Live Review: Say Anything at Amplifier

Published on spaceshipnews.com.au | 17.10.14

Wednesday October 15, 2014
Review by Charmaine de Souza
Photos by Jasmine Eales

After a solid couple of years, SAY ANYTHING were back on our shores on Wednesday night to reunite with their first batch of loyal Aussie fans at Amplifier Bar – and they didn’t disappoint.

Dan Cribb and The Isolated were up first. The four-piece needed no verbal introduction, as they got right into what they were there for. Their tight harmonies and impressive synchronization in songs like ‘It Never Ends’ and ‘Return to Sender’ were indicative of preference for precision over spontaneity in everything they did, and it certainly managed to pull the growing crowd away from their places outside. Each member manned an instrument, making it difficult to move around on stage, but that didn’t stop the crowd from bopping along to the unadulterated pop-punk oozing from the speakers during the entirety of their half hour set.

The Melbourne natives from Ceres were up next, and had the crowd raring from the get-go. The boys immediately launched into a set of insane riffs and a drum and bassline combination that shook the entire venue. ‘Syllables’ had more than a few toes tapping, as lead vocalist Tom Lanyon’s transitions from soft singing to screams managed to avoid falling into the trap of sounding forced. And, when he wasn’t wowing the crowd with his vocals, he was entertaining them with delightful stage banter. The constant thankyou’s while on stage proved that the boys were legitimately appreciative of the overwhelmingly positive audience reaction, and though these pleasantries made their set run a little over time, nobody seemed to mind in the slightest.

Say Anything hit the stage after a brief break, amping up the crowd by blasting the Rocky theme upon their arrival. Fans squealed with delight at the sheer sight of the band, immediately engaging in celebratory hugs. The audience was hanging off of front man Max Bemis’ every command, singing whenever prompted – with some individuals being handed the mic by the man himself.

Despite the undeniable difficulty for all six members to move around in the limited space, energy levels were far from low. Bemis was already in amongst the crowd by song number two – ‘Six Six Six’. He solidified his status as a dynamic performer, twirling the microphone around in his hand and interacting with both the audience and his band mates. The first fan favourite of the night, ‘Spidersong’, had fans clamouring to get as close to the mystifying front man as possible.

A natural thespian on stage, the eccentric vocalist treated the crowd to overdramatized movements and raw emotion – particularly during his performance of ‘Judas Decapitation’. Tracks like ‘Surgically Removing the Tracking Device’ had the room thrashing, while ‘Every Man Has A Molly’ had everyone singing along at the top of their lungs. An honourable mention also goes to bassist Garron DuPree, who mesmerised the crowd with his head banging – largely due to his majestic mane.

There was much speculation (and many requests) as to what the final song of the night would be, however, all rumours were put to rest as the iconic telephone opener to ‘Wow, I Can Get Sexual Too’ began. After a brief stint offstage, the band was back for an encore, officially ticking over the one-hour mark. The boys seemed genuinely stoked to be sharing fourteen years of hits with us – and we were equally stoked to be there.

http://www.spaceshipnews.com.au/live-review-say-anything-amplifier/

INTERVIEW: MAX BEMIS OF SAY ANYTHING

Published on spaceshipnews.com.au | 06.10.14

Max Bemis is an open book. His fourteen years as the front man of Say Anything have been nothing if not turbulent – and he’s not afraid to show it in his music. Ahead of the band’s Australian tour, the singer spoke to Charmaine de Souza about social anxiety, being a family man, and how the internet is a cesspool of vitriol.

Family and band commitments rarely mix, but you’ve seemed to strike a balance between the two with your wife and daughter joining you on tour. How has that been working out for you?

It’s great. [My wife] Sherri has been touring the same amount of time as I have, and [my daughter] Lucy’s been doing it since she was very small, so it’s nothing new for either of them. It’s honestly a very great thing for me having them with me. More often than not I find myself kinda losing it a little when I can’t be near them.

You’ve been very open about your struggles with being bipolar and social anxiety. As a musician, you’re often forced into very social situations. How do you deal with it?

I feel that because I’ve been exposed to those situations so many times as a musician, it’s sort of whittled away at the social anxiety. I’ll go to New York and spend the day doing press and have very little to no anxiety. So in those situations I feel a little less nervous than when I, say, go to a dinner party. Those are the things that give me anxiety – it’s weird. But even then, I think I’ve improved a lot just by immersing myself, trying to let go of the fear and accepting that I’m gonna have some form of anxiety and there’s nothing wrong with that. I think if I was torturing myself about the fact that I had it, it would be a different story, but I’ve definitely accepted that it’s normal. You just have to accept what you can’t control and not get down on yourself for it.

