The Creases @ the Woolly Mammoth, 2nd July
A combination of exhaustion, poutine and Pokémon Black on Nintendo DS result in me arriving unfashionably late to the Woolly Mammoth on a cold, still Friday evening, having missed the opening act. The Creases are the reason I’ve dared this unruly weather. Luckily I am just in time to catch Good Boy for the third time in recent memory – an energetic, tinny-sinking three piece who have been enjoying a swirling of hype recently off the back of their No Love for Back Home EP.
Every-man vocalist/bassist Rian King dons a baubled beanie – admitting to the crowd that he’s a bit of a ‘wine mum’ and accordingly is visibly intoxicated. Luckily their Parquet Courts inspired brand of shambly Neo-dolewave almost completely necessitates a slightly disheveled front man. Powering through a set of old songs and new, the standout track is one assumedly from their upcoming Plum EP – a frantic dance-y number that includes the quintessentially Auscore refrain of ‘FIENDIN’ FOR A CIGARETTE’. Unshakable drummer Stuie McKenzie (who, as previously mentioned on SOS is quickly shaping up to be one of the best drummers in Brisbane) effortlessly switches between grooves without batting an eyelid; guitarist Tom Lindeman sounding more like Johnny Marr than ever. The set continues and fan favourite Transparency goes down a treat, only surpassed in reception by latest single Poverty Line, which has everybody dancing as if Centrelink wasn’t ignoring their calls. Towards the end of their set, a girl near me remarks, ‘this is like Pauline Hanson’s after party!’ I couldn’t agree more.
Next, The Creases appear onstage. Complimented by seizure-level strobe lights, 2015 single Point hits, and it hits hard. Sounding more New Wave than ever, the track pulls every straggler inside from the smokers’ section, joining the already unruly crowd of twenty-somethings screaming the lyrics back at trench-coated front man Joe Agius. Securing my place at the front of the stage, I am overjoyed to hear my old favourite How Long ‘Til I Know? making an early appearance in the set, as well as an extended version of Gradient, allowing guitarist Aimon Clark and drummer Gabe Webster to kick things into overdrive.
New track Asshole sees Jarrod Mahon delving into the more Joy Division-esque realms of his bass – a rare foray into darker territory for the usually upbeat five-some. Midnight hits and the band launch into New Order’s ‘Age of Consent’ (coincidentally one of my favourite songs), affording it the dignity by playing the entire five and a half minutes of the song; complete with the delightfully/infuriatingly long instrumental break. The last third of their set is complimented by a shirtless and glittery Liam Campbell (of the Good Sports) prowling around the stage, playing a tambourine as seductively as I’ve ever seen. Ben Comerford (star of the ‘Poverty Line’ music video) also joins, routinely reclining onstage to get the best photographic angles.
The night delivered everything a Creases show is known for, I get a feeling that the boys are maturing, growing into a new louder and more defined sound. The show was well and truly worth putting down the Nintendo DS, and that’s saying something.