Live Review: The Drones, Augie March, Money For Rope

You know things are going alright when there is a public holiday on supporting the arts and the opening of a revamped premier venue, which happens to be hosting some of the most respectable names in Australian rock. The Croxton has had a lot of money pumped into it and it shows in the excellent decor and interior. With tonight's line-up however, the floors are begging to quickly congeal into that sticky-bar mess. Having Money For Rope open up is a great way to christen The Croxton as these (comparative) young'uns — despite facing the daunting task of kicking off this double-headline bill — bring da rock, so to speak.

Augie March take the stage quite casually to a large-yet-half-attentive crowd, which pretty much sums up their set. The problem lies with song choice and the band pick their least-connective tracks in an attempt to deliver a more rock-based set, which feels more forced than inviting. The first half, which includes A Dog Starved and Hobart Obit, just feels average in delivery when compared with their landmark Melbourne Recital Centre performance earlier in the year. Glenn Richards also bumbles through lines at times. Instead of trying to be loud, it would have been more engaging to hear the band's softer side. While not a bad performance, it feels more like a support slot than a performance by a band who have proven credentials in both the live arena and the songwriting department. While Never Been Sad and This Train Will Be Taking No Passengers are highlights, everything just feels a little short.

The Drones emerge with the thrashing Shark Fin Blues. With their Wait Long By The River And The Bodies Of Your Enemies Will Float By tenth anniversary shows still fresh in our minds, the band are on top of their game as demonstrated by the soul destroying Jezebel with Gareth Liddiard's guitar playing coming across jagged as a rusty chainsaw. The whole affair sees the band showcase their louder side and they draw from the classic, more accessible side of their catalogue with The Minotaur and The Miller's Daughter getting the most enthusiastic responses. Like Augie March before them, it would have been nice to hear some of The Drones' softer moments mixed into the set. The band premier a new track, which sounds like a sporadic goth-rock slugfest and definitely causes intrigue. They then finish with a brief encore featuring River Of Tears. Nothing more is needed and satisfaction is guaranteed.