How have your experiences influenced the writing process for Say Anything’s music over the years?

There’s been a giant change in my life in every single record. So even simply what I’m writing about has changed from record to record. But ultimately, I’m just a person, so I’m undergoing a lot of evolution as I grow older. My spiritual evolution has changed over time, so I think that’s very apparent in everything I do, everything I write and how I choose to present it.

Your latest album Hebrews is very different to Say Anything’s previous stuff. What were your reasons behind making it an entirely orchestral, guitar-free record?

Firstly – and most importantly – I just thought it would be fun and cool and it would sound good. Secondly, I love making drastic changes to our sound between records – I’m definitely guilty of just loving to do that, so I couldn’t think of a more drastic change. Yet at the same time I feel like we really maintained whatever is special about Say Anything while doing so.  That’s always at least partially the goal – that no matter what changes I make or challenges I undertake, we maintain what’s special about the band.

The song ‘Judas Decapitation’ is a very raw response to fans who disagree with the new direction that Say Anything’s music has taken. How do you deal with people who say they things like “Say Anything were so much better before Max was married/mentally stable/etc.”?

The song is kind of a reaction to essentially what I consider to be online bullying for people who are in this profession. It’s very easy to look at a musician, artist or actor and be like, “Your life is so easy and cushy because you don’t have to worry about going to work from 9-5.” But if you’re in any way successful, there are always going to be those people who want to bring you down. It’s a very disheartening, very dehumanizing and traumatic thing if you’re a sensitive person. So I wanted to write a song that was kind of a ‘fuck you’ to those people.

But at the same time, I wanted to address that there’s an element of me being petty for even caring, and if I were a stronger person I would probably just shrug it off like certain people can. There are probably 500 000 Jay-Z haters in the country that are posting like “Jay-Z sucks! He’s overrated! He was better before he was married to Beyonce,” but he seems to care a lot less. So I think there is something petty to me that I’m still so offended by it. I wanted to address that in the song and kind of make fun of myself for caring – it goes both ways. I refuse to not also turn the attention to myself and my own flaws.

Is that kind of hate difficult to ignore?

Now I avoid any place where I’m going to be criticized in that way. It’s one thing for someone to give healthy, constructive criticism that’s phrased with compassion. But if you go to the average message board there are literally people telling you that they want you to die and that you’re a piece of shit –terrible things that no one should have to read about themselves. So I just don’t even go there, I don’t even expose myself anymore.

More and more artists are offering their songwriting skills to the general public through song shops, including yourself. What drew you to the idea?

I got the idea as music became largely pirateable. You can get on the radio and sell T-shirts, but when it comes to the record, there are gonna be tens of thousands of people who download it for free. In my eyes, I pay for certain records if I wanna support the artist, but not everyone shares that perspective. So I asked myself, “what can I do that’s an individualized version of music, where it wouldn’t even be cool to have a pirated version of it because it doesn’t apply to you?”

How does writing about other people’s experiences compare to writing Say Anything’s songs?

I feel like when I’m writing about people – even if they’ve experienced something I’ve never experienced – I try to insert my own emotions and put myself in their place, so it’s like I’m singing about myself rather than singing about another person. The same amount of emotion goes into everything I write, commissioned or not. So in that sense, there is a commonality between the song shop music and Say Anything’s songs.

What direction do you see Say Anything going in in the future?

That’s a good question! I haven’t really figured it out myself. The only thing I know is that we set a precedent with Hebrews that we can’t just put out records for the sake of putting out records. When we do put out a new album, it’s gotta be interesting enough to merit being a follow-up to Hebrews. So I’m looking for something that I find equally inspiring before I make another Say Anything record – but knowing me, that won’t be too long.

You’re touring Australia with the rest of the band very soon; what can fans expect from this tour?

