Live Review: The Fearless Vampire Killers, Canary

Local outfit Canary are a seemingly strange choice for main support tonight. While their songs twist in and out of recognised genres, none of them seem to approach the unhinged rock of the headliners. Despite a few songs that fail to connect early on, the band deliver a varied set that keeps the early-comers happy. Songwriter Matthew Kenneally pulls off some introspective moments, most impressively with the solo Last Resort. The band sound good in full flight as well, particularly when Ed Fairlie's trumpet provides some interesting counter-melody. Canary provides a solid set overall but at times it sounds as if they have too many musical ideas going on.

Despite complaining about a long day and hangovers after their Brisbane show last night compounded by a plane ride this morning, all four members of The Fearless Vampire Killers look fresh as the Workers Club lights illuminate the stage. Frontman Seán Ainsworth is sharp in powder blue, lead guitarist Al Marx's larger than life persona threatens to burst from the paisley shirt he wears unbuttoned to the chest, Justin Olsson on drums is fresh-faced and eager, while bassist Jacob McGuffie stands back and smiles warmly. The band's traditional rock set-up lends itself well to their brand of brash garage but, while their recorded output places them at the slick end of Melbourne's lively garage scene, raucous live work shows The Fearless Vampire Killers at their best. They muscle through their tracks, easily filling out the Workers' relatively small bandroom. McGuffie's considerable bass sound and Olsson's frantic percussion underpin the genuine interplay between Marx and Ainsworth, while the rhythm player shreds his vocals over the top. Cuts from last year's Batmania and early singles are littered throughout the set. Tell Me What You're Trying To Say arrives mid-set before any lag can take place and The Monkey Song ensures a short but memorable encore. The many new tracks on display don't deviate from the band's existing formula but do match the quality of those that came before. The B-side cover of The Beatles' White Album lament, Yer Blues, outdoes its A-side, Mexico. While the new single is an enjoyable romp through Western pastiche, the band rip the fuck out of Yer Blues – losing a bit of Lennon's original desperation but well and truly thrilling the audience. Perhaps the highlight of the set is another new one, Wastelands: a badass strut that makes full use of the band's huge sound with some extra attitude.

All in all, it's an enjoyable and impressive performance. But it was always going to be when given the chance to see Al Marx slinking about the stage, knocking out effortless, gold-class riffs.