In hindsight, it would probably be easy to contextualise them within the phenomenon that was Garbage, Shirley Manson and the more palatable post-grunge period where women less overtly threatening than the L7 and Bikini Kill types were enjoying some radioplay. Doing so drastically undersells just how well this band understood how to combine heavy riffs with super catchy melodies and addictive vocal hooks.
Returning to the ANU to play the hallowed Refectory’s temporary replacement, Superjesus were on fucking fire. Having gone back through the records before the show one thing became instantly clear from the first track in; the album sound had heavily softened what it is they do when they play live. As a frontwoman, McLeod is so completely compelling; she is vocally on top of her game and her stagecraft renders her larger than life. As a band they are unmistakably tight throughout the entire set. This might in some ways be attributed to the addition of Travis Dragani on drums and the return of Jason Slack on lead. McLeod references some of the band’s internal discontent but none if that is present for this show. The double guitar sound is brutally aggressive and held together by the constancy of Stuart Rudd’s bass.
In tribute to Sumo the entire first half of their whopping two and a half hour set is dedicated to playing that album from start to finish. After a short break they come back and play an eclectic set beginning with McLeod taking a seat at the keyboard and knocking out a ballad, making its way through a track or two from the debut EP Eight Step Rail and settling on a charged cover of Kylie Minogue’s ‘Confide in Me’. It turned out to be one of the most satisfying performances in the Territory this year and really demonstrated just how responsive Canberra can be to acts like this who lay their heart at the foot of the stage.
Uniquely on this tour Superjesus played with a support act for the Canberra show; all girl Sydney based four-piece Rackett. If ever you were inclined to think that gutsy riff driven rock n roll was for nostalgis alone, this was the band to reset your perspective. Fronted by Rebecca Callander, who channels a New-York-in-the-70s, CBGB vibe like nobody else, Rackett do a pop punk dirty rock n roll thing and they do it really really well. Think Deap Valley with a fuller sound. Musically, it’s raw and gritty; stylistically they’re much less of the serious and more of the fun. Callander’s overt displays of sexuality seem more playful than anything else and do nothing but endear her to every person in the room. If they can maintain the kind of enthusiasm they showed in this performance they’re likely to be a band we hear a lot from.
The nostalgia of the 20 year anniversary tour is great for old 90s heads like me, and there’s been a few in the last few years. Grinspoon did their ‘Guide to Better Living’ tour last year, as did Pennywise with their ‘Circles’ show. But, in truth, I hope this show was more than that. I hope this is a sign tha
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