Review: Floodlights at Freo.Social

Floodlights
w/ Bures Band
Friday, May 11, 2025

Freo.Social welcomed Melbourne band Floodlights on Friday night as they toured in support of their new album Underneath.

Some might say three guitarists is too many for one band, but Perth five-piece Bures Band showed this not in this case. Lead singer Callum Anderson with Stephen Bailey and Danny Miles struck a harmonious balance that never overwhelmed the ear or overshadowed one another, while Tom Beech on bass and Noah Symonds on drums drove the heavier sounds through the mellow music. 

Bures Band are a folk-rock quintet with a 60s and 70s Americana folk influence in the vein of Neil Young and Creedence Clearwater revival. Yet the Australian lads make the sound their own, melding guitars, drums and wind instruments in the form of flute (played by Beech) and harmonica (played by Miles) in a whimsically rustic manner. 

The Bures Band opened with Drifting, a tune befitting road trips which mentions Caves