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Sydney Morning Herald
4 days ago
- Entertainment
- Sydney Morning Herald
Headbanging and handstands as hometown heroes go hard at tour closer
MUSIC Press Club ★★★★ Corner Hotel, August 8 'You should see the piece of skin hanging off my shin,' says Press Club singer Natalie Foster of the blood trickling down her leg, just four songs in. 'It scared me. I've only seen that once before when I was 18 and fell off a construction site drinking tequila.' This banter could be a manifesto for her jangly, garage-punk quartet. Misadventures and big emotions, testing limits and returning home to report on them: they're key themes throughout the Brunswick group's catalogue. Since their debut in 2017, the staunchly DIY Press Club have been on a tear – stomping across world stages and releasing four LPs in quick succession. Tonight they're launching their latest, the sugary punk sheen of To All the Ones I Love. It also makes for an emotional homecoming, laced with a slight hint of exhaustion, to close the band's 10-week, 30-date European and Australian tour. Following a walk-on to the moody I Am Everything, Press Club throw everything at it. 'We're from Melbourne,' says Foster before a blistering Cancelled. 'Feels f---ing, good to be playing our hometown.' The celebratory Headwreck ignites the first singalong, and from there it's over to Foster to pull focus – be it via bloody injuries or her incredible voice, which retains its husky, impeccably roaring croon even when she's mid-headbang, pulling a handstand mid-verse of Coward Street, or lost deep in the crowd. Around her the band sizzles on Greg Rietwyk's relentlessly melodic guitar lines, Iain MacRae's excellent burbling bass and the breakneck drumming of Timmy Hansen, filling in for founding member Frank Lees, who's on parental leave. Dynamics of a punk show can be tricky – if every song allegedly inspires catharsis, after a while the stakes don't seem as high. Press Club mitigate this with clever stylistic detours. Mid-show highlight Untitled Wildlife features Stu Patterson from support band Placement lend wailing saxophone to an indie-rock build that culminates in real anthemic alchemy. Suburbia, from the band's debut, Late Teens, remains the perfect set closer, Foster yelling, 'I can't relate to letting all your dreams go', while instructing the crowd to launch themselves one last time.
The Age
4 days ago
- Entertainment
- The Age
Headbanging and handstands as hometown heroes go hard at tour closer
MUSIC Press Club ★★★★ Corner Hotel, August 8 'You should see the piece of skin hanging off my shin,' says Press Club singer Natalie Foster of the blood trickling down her leg, just four songs in. 'It scared me. I've only seen that once before when I was 18 and fell off a construction site drinking tequila.' This banter could be a manifesto for her jangly, garage-punk quartet. Misadventures and big emotions, testing limits and returning home to report on them: they're key themes throughout the Brunswick group's catalogue. Since their debut in 2017, the staunchly DIY Press Club have been on a tear – stomping across world stages and releasing four LPs in quick succession. Tonight they're launching their latest, the sugary punk sheen of To All the Ones I Love. It also makes for an emotional homecoming, laced with a slight hint of exhaustion, to close the band's 10-week, 30-date European and Australian tour. Following a walk-on to the moody I Am Everything, Press Club throw everything at it. 'We're from Melbourne,' says Foster before a blistering Cancelled. 'Feels f---ing, good to be playing our hometown.' The celebratory Headwreck ignites the first singalong, and from there it's over to Foster to pull focus – be it via bloody injuries or her incredible voice, which retains its husky, impeccably roaring croon even when she's mid-headbang, pulling a handstand mid-verse of Coward Street, or lost deep in the crowd. Around her the band sizzles on Greg Rietwyk's relentlessly melodic guitar lines, Iain MacRae's excellent burbling bass and the breakneck drumming of Timmy Hansen, filling in for founding member Frank Lees, who's on parental leave. Dynamics of a punk show can be tricky – if every song allegedly inspires catharsis, after a while the stakes don't seem as high. Press Club mitigate this with clever stylistic detours. Mid-show highlight Untitled Wildlife features Stu Patterson from support band Placement lend wailing saxophone to an indie-rock build that culminates in real anthemic alchemy. Suburbia, from the band's debut, Late Teens, remains the perfect set closer, Foster yelling, 'I can't relate to letting all your dreams go', while instructing the crowd to launch themselves one last time.
