Review: Greg Phillips. Photos: David Harris.
Thankfully a few astute promoters stepped in at the last minute to salvage some key international tours from the shitstorm that Bluesfest 2026 became. More importantly, the tour I was most excited about was one of them… The Pogues, celebrating 40 years of their classic album Rum, Sodomy & The Lash.
Since the passing of The Pogues main-man Shane McGowan and the global outpouring of love surrounding his funeral service, which transformed grief into a celebration of his life, the band has gone on to reinvent itself magnificently. Key band members, Spider Stacy, Jem Finer and James Fearnley have put together an Irish punk orchestra, a collection of extraordinary musicians to keep Shane and the band’s flame well and truly alive.
The travelling Celtic circus that is The Pogues in 2026 had already left its indelible mark on Perth and Adelaide and word had got out that an epic time was had by all at The Pogues’ first Melbourne gig on Sunday night. Consequently the final Tuesday night gig was packed to the theatre’s ornate rafters as well.
Released in 1985, Rum Sodomy & the Lash is a cornerstone of punk and alternative rock, renowned for its raw energy, poetic lyrics, and infectious melodies and many in the Melbourne crowd knew every lyric of the album. While the record has been played in full on this tour, it hasn’t necessarily been in track order, which has kept the audience on their toes.
A spirited jig emanated from the PA system as the imposing 11 piece band casually marched onto stage, taking up their positions. It would soon grow to 14 piece when the brass section arrived. Tin whistle player and newly crowned frontman Spider Stacy, recited a heartfelt welcome to country before easing into Sickbed of Cuchulainn, the opening track of the album.
The first verse was ominous, almost spoken rather than sung before it kicked into the first rockin’ reel of the evening, from which there was no turning back. For the rest of the night it was knees up, hands in the air, pogo dancing and spilling beer. Let’s call the ambience rowdy, chaotic joy. With so much despair in the world, this crowd just wanted to forget the outside woes and remember their champion Shane McGowan, whose spirit was ever-present throughout the evening.
Wild Cats of Kilkenny began with a shrieking howl from bass player Holly Mullineaux, who also added rumbling bass to the pulsating tune, while Lisa O’Neill offered zing on the auto harp. Banjo player Jordan O’Leary then took lead vocals on Pair of Brown Eyes, such is the versatility of this multi-tasking troupe. Spider returned to the microphone for the punk thrasher Billy’s Bones, as the crowd proceeded to lose their shit.
Those who were in early had the pleasure of experiencing band member John Francis Flynn performing a quality set. Flynn occupied the main mic on the ballad Navigator, ably assisted by Iona Zajac on backing vocals, who also contributes harp to the band. In a constant rotation of vocalists Spider and Lisa regained the spotlight for Gentleman Soldier, a drunken pirate song if ever I heard one. Jesse James gave Spider the opportunity to showcase his significant tin whistle skills, urged on by the enamoured crowd.
One by one the band ticked off the tracks from Rum, Sodomy & The Lash and eventually came to one of the most poignant moments of the night. Spider acknowledged for the first time a presence that was missing, as they floated into Dirty Old Town, possibly Shane McGowan’s most famous recording. With Lisa O’Neill on vocals, the crowd sung along passionately with sorrow in their hearts and celebration in their spirit. Spider told the crowd that the night and the bands career wouldn’t have been possible without Shane, to which the audience respond with an extended ovation. Rainy Night in Soho followed, another McGowan classic with the crowd singing back every note of the melancholic tune, arms around their mates, swaying in time in another special, communal moment.
There’s something to be said of the magical sonic effect of a range of traditional instruments interacting with each other… banjo with guitar, harp with accordion, mandolin with tin whistle, all noises made on stage live by real musicians and not a sample to be heard. All the while, underneath the beautiful cacophony, the motor is powered reliably by Jim Sclavunos, Bad Seeds drummer and bass queen Holly Mullineaux.
With Iona back on lead vocals, Poor Paddy Works on the Railway delivered Pogues punk perfectly. Repeat that back quickly after a few Guinnesses! And The Band Played Waltzing Matilda predictably had the audience totally involved before the band completed the Rum, Sodomy & The Lash set with the pop-flavoured London Girl.
After a quick drink and a ciggie the band returned for a dynamic version of The Irish Rover, a song the band performed with The Dubliners back in 1987. Streams of Whiskey, led by Darragh Lynch was another high-spirited jig casting an even deeper spell on the already exuberant crowd. Boys From The County Hell, a lively pirate shanty and Dark Streets of London added even more to the revelry. Returning to the Rum, Sodomy & The Lash album, the shouty Sally MacLennane offered the audience one last chance to chant along with the band. However, nobody could let them go and the Pogues came back to the stage for one final fling, dropping the merry Greenland Whale Fisheries upon us.
For longtime fans of The Pogues, this was not just another chance to party with a band they hadn’t seen for fourteen years, it was our chance to both grieve and celebrate the life of Shane McGowan. Melbourne Pogues disciples filled two Forum Theatres to raise our glasses to the spirit of a unique poet and musician. Long live The Pogues.
Jem Finer – Banjo, mandolin
Spider Stacy – Tin Whistle
James Fearnley – Accordion
Holly Mullineaux (bass)
Darragh Lynch (guitar – Lankum)
Jordan O’Leary (banjo)
Fiachra Meek (pipes/whistles – Alfi)
Jim Sclavunos (drums – Bad seeds)
Iona Zajac (vocals – Harp)
John Francis Flynn (Vocalist, Multi-instrumentalist)
Lisa O’Neill (Vocals)
BRASS SECTION:
Pete Fraser
Daniel Hayes
Ian Williamson
