parents who have followed the band for decades, to experience the venue-shaking sound of The Bait live for the first time.
The evening’s venue, The Tivoli, is arguably one of Brisbane’s best venues. Built in 1917, the Costin Street location originally served as a bakery, producing some of the finest cakes in the Sunshine State. Over the years, The Tivoli has been remodelled a number of times – once used by the State Library of Queensland to store rare books and as a French-style Cabaret theatre for Expo ‘88 before morphing to its current form as one of Brisbane’s premier live music venues. The venue is as regal as they come and provides the perfect backdrop for a night of Australian music goodness.
A steady line of punters made their way into the venue, with the room already filling up as first act ViperSnatch took to the stage. Formed in 2018 on Darumbal Land in Central Queensland, the band have quickly emerged as a distinctive force in the region’s alternative music scene, delivering an unfiltered, strong female expression of defiance, rebellion, and empowerment, that refuses to be boxed into any single genre or identity. Opening the set with older cut Zodiac, Vocalist / Guitarist, Lily Chellingsworth, commanded the crowd’s attention right from the first note. Bassist Kailee Butcher told the audience that “we just YOLO dropped an EP because we were playing this show” (referring to new EP ‘Bitch Bite’, just released at the end of June), before launching into its opening track Sweet Melodies. Butcher took an opportunity to thank Spiderbait for showcasing local female and gender-diverse artists to at every show across this tour, following a call-out via their social media pages last month, speaking to the difficulties that many female and gender-diverse artists face breaking into the scene. The band unleashed Therapy, an emotionally charged track that sees the band juxtapose delicate and aggressive musical elements, because “everyone needs a little bit of therapy”. The set rolled on with NINAA (No Is Not An Answer), with gritty basslines and thunderous beats from Drummer Riley Doherty, who was hitting the skins so hard that the Floor Tom went rogue, needing to be rescued by none other than Spiderbait’s Janet English, who was watching side stage. ViperSnatch closed out their set with the raucous How Bout That, telling the audience that this was their chance to have a dance, before shouting out family and friends in the crowd. Before leaving the stage, Bassist Kailee Butcher asked if they could take a quick selfie with the audience because “this is the most people we’ve ever played to”. The crowd unsurprisingly obliged, sending ViperSnatch off with the kind of genuine, hard-earned memory that reminds you why live music matters. If they’re not on your radar already, you’d better get around them! ViperSnatch are unafraid to push boundaries both musically and socially, making them an important emerging voice in Australia’s alternative music scene.
Next cab off the rank were The Gnomes. One of Melbourne’s most exciting emerging indie-rock bands, blending the raw energy of 1960s garage rock with a fresh, youthful edge. Drawing inspiration from legends such as The Easybeats, The Kinks and the early years of The Beatles, the Frankston four-piece has quickly built a reputation for electrifying live performances and infectious, hook-filled songs. What began in late 2022 as a solo bedroom recording project by songwriter Jay Millar (Vocals / Guitar) has evolved into a full band featuring Ned Capp (Guitar), Olly Katsianis (Bass) and Ethan Robins (Drums). The Gnomes opened their set with 2023 track Death Sentence before launching into an everyman anthem about the price of cigarettes, The Price Of Smoke Blues, which showcased Millar and Capp’s combined vocals. I’m Not The One, the first full-band single lifted from the band’s debut album ‘Introducing…The Gnomes’ released last year, struck a chord with the crowd as its hooky chorus took hold. Flippin’ Stomp delivered a driving, rhythm-heavy banger, inspired by the annual Flippin’ The Bird Festival, held at Frankston’s Singing Bird Studios, the band’s spiritual home. In a live setting, this track has a real rockabilly feel to it, that sits rather well in the wheelhouse of this reviewer! For only their second show in Brisbane (EVER!), The Gnomes looked at home on The Tivoli’s iconic stage as they ripped through a handful of other tracks including Don’t Worry and Magic Man, taken from the band’s recently released ‘Home’ EP. With a set full of energy, heart and a little bit of chaos, The Gnomes blended catchy melodies with driving beats, capturing the spirit of the ’60s with a fresh, energetic, guitar-driven edge. Without a doubt, The Gnomes are a band on the rise, and their distinctive “Bayside Beat” is destined to win over audiences well beyond Melbourne.
