Live Review: The Bennies, Clowns, Axe Girl, Walken

There’s many a colourful character ambling through the Triffid doors tonight — which could be to do with the colourful characters gracing tonight’s stage. The feelgood vibes are already palpable as a result, a good sign the night will be anything but dull.

Brisbane’s own Walken are clearly stoked to have found themselves on tonight’s bill, and are even sporting psychedelic garb in honour of the headliners. They amp up the party vibe with the blistering Eagle Eye, take us back to the glorious ’90s with glitchy, super fat chugs in House On The Hills, then round things out in a comparatively more moody light with Float. These fun dudes bring something fresh but nostalgic to the table and if they’re not gracing more bills like these soon then these written words will be eaten.

Next up is Perth’s Axe Girl. The most immediately apparent thing about this bunch of punk upstarts is that Jebediah bassist Vanessa Thornton is one of them. It’s a neat in for those unfamiliar with the band but it’s really not necessary; from the get-go these guys pump out a ‘90s pop-girl-punk sound with the hand-in-hand ferocity you’d expect. Singer Addison Axe leads her sweaty troupe through their setlist. She’s a shouty pocket rocket when addressing the crowd but a Stefani-esque pouter on the mic, and it gets a tad messy towards the end.

Melbourne’s Clowns are a well oiled machine. Since their debut a few years back these young dudes have ticked all the boxes needed to make themselves stand out in the hardcore/punk scene — albums full of short, sharp ditties, messy live shows but always with a sincere appreciation of their crowds, and a party-hard willingness to get amongst on the floor. Tonight’s no different, with lead man Stevie Williams whipping up a frenzy and diving into the messy circle work amongst an upbeat newbie, Dead In The Suburbs and Play Dead.

Nothing could resemble a Caribbean Mardi Gras-cum-pyschedlic trip-out more than The Bennies. The awesome foursome from Melbourne not only look the part in their trademark tie-dyes (also now adorning the speaker stack) and spangled tights, they’ve already got the party started before they even strike a first note, coming out to ‘00s pop tragic Hey Baby complete with saxophone. Leading man Anty Horgan gets a high five from each of his players then kicks things off with Heavy Reggae, Detroit Rock Ciggies and Heavy Disco. The sound is loud, brash, and whips up the already crazed horde to fever pitch. Bottles, shirts, shoes, spliffs and undies go flying through the air during Sensi-mi, My Bike and Corruption. Horgan is equally impressed, saying it’s the best place they’ve played. Party Machine and Knights Forever seal the deal in the only way possible — they're sweaty, pushy, soul-slapping but with smiles from band and fans as wide as round as the venue.