Review: Bryget Chrisfield. Photos: David Harris Photography
On support duty this evening, Melbourne’s cacophonous, synth-led quintet Screensaver are clearly chuffed to be here. Sawing guitar, metallic-y bass, stop-starty drums and Krystal Maynard’s vocals (often monotone spoken-word style, but with random cutesy accents) – it’s a whole vibe: unhinged yet meticulous. After Screensaver wraps their last number, Maynard delightedly informs us that “according to [her] Casio watch” they’ve performed for exactly 30 minutes, as instructed.
While Sleaford Mods take the stage, a front-row fan holds up two large oval-shaped signs. Rotating them so the people in the back can admire their handiwork, we clock enlarged photos of the affronting Nottingham noise duo’s noggins – one in each hand.
Instead of the customary “one two” mic check, frontman Jason Williamson favours squawking like some kind of macaw – recreating this call rather often throughout the course of their set.
Sleaford Mods present concise slices of pulsating rage littered with cuss worlds and c-bombs aplenty. Spitting rhymes with much relish, Williamson seems permanently perplexed/infuriated, which is just the way we like him. But listen closely and LOL-worthy lyrics will catch you unawares (eg. “The smell of piss is so strong it smells like decent bacon”).
The sound of cackling laughter kicks off ‘The Good Life’, which barnstorms in at song two. Gwendoline Christie (Game Of Thrones) – who represents Jason’s inner voice during this highlight from the pair’s latest and 13th album, The Demise Of Planet X – is sadly not here in the flesh, but her guest vocals still spread terror via backing track.
Heads start bopping as soon as Andrew Fearn presses play on the banging ‘Megaton’. Fearn’s beats typically throb with menace. He dances along more enthusiastically these days, his arms like a tube man at times. ‘TCR’ is greeted by a passionate audience shout-along.
“Hey Mel-booooorn!” Williamson finally acknowledges our presence, pausing for dramatic effect before adding, “Fuck oooooff!” Williamson later overshares that he overate before the show. He often performs in profile, slapping the back of his own head or holding a water bottle on his crown like some kind of posture check.
Williamson’s acting chops upgrade his delivery to untouchable as he plays various roles within their tracks. He’s also a real twinkle toes up there.
“Too high, too low/ It doesn’t make a difference…” – ‘Mork n Mindy’ goes down an absolute treat.
Williamson shushes us “to create a bit of tension” going into the harrowing ‘Gina Was’, during which he recounts a traumatic childhood incident where he was pinned down and assaulted by female schoolmates.
Their cover of ‘West End Girls’ by Pet Shop Boys, enhanced by spinning mirrorball, is an unexpected highlight. “Got any jobs going at the bar? Only need two” – is how Williamson opens Jobseeker, during which many amongst us feel seen.