They can expect craziness – it’s always crazy. The shows are always really chaotic and visceral. I definitely lose myself on stage every time, so we won’t be phoning it in, ever. If you wanna really lose your shit, then come to our show.

http://www.spaceshipnews.com.au/interview-max-bemis-say-anything/

Live Review: Anberlin at Metropolis Fremantle

Published on spaceshipnews.com.au | 04.09.14

Wednesday September 3, 2014
Review by Charmaine de Souza
Photos by Chris Kerr

When Anberlin announced their plans to split by the end of the year, they were adamant on going out with a bang. And almost exactly one year after gracing our shores, the boys were back at Metropolis Fremantle on Wednesday night to farewell a legion of devoted Perthians on their final world tour. Fans were queuing outside the venue well before doors opened for a night that ensued proved to be well worth the wait.

The Getaway Plan was first, tasked with warming up an already packed venue. No strangers to breakups themselves, the band kicked off the night with an early number from 2011, ‘Flying Colours’. The quartet kept the energy levels up throughout the night, with some delightful synchronised headbanging (intentional or otherwise) on full display for the duration of their set. Due to time restraints, the Melbournians were forced to play a shortened set, but that didn’t stop them from busting out an array of crowd pleasers. Lead vocalist Matthew Wright’s transition from the powerful screams in ‘Sleep Spindles’ to soaring falsettos in ‘Shadows’ was executed with an ease and finesse indicative of the ten solid years of hard work put into the band. Ending with their decidedly biggest hit, ‘Where the City Meets the Sea’, the boys managed to squeeze some toe tapping out of even the most preoccupied audience members.

The excitement in the crowd was palpable before Anberlin had even hit the stage. A raucous cheer filled the room as the lights dimmed and the boys made their way on stage. After a simple opening statement from vocalist Stephen Christian – “We are Anberlin” – the Florida natives launched straight into their first song of the night, ‘Paperthin Hymn’, and the crowd went mental. Rarely do you see hi-fives, fist bumping and rowdy sing-alongs so early on in a band’s set, but the audience was clearly dead set on milking every last moment they had together.

The crowd’s enthusiasm was matched by the five-piece rockers, as Christian sashayed across the stage during tracks like ‘Never Take Friendship Personal’, and literally got down on his knees and crawled across the stage as he performed ‘Self-Starter’. ‘Readyfuels’ earned a huge reaction from fans, with a bassline so heavy you could feel it in your chest. The sheer energy of this performance was so infectious that a number of audience members felt compelled enough to unashamedly smash out some air drums.

A slight change of pace during the sombre ‘(The Symphony of) Blasé’ was met with delicate arm swaying, and even prompted one woman in the crowd’s first attempt at shoulder riding. However, this serene atmosphere was quickly shattered as the boys launched back into a number of headbangers like ‘Feel Good Drag’ and ‘The Resistance’ for the remainder of the night, with performances so dynamic that even got some bartenders drumming along.

After a string of heartfelt thankyous, the band ended their two-hour long set with the appropriately titled track, ‘(*Fin)’, before exiting the stage and meeting the fans that made their twelve-year run possible. The night was bursting with a vibrance unique to the Anberlin brand, and this final night in Perth proved to everyone that they truly were bowing out on top.

http://www.spaceshipnews.com.au/live-review-anberlin-metropolis-fremantle/

Live Review: Something For Kate at The Astor Theatre

Published on spaceshipnews.com.au | 07.07.14

Friday July 4, 2014
Review by Charmaine de Souza
Photos by Hana Lee-Smith

Melbourne rockers Something for Kate packed the Astor Theatre with fans of all ages as they embarked on their monumental 20th Anniversary Tour in Perth on Friday night. Equipped with an impressive discography spanning two decades, the band treated the audience to an array of hits, B-sides and rarities, proving they are far from past their prime.

In lieu of an opening act, the night kicked off with a short film documenting the career of Something for Kate, starting from their humble beginnings in 1994. During this ten-minute short, the three members – Paul Dempsey, Stephanie Ashworth and Clint Hyndman – reminisced over shifting band ambitions, line-ups and hilarious hairstyles. The trio’s claim that they were difficult to categorise, being “too indie for mainstream radio but too mainstream for indie radio” rang true as fans from seemingly all walks of life excitedly filed into the theatre. The opener seemed to whet the audience’s appetite, and by the time the lights finally dimmed, they were more than ready for the show to begin.

The band was met with roaring applause as they hit the stage, with several people abandoning their seats and scrambling to GA at the mere sight of their silhouettes. They wasted no time in launching their fans straight into a blast from the past with hits taken from their 1996 EP …The Answer to Both Your Questions – ‘Subject to Change’ and ‘Picards Lament’.