There are few bands that capture the spirit of Brisbane quite like Custard. From their early days in Ipswich to their rise as indie rock icons in the 1990s, the band carved out a reputation for sharp songwriting, dry humour and unforgettable hooks. More than two decades after their initial split, and with frontman David McCormack now instantly recognisable as the voice of Bandit in the hit ABC Kids television series Bluey, Custard remain a band that feels unmistakably, and proudly, Brisbane. Acting as their own roadies, the band busily loaded in before the lights went down and Daft Punk’s One More Time heralded their on-stage arrival. Introducing himself and the band as “90s rock superstars”, David McCormack (Vocal / Guitar) alongside Matthew Strong (Guitar), Paul Medew (Bass) and Glenn Thompson (Drums) opened their set with the tongue-in-cheek Hit Song from 1999 record ‘Loverama’. McCormack told the crowd “We’ve learnt a lot of lessons… One of those lessons is to not do a breakdown in the second song but you know what… Forget about it, dude!”, before delivering said breakdown in the form of 1995 track Lucky Star. The 1990s hit parade continued with Pack Yr Suitcases, followed by “a song for anyone who works in retail” in Alone and The New Matthew, complete with expert Guitar work from Matthew Strong. As McCormack took a breather (cue the chorus of “We love you, Bandit” from the crowd), Drummer Glenn Thompson took over Frontman and Guitar duties, while guest Drummer Nick Naughton (Dave McCormack’s TRS80, Gentle Ben and His Sensitive Side), slotted right in for newer cut, Molecules Colliding, taken from the band’s 2024 album ‘Suburban Curtains’ as well as the ever-amusing, Music Is Crap. With a whistle around his neck and a megaphone in hand, McCormack returned front and centre, and Custard resumed normal programming, delivering a tight yet slightly unhinged rendition of Split Enz’s I See Red. McCormack pulled out his phone and asked Siri “How much time does Custard have left to perform?” Of course, Siri didn’t answer, but Spiderbait’s Kram yelled from side stage, “15 minutes”. McCormack told Siri to disregard his inquiry as he led the band through a sandwiched selection of older and newer tracks including ‘We Have The Technology’ cut Anatomically Correct, 2020’s groovy and guitar driven Funky Again, before winding back to 1997 for Pinball Lez, the real-life story of a friend of the band who moved into a Brisbane share-house and spent his time repairing and reconditioning pinball machines. Interestingly, the song recently gained a second life as the bouncy, whistling theme song used in the original 2016 unaired pilot of the Bluey. Ironic love song Girls Like That (Don’t Go for Guys Like Us) was an arm-in-arm singalong moment, with this reviewer remembering watching the film clip on Rage many moons ago! Custard rounded out their set with Apartment, the first single from 1995 record ‘Wisenheimer’, capping off a set that was equal parts nostalgic, chaotic and brilliantly entertaining. More than three decades on, Custard remains unmistakably, and proudly, Brisbane, still delighting audiences with the same wit, warmth and wonderfully unconventional charm that made them indie-rock icons in the first place.
Legendary Australian rock trio Spiderbait have been one of the country’s most enduring and influential bands for more than three decades, and this tour celebrates the 30th anniversary of their 1996 album ‘Ivy & The Big Apples’, a landmark release that captured the raw energy and irreverent spirit of the mid-’90s while helping redefine the Australian alternative rock landscape. Blending punk, pop and alternative rock with fearless abandon, the album cemented Spiderbait’s status as one of Australia’s most important bands, with ‘Ivy’ becoming the soundtrack to a generation of young music fans. The stage set-up was simple: a Guitar rig, a Bass rig and, of course, Kram’s iconic Double Bass Drum Kit. Spiderbait were ready, as was the crowd. Wasting no time, the trio launched into a start-to-finish performance of their breakthrough album, ‘Ivy & The Big Apples’. The set opened with Chest Hair, followed by the irresistibly catchy Hot Water & Milk. Written and sung by Bassist Janet English, the song is said to be about her then-relationship with Regurgitator Frontman / Guitarist Quan Yeomans, and its infectious melody immediately had the audience hooked. Soon enough, the familiar opening riff to Buy Me A Pony—the first Australian song to top triple j’s prestigious Hottest 100—rang out, sending the crowd into a frenzy. The groove laden instrumental When Fusion Ruled The Earth provided a welcome change of pace, its irresistible rhythm and intricate interplay highlighting the chemistry that has underpinned Spiderbait for nearly four decades. Janet English’s vocals again came to the fore on Calypso, with a few fans even climbing onto their mates’ shoulders—it was enough to make you feel like you’d been transported back to the glory days of Livid or Big Day Out.
