Saturday 31 August
Supports: Sly Withers, Vana (NZ)
Sydney alternative/rock outfit Stand Atlantic rounded up their recent WAS HERE album release tour in Brisbane over the weekend and it was a huge night for all involved. Having just played to Melbourne and Sydney audiences and then finding out the band had debuted on the ARIA Australian Album Charts at #2, well, it made even more sense that their biggest show of the tour occurred in Brisbane — and on the same day as the city’s biggest fireworks spectacular, Riverfire. As mentioned, it was a massive night on all fronts.
Kicking off the evening at the Fortitude Music Hall was New Zealand alternative/metal act Vana. An act previously unknown to me, there weren’t many expectations in the lead-up to today. However, her presence that night had alot of heads turned towards the stage. Adorned in dark red aesthetics, Vana charmed the early crowd with an affluent dose of grimey, dark pop laced inbetween deep basslines and heavy metal fury. Her whole demeanour had us in an absolute trance, giving eclectic metal sensibilities paired with “scenexcore”, in a similar vein to worldwide metal/pop sensation Poppy. We hope she returns to Aussie shores sooner rather than later.
It’s rare to see a musical act from WA gain main support for an internationally reknowned band like Stand Atlantic, so for Perth indie/rock outfit Sly Withers, tonight was a huge milestone unlocked. The band changed the tempo quite rapidly, offering punters a taste of their brand of Aussie-tinged punk rock. Co-vocalists/guitarists Jono Mata and Sam Blitvich levelled the playing field on stage effortlessly, as each took turns in leading vocals through each song.
Unfolding with latest single ‘Everything‘, Blitvich made a turn down familiar territory with 2021’s hit ‘Cracks‘ and instantly reminded me of Sly Wither’s overarching potential in becoming mainstays in the Australian alternative/rock circuit. Witnessing songs from their most recent EP, Overgrown was a particular standout, with evidence by the band’s enthusiasm and gratitude to be playing. They celebrated with songs like ‘Radio‘ and ‘Something‘ that offered fans a little more of an edgy, rock flavour.
Moments before Stand Atlantic took to the stage, the energy in the Music Hall was filled with infectious, wholesome energy. It wasn’t hard to tell that fans came out in droves for this show, surrounded by friends — new and old. Taking a minute to soak it all in, the lights dimmed right down to a vibrant crimson red. Vocalist Bonnie Fraser discreetly appeared centre stage, surrounded by bassist Miki Rich, guitarist David Potter and drummer Jonno Panichi. Over the PA blared the opening bars of album intro, ‘Wake Up-Sit Down-Shut Up‘, the glitchy bounce of guitars building up all of the momentum. Taking us down through familiar territory with 2022’s hit track ‘Hair Out‘ and fan favourite pop punk anthem ‘Jurassic Park‘.
Given this was the album release tour, the obvious highlights would be witnessing what tracks from WAS HERE made its debut. While ‘WARZONE‘ made an impact in the pit with its fiery punches and riffs led by Potter, it was the live debut of ‘KISSIN KILLER COBRAS‘ that was favoured by many. Stage lights flashed relentlessly as Bonnie sang with a refreshed confidence that emanated the fierce personality of a song that clearly became a fan favourite that night.
This was quite easily, the band’s biggest stage production yet. Featuring two pole dancers on either side of the drumkit, they’ve managed to pull off the album’s glitz and glamour well, offering much more than your average rock band stage show. With ‘Blurry‘ sending shockwaves through our veins, this set the scene for dancefloor anthem ‘Sex On the Beach‘. Soaked in sultry pop sensibility, we witnessed all four members shine at their brightest with Potter at the helm of that post-chorus breakdown.
Through all that energy, Bonnie preceded to take a moment to slow down (just slightly) to take in the current scene that was Stand Atlantic’s biggest headliner to date. Showing her full gratitude to Brisbane for being the band’s biggest shows in Australia thus far, she performed acoustic belter ‘Toothpick‘ which transitioned into nostalgia opting for a sneaky cover of Train’s ‘Drops of Jupiter‘. Together her raw vulnerability was exposed for the world to see, but that refreshing new confidence that was heard on the album shined through and she went along with this move effortlessly throwing into lovestruck pop with ‘LOVE U ANYWAY’.
The band’s latest collaboration with US star Sueco, ‘NOSEBLEED‘ also made its debut but it was the highly anticipated Polaris collaboration that absolutely stole the night. A momentary interlude of heavy EDM beats transformed the Fortitude Music Hall into what felt like the ILLENIUM show I attended late last year. Following bassist Miki Rich telling the crowd to continue fist pumping and that pulsating beat of ‘CRIMINAL‘ blared out over the speakers. The overall vibes felt more like a swanky nightclub in Las Vegas or Hollywood than the bright lights of Fortitude Valley, but Stand Atlantic definitely lived up to the BrisVegas experience that night. I was nervous to see how this track would play out live, but they exceeded all my expectations and this is by far one of their best live performances.
Finishing the night with ‘Deathwish‘, Stand Atlantic reappeared one last time for an encore performance of ‘Coffee At Midnight’ and 2024’s empowered anthem of the year, ‘GIRL$‘. “This one’s for the girls…”, Bonnie exclaimed while Miki encouraged the crowd to clap in time with the beat. With the aforementioned pole dancers also joining in with a set of bubbleblasters made for quite the finale, giving the euphoric launch that WAS HERE so deserves.
Honestly, I say it again and again every time Stand Atlantic come out with a new album. However, after seeing them perform these new tracks tonight, this act are at the forefront of the music world today, redefining industry norms and maintaining their edge whilst at it. Surely, they’ve got an ARIA in their sights next year?
Review by Tamara May
Photos by Reece Trudgen