It was clear from the get-go that these Melbournians wanted the night to be all about the music. They favoured substance over theatrics, with each member staying in their designated spots on stage for the majority of the show. That’s not to say that there wasn’t a little flair in the performance, as Dempsey and Ashworth brought their offstage chemistry to the forefront during ‘Seasick’, riffing off of each other like they were a part of some kind of beautiful, alternative tango. An honourable mention also goes to Hyndman, who stylishly flung drumsticks into the air without missing a beat.

The 2001 track ‘Jerry, Stand Up’ spurred on the first notable crowd sing-a-long of the night, with fans swaying and hanging on to every word dripping from Dempsey’s lips. After tearing through hits from the early days, the band capped off their first set with ‘Survival Expert’, taken from their latest album, Leave Your Soul to Science.

After a short intermission, Dempsey returned for solo renditions of ‘Back to You’ and B-side ‘All The Things That Aren’t Good About Scientology’. These stripped-back versions captivated the crowd, and served as a nice opener for the second set. Dempsey was soon reunited with the rest of the band as they tore through a plethora of hits like ‘Monsters’ and ‘Déjà Vu’ – which without a doubt received the biggest reaction of the night.

As the show drew to a close, Dempsey encouraged fans to stick around and hang out with the trio in the lobby, and the majority happily obliged. Ultimately, Something for Kate gave the audience everything could have wanted, with over 30 songs crammed into one epic three hour long show. It was undoubtedly every diehard fan’s wet dream.

http://www.spaceshipnews.com.au/live-review-something-kate-astor-theatre/

Live Review: Bastille at Challenge Stadium

Published on spaceshipnews.com.au | 22.06.14

Wednesday June 18, 2014
Review by Charmaine de Souza
Photos by Georgia Sassenfeld

A miserable forecast didn’t deter fans from lining up outside Challenge Stadium to catch British rockers Bastille on the final leg of their Australian tour. Despite working with a limited discography under their belt, the band kept the crowd on their feet all night.

Foxes helped usher in a slowly growing crowd by injecting a bout of synthpop into the atmosphere. Accompanied by a drummer and keyboard player, the English songstress twirled and fluttered around on stage like some sort of ethereal pixie. Throughout her brief set, she swooned the audience with ballads like ‘Youth’, and got more than a few toes tapping along to her massively successful collaboration with Zedd – ‘Clarity’.

Alison Wonderland was up next, and things got a little awkward. The DJ performed her interval set in a lonesome corner while sound check went on front and center. It was obvious that the young Aussie was trying her hardest to get the crowd moving, but the awkwardness of the whole situation meant that it just wasn’t happening.

The stadium erupted into rambunctious applause as Bastille made their way onstage to the Angelo BadalamentiTwin Peaks theme. The band launched straight into ‘Bad Blood’ – while appropriately bathed in red lighting – and the crowd went crazy. Up next was synth-heavy track ‘The Weight of Living II’, accompanied by a laser show that would have been every epileptic’s worst nightmare.

Frontman Dan Smith sashayed around the stage throughout the entire set, causing dozens of young female fans to squeal with delight every time he graced their general vicinity. The hysteria only intensified as Smith removed his hoodie in between songs, with a few people in the front hopeful that he’d throw it into the crowd. A couple of girls at the back frantically waved illegible homemade signs around in the hope of getting Smith’s attention but with little success.

The band played with a cohesion that’s rarely seen in such young performers. Tight harmonies were on full display during songs like ‘Poet’, and they managed to sneak in a few hugs when the lights were down and they thought nobody could see them. They seemed to genuinely enjoy their time onstage, with Smith thanking the audience for their love after almost every song

The near-packed venue shook from fans in the bleachers stomping and fist pumping along to favourites like ‘Icarus’ and ‘The Silence’. The entire arena scrambled to sway their smartphones’ flashlights along as the band performed ‘Oblivion’, illuminating Challenge Stadium with a strangely comforting glow. With his hoodie now back on, Smith jumped into the crowd and did a lap around the stadium to mingle with the crowd as the band performed ‘Flaws’.

After an obvious end of show fake-out (why do people still do that?!), the band returned to the stage for an encore. Audience members were coaxed into a bop-a-long during ‘Of the Night’ – a mash-up of Corona’s ‘The Rhythm of the Night’ and Snap’s ‘Rhythm Is a Dancer’. Alison Wonderland and Foxes were returned to help the band close the show with Bastille’s biggest song to date – ‘Pompeii’. As a whole, the night was brimming with pure, inoffensive pop. And hey, there’s nothing wrong with that.

http://www.spaceshipnews.com.au/live-review-bastille-challenge-stadium/

INTERVIEW: SOMETHING FOR KATE

Published on spaceshipnews.com.au | 16.06.14

Staying power is a rarity in music these days, but if any Australian band’s proven that they’re in it for the long haul, it’s Something for Kate. Starting at the ripe age of 19, the trio have had their fair share of growing up to do. Drummer Clint Hyndman speaks to Charmaine de Souza about compromise, the inevitability of change and why twenty years on, they’re still going strong.

A lot can change in twenty years – just ask Clint Hyndman. Since Something for Kate’s formation in 1994, Hyndman, along with vocalist Paul Dempsey and bassist Stephanie Ashworth, have had to strike a balance between personal and band life. Twenty years later, it looks like they’ve got it all worked out. “Ultimately, we’re just people who want to write music,” Hyndman explains over the line. His voice is slightly muffled by passing traffic, and he apologises for speaking while parked on the side of the road – another indication of the work-life balance.

Hyndman confesses to over-prioritising success during Something for Kate’s humble beginnings. “When we were in our 20s – the first half of the career – the ambition was to take the band overseas and become as huge as possible,” he says. “But now it’s more about writing songs, having no pressure and playing really good shows for our fans. It’s all about the music for us, first and foremost. Anything else that comes on top of that is just a bonus.”

The drummer notes that it’s a no-bullshit, music-above-egos attitude that many up-and-coming bands are lacking. “Bands don’t seem to last longer than three or four years these days,” he laments.  “But we sort of know each other’s boundaries and when to give each other space.”

It seems that that attitude, coupled with knowing when to compromise, is the secret to their longevity. Decades on from their formation, all three band members have added parenthood to their list of responsibilities, but Hyndman insists they’ve found a way to make it work. “Now, instead of meeting at the bar for a couple of drinks, we get together at the local park and have band meetings while our kids play,” he laughs. “We’re also a little bit smarter with the way we tour. Instead of being away for weeks on end, we only go away on weekends. But in terms of our songwriting and our process, it’s still the same as when we started. Nothing’s really changed – like Paul’s hairstyle.”

The band plans on celebrating their 20^th anniversary with a handful of shows across the country in July and August and it’s certainly their most ambitious tour to date. They’ll endeavour to take on two sets each night, covering everything from their hits to B-sides and rarities. “It’ll be a good one for the fans who have been following us for a long time,” Hyndman promises. “They’re going to hear songs from the whole back catalogue.”

But make no mistake – this is in no way a farewell tour. “The tour will definitely be a really nostalgic event, but for us, it’s also signalling the halfway mark. We all took some time out to energise and come back fresh, and now we’re ready for another twenty years.”

Something for Kate play The Astor Theatre on Friday July 4. Paul Dempsey solo at the Fly By Night in Fremantle on Saturday July 5. Tickets on sale from Something for Kate’s official website.

http://www.spaceshipnews.com.au/interview-something-kate/

Live Review: British India at Amplifier

Published on spaceshipnews.com.au | 02.04.14

Saturday March 29, 2014 – Review by Charmaine de Souza
Photos by Karen Lowe

A chilly Saturday night saw fans lined up at Amplifier Bar hours before British India was set to perform. No strangers to the venue, the Melbourne rockers knew exactly how to work the crowd from the moment they set foot on stage.

Dead Glorious opened the night to a steadily growing audience. The Perth locals made the most out of Amplifier’s tiny stage, jumping around and getting the crowd amped up with high-energy tracks like ‘Flashback City’ and ‘Broken Bones’. Their headbang-inducing cover of Black Sabbath’s ‘Paranoid’ ensured they exited to roaring cheers and applause.

The venue was packed by the time British India hit the stage, with some fans having to stand on the seats just to glimpse the band over the sea of people. Several audience members already had their smartphones at the ready as the band graced the stage. Declan Melia (vocals), decked out in his own band merch, greeted the crowd with a simple cry of “How y’all feeling, motherfuckers?” before launching into a set list of past and present favourites, including early tracks like ‘Russian Roulette’ and ‘Run the Red Light’; the latter of which was appropriately performed under red spotlights. Crowd banter was kept to a minimum for the remainder of the set, with Melia’s interaction between songs amounting to variations of “We love playing in Perth!” and “Are you feeling good?”

