Live Review: The Creases w/ Good Boy & IVEY @ The Woolly Mammoth

Who would have thought so many people would go against Brisbane’s cold nights all to see a local band? Well, it makes sense when it’s for a band like The Creases! With the release of their latest single Impact, The Creases took on the East Coast of Australia, first hitting Brisbane’s notorious Woolly Mammoth.

As my first experience at the Woolly Mammoth I was a little let down after hearing great things about the venue – not to say the venue isn’t great. The atmosphere was electric as I went from having a few beers on the scuffed up couches with mates, to finding myself lost in the middle of a human ocean. Packed to the brim, the Woolly Mammoth showed it’s loveable flaws within the layout of the venue as people overflowed the dance floor and started to rebound off the giant concrete poles that stood around the room.

Gold Coast outfit IVEY took to the stage with their cutesy vibe and vibrant waves of sound. With chimes of guitar and vocals sung in unison by vocalist Milly, and guitarist Lachlan. IVEY impressively delivered their songs like their studio sound especially in their latest single, All Things Good. The single escalated into a vocal chorus from the entire band and intimate crowd. Setting the night with bare feet and comfortability, IVEY pleased the early comers with their contagious, fun performance.

Good Boy conquered the Woolly Mammoth stage with their colourful style, knitted beanies, and their ability to rile up the crowd in no time. Frontman Rian King announced to the crowd his habit of being a ‘wine mum’ and he drunkenly fixed his beanie. The Smith Street Band-esque three piece delivered enough thudding bass, crashing drumlines, and low-key aggressive vocals to have the room filled and moving within moments. The crowd even moved along to Poverty Line as the bass rippled through the room. Some of their set was recognisable, but the crowd was spoilt as the Brisbane outfit treated them to tunes from their forthcoming EP, ‘Plum’.

Crashing in with last year’s loveable single Point, The Creases caused an uprising in the room. Flailing elbows and trickles of sweat emphasised the lighting work as the local gents cruised through with 80’s synth and lead vocalist Joe Agius’ modest style.

The Creases’ cruisy drums, surf guitar, and idle melodies resembled a style like that of The Kooks’ ‘Junk Of The Heart’ era. All four band members rocked the underground fashion to go with their sound. Awkward hair cuts, high-waisted denim, and unstoppable smiles – The Creases truly embraced their 80s inspiration.

It was an inescapable pandemonium as the crowd of septum piercings, box fringes, and beer drenched t-shirts forcibly yelled the lyrics of The Creases set. Gradient was an outburst of spontaneous dance moves from both the crowd and the band as the teenage love song took hold of every one in the room. “And now she’s breaking the rules/’Cause that’s what she does/And he’s acting a fool/You know he always was,” sang Agius.

With no down time to spare, the Brisbane lads fired on! The 4-piece even threw New Order’s Age Of Consent into their set with a whopping amount of bass from Jarred Mahon. The rowdy show encouraged friends of the band to join the stage, half dressed and ambitious to play instruments of their own, with one man embracing the tambourine as he crawled his way across the platform.

Although The Creases pulled off a great show, it was sometimes hard to find the break between each song. Tune after tune, the atmosphere was electric but there was no versatility in the set, resulting in a tiresome crowd come the final track. Not even waiting for the final song to finish, fringes of the crowd fell away to turn in for the night.

The Creases presented one of the craziest, sweatiest, and outrageously fun gigs I’ve seen from a Brisbane band in a while. Having seen them progress over the past few years, it’s obvious how far they’ve come. Their set was a tight nit collection of contagious 80s inspired pop – everything that you would expect from The Creases!

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