Review: Spiderbait at Astor Theatre

Spiderbait at Astor Theatre
w/ Abbe May, Zerodent
Saturday, September 14, 2024

It was night one of two for Spiderbait at Perth’s exquisite Astor Theatre, celebrating the twentieth anniversary of possibly their biggest album, Tonight Alright—the one which spawned their hit cover of the 1930s (or earlier) African-American work song Black Betty. The success of their version of the track (primarily based on Ram Jam’s 1977 rock reworking) probably rivalled all of their other work combined, since the single rose to the top 40 of the US rock charts and was featured in multiple movies.

First up, Zerodent delivered a punchy and punky warm-up set, which earmarked them as a band to keep an eye on, with frontman Lee Jenkins’ energy undeniable. We’re off to find a copy of their recent Human Races album, stat.

Nobody could accuse Abbe May of being stuck in a rut. She came to prominence out front of stoner rockers The Fuzz, delivered a couple of great heavy blues albums, embraced electronica, and has hit many points in between during her outstanding career. With a new album on the horizon, Big Pu$$y Energy, she was firmly in the indie blues zone with Sonic Youth noisenik edges.

She’s a singular entity, no doubt about it, dancing to the beat of her own drum as she and her band ran through the likes of T.R.O.U.B.L.E., Karmageddon, and Ginuwine’s Ride My Pony, which she laughed about, saying they “forgot to rehearse.” Not that you’d know it, and May barely restrained her amusement on the suggestive choruses, with a dark, sexy voodoo vibe turned up high.

May told the audience she is “semi-retired,” but we really hope that won’t stick, as she’s sounding fantastic, bringing an undeniable intensity to these favourites and—finding herself with an unexpected three extra minutes left in her set—finishing with a song from her Rockin’ Pneumonia days, A Blackout In Your Town, delivered solo in full trance-like voodoo blues mode.

Then the lights went down, red fluorescent lights illuminated the stage, and Ennio Morricone’s Il Vizio D’uccidere played, signalling it was time for Finley, New South Wales’ favourite guitar-slingin’ hombres and mujer, Spiderbait, to take the stage. But something was not right… Damien Whitty was sitting down. Janet English took her place—but not to stage-right, instead behind the drums, and Kram took his place out front of stage. What’s going on? We were treated to an acoustic version of Black Betty, with Kram’s vocals filling the room and the sell-out crowd singing along in full voice from the very start.

The trio of old schoolfriends then assumed their normal positions and kicked off a show of epic proportions, leaving the crowd sweaty, hoarse, and very, very happy.

The set featured some lesser-known tracks, such as Straight To The Sun and Chest Hair. Janet’s mellifluous vocals on Outta My Head, Cows, Tonite (singing this one for the first time ever, apparently), the classic Fucken’ Awesome, and Calypso, along with early faves Jesus, Monty, Old Man Sam, and Sam Gribbles, and so much more.

Their beloved cover of The Goodies’ Run made a welcome appearance, as did the fun Footy, and it’s worth noting that few bands ever have managed to capture such a captivating mix of brilliantly heavy songs and brutally catchy and pretty melodies—often in the same song.

By The Time I Get To Howlong is a tribute to growing up in a small town, delivered mostly acoustic with Janet playing harmonica; Fucken’ Awesome is just that, many people sporting the new t-shirt design and everyone singing along—from the kids chaperoned by their parents to the oldies reliving their glory days.

Buy Me A Pony—the first Aussie song to top Triple J’s Hottest 100, back when Triple J was not just good but essential—remains the perfect skewering of the fickleness of record labels, and Calypso were fitting closers for the main set.

Janet then took the lead for a cover of Motorhead’s Ace of Spades before an extended, and very ‘eavy, second run through Black Betty, which couldn’t have been more different from the first one.

They go alright, this mob, and make a glorious fucking racket for three people. All we needed after the set was a shower to wash off the sweat and a lemon and honey tea to soothe the strained throat.

SHANE PINNEGAR

Photos by Linda Dunjey