There’s always live music on a Thursday night, but when the following Friday is a public holiday everyone is loosened up and ready to party harder. This was obvious at The Infants single launch at The Workers Club on Good Friday Eve, with the crowd and bands both rearing to kick their long weekend off.

As I arrived, King Evil were in full swing and it was coming close to the end of their set. Their introverted, shoegaze had already captivated the audience and it instantly grabbed my attention as well. As the guitars and keyboards washed over the crowd, I forgot about time for a while until singer Jack Renoir announced their last song. Keeping with the recent fashion of paying homage to Kurt Cobain, they performed a version of Nirvana’s posthumous single ‘You Know You’re Right’, with Renoir almost channeling Cobain’s tortured soul with his vocals over their slower, bleak sounding, interpretation.

Mangelwurzel were up next and, even debuting a new lineup, they were as entertaining and energetic as ever and easily reminded me why they’re becoming one of my favourite local acts. Opening with “Oh Whys” and then going straight into ‘Dead Pets’ they demonstrated their incredibly unique and eclectic style while the eager audience danced along, and punctuated every song with raucous applause. Cosi Jaala was her usual chaotic self, while Charlie Woods took advantage of the PA system, jumping up on the subwoofers out front during her trumpet solos and getting the crowd worked up even more. The set seemed to finish up really quickly, and it was over well before I had heard enough.

Even if you’re the headliner, following a band like Mangelwurzel can’t be easy and The Infants had a challenge ahead of them. ‘Tosis’ was a solid opener, capturing the crowd straight away, but unfortunately their energy faded very quickly between songs and the next few didn’t seem to hold the attention of the crowd. To be perfectly honest, by the end of the third song I was starting to worry. It wasn’t until singer Blaise Adamson grabbed her guitar that the whole thing seemed to click and the room’s atmosphere shifted accordingly.

Once the set started to gain momentum, The Infants became an unstoppable machine. Before I even realised how far through the set we were, sharply dressed guitarist Anthony Morse was shirtless and Adamson was hurling her malfunctioning keyboard across the stage as the intensity of their performance erupted in a brilliant finale. Despite the awkward start, which I put down to equipment issues, the show was great and the band owned the ferocity they brought to the stage.

Wes Fahey


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