English then addressed the audience: “So we’re doing the Ivy record from start to finish”, before playfully counting through the setlist, “1, 2, 3, 4, 5… 6” before launching into Goin’ Off solo on Acoustic Guitar. The stripped-back performance acted as a welcome circuit breaker, allowing the song’s understated charm to shine before the energy inevitably ramped up once more. Kram and Whitt soon returned to the stage, and Don’t Kill Nipper reignited the mosh, with a circle pit quickly taking hold. The driving, distorted Horschack Army darkened the mood, the warehouse rave-inspired lighting perfectly complementing Kram’s blistering drum work as the intensity reached fever pitch. Conjunctivitis stayed firmly in heavy territory, as Bassist / Vocalist Janet English once again took the lead, delivering the song’s raw, frantic energy with trademark intensity. Joyce’s Hut brought a round of “musical swapsies”, with English moving behind the Drum Kit, Kram picking up a Guitar and Whitt stepping into the spotlight on Lead Vocals. The reshuffle showcased the trio’s versatility, with Whitt delivering a standout performance, earning a sweet pat on the back from Janet as she returned to her bass rig, a quiet reminder of the camaraderie forged over nearly four decades of making music together. Jasper reignited the circle pit, before the jangle-pop sensibilities of Goosh, led by Janet English’s vocals and Whitt’s shimmering guitar work, provided a melodic breather from the album’s heavier, more frenetic moments. Should Have Done What My Mum Always Told Me To delivered a welcome dose of comic relief, with Kram having a quiet chuckle to himself at the end of the song. The groovy, upbeat Hey had the crowd clapping along before the driving drum work of Hawaiian Nights once again whipped the punters into a frenzy. Before long, the album’s closing track had arrived, with Driving Up The Ceiling bringing the record to a thunderous conclusion, Kram’s relentless drumming ensuring the audience got exactly what they came for.
Leaving the stage shrouded in darkness and ear-ringing distortion, it briefly felt as though I might lose my hearing at a Spiderbait show all over again (a true story – after seeing the band at The Hi-Fi Brisbane in 2014, I was left with partial permanent hearing loss in my left ear). Thankfully, the trio soon returned to the stage, with Kram taking a moment to thank the venue, the support acts and the fans before telling the crowd, “What I’m trying to say is, ‘You fucking rock, Brisbane!'” They then launched into one of ‘Ivy & The Big Apples’ hidden tracks, the brilliant Big Furry Green Monster. Shazam!, from the band’s 1999 album ‘Grand Slam’, followed with an all-in crowd clap-along, before 2001’s Outta My Head inspired the first crowd surfers of the night. Fan favourite Old Man Sam was electric, with Kram leading a raucous call-and-response that the crowd eagerly embraced. The ever-upbeat Fucken Awesome proved a welcome addition, with Janet declaring the audience “fucken awesome” as Kram cleverly wove “Brisbane” and “The Tivoli” into the opening verse, drawing a huge response from the crowd. Rounding out their epic set was an almost eight-minute version of the iconic Black Betty, giving the crowd one last chance to cut loose. As Whitt tore through an extended guitar solo using his microphone stand as a slide, the audience soaked up every moment before the band took their well-earned final bow.
Spiderbait have long since earned their place in Australian rock ‘n’ roll royalty, and with a catalogue as distinctive as it is uncompromising, they delivered one hell of a Brissie birthday party for ‘Ivy & The Big Apples’. The all-ages crowd drifted into the chilly Fortitude Valley night buzzing with joy, nostalgia and the unmistakable feeling that they had been a part of something incredibly special.
SPIDERBAIT
‘IVY & THE BIG APPLES’ 30TH ANNIVERSARY TOUR
Remaining tickets for all shows on sale now via frontiertouring.com/spiderbait
SATURDAY 4 JULY – The Tivoli | Brisbane QLD (18+)
w/ Custard, The Gnomes + VOIID *SOLD OUT*
SUNDAY 5 JULY – The Tivoli | Brisbane QLD (Lic. All Ages)
w/ Custard, The Gnomes + ViperSnatch
SATURDAY 11 JULY – Ice Cream Factory | Perth WA (18+)
w/ The Meanies, The Gnomes + Blush
FRIDAY 17 JULY – Country Club | Shoal Bay NSW (18+)
w/ Tumbleweed, The Gnomes + Exsister *
SATURDAY 18 JULY – Entrance Leagues Club | Bateau Bay NSW (18+)
w/ Tumbleweed, The Gnomes + Butterknife *
SUNDAY 19 JULY – Miranda Hotel | Miranda NSW (18+)
w/ Tumbleweed, The Gnomes + Private Wives *
THURSDAY 23 JULY – The Forum | Melbourne VIC (18+)
w/ Magic Dirt, The Gnomes + My Guardian Angel
FRIDAY 24 JULY – The Forum | Melbourne VIC (18+)
w/ Magic Dirt, The Gnomes + Hot Milk Machine *SOLD OUT*
SATURDAY 25 JULY – Hindley Street Music Hall | Adelaide SA (Lic. All Ages)
w/ The Meanies, The Gnomes + Rosie and the Posies
THURSDAY 30 JULY – The Baso | Canberra ACT (18+)
w/ The Meanies, The Gnomes + Box Dye *SOLD OUT*
FRIDAY 31 JULY – Enmore Theatre | Sydney NSW (Lic. All Ages)
w/ Tumbleweed, The Gnomes + Private Wives *SOLD OUT*
SATURDAY 1 AUGUST – King Street | Newcastle NSW (18+)
w/ Tumbleweed, The Gnomes + Butterknife
* Not a Frontier Touring show
With thanks to Frontier Touring
Discover more from Good Call Live
Subscribe to get the latest posts sent to your email.