Fans were kept moving with tracks like ‘This Dance Is Loaded’ and ‘God Is Dead, Meet the Kids’. ‘Plastic Souvenirs’ gained the first memorable cheer of the night, as the audience hastily clamoured to capture the performance on their smartphones, illuminating the venue in tiny, rectangular lights. An honourable mention goes to guitarist Nic Wilson, who provided the soaring riffs in ‘Vanilla’, while leading his section of the crowd in a rowdy jump-a-long.

The tail end of the band’s set felt more like a festival than a small-venue gig, as fans decided to try their hand at crowd surfing and shoulder riding. An electric cover of Blink 182’s ‘Dammit (Growing Up)’ only spurred the crowd on more, and by the time the band had segued into ‘I Said I’m Sorry’ – their highest ranking song in Triple J’s Hottest 100 to date – a handful of fans had found their way onstage to dance and take selfies with the band. Suddenly, it was as if a domino effect had been set off, as more and more brazen punters climbed onto the stage to join in on the shenanigans. Before long, the band was almost completely enshrouded by an onslaught of people jumping around, hugging and documenting their moment in the (literal) spotlight. A sole stagehand, keen to take control of the situation, tried to move fans back into the audience, but with little success. Things were wild, rowdy and out of control. Just the way live music should be.

http://www.spaceshipnews.com.au/live-review-british-india-amplifier/

Live Review: Stillwater Giants at Amplifier

Published on spaceshipnews.com.au | 26.03.14

Saturday March 22, 2014 – Review by Charmaine de Souza.

Fans were buzzing last Saturday night as WA’s Stillwater Giants returned to Amplifier Bar for the Perth leg of their Mi Casa Su Casa Tour. With an impressive list of recent shows under the belt including Future Music, Southbound and Groovin’ the Moo, the Margaret River four-piece already knew how to work the crowd and didn’t hesitate to show it.

Mandurah locals Indigo kicked things off, playing an infectious blend of indie-rock to a near-empty venue. Lead vocalist Chris Kinna embodied the ultimate Aussie bloke with a ladsy stage banter that he interrupted only to take a swig of beer. Kinna’s versatility as a performer was made clear as he ripped through tranquil numbers like ‘Ain’t It Funny’ one moment before soaring into an emotionally charged track like ‘Franz’ the next. The band was nothing if not passionate as they utilized every inch of the stage. By the end of their set, Kinna was writhing on the floor with his guitar, playing his guts out, and the few people lucky enough to see this were left cheering, undoubtedly pitying the latecomers who’d missed out.

Pierce Brothers were next up and ready to raise the energy levels for the steadily growing crowd. Their set opened with Patrick Pierce alone on stage, while twin brother Jack sashayed around the room, drumming on the floor, tables, speakers – pretty much everything that wasn’t meant to be drummed on. From there, the duo busted out a set featuring acoustic and electric guitars, a harmonica, didgeridoo and drums. The brothers had their twin chemistry working in their favour as Jack played the kick drum and didgeridoo simultaneously, all while holding a harmonica at his brother’s lips. Their sheer enthusiasm and folksy tunes like ‘Blind Boys Run’ spurred the crowd on, with several audience members breaking into an impromptu hoedown as their set came to a close.

With the crowd now sufficiently amped up, Stillwater Giants hit the stage and launched straight into the trance-inducing ‘Not Like the Others’. Onstage, the quartet was considerably more subdued than the support acts, but that didn’t stop them from getting the crowd moving. Their smooth sounds, coupled with Henry Clarke’s seemingly effortless vocals, transported the audience to a beat-up van, cruising along the beach on a hot summer’s day. The band’s signature three-part harmonies were on full display during ‘Insane’ and ‘Give Into Me’, and fans were encouraged to sing along (albeit terribly). Inspired by Channel 7’s recent INXS telemovie, they tried their hand at their own rendition of ‘Original Sin’, and boy did they hold their own. That ambitious feat showed punters that the Giants aren’t just your average, run-of-the-mill band of good mates; instead, they’re destined for a music scene far, far bigger than Margs.

http://www.spaceshipnews.com.au/live-review-stillwater-giants-amplifier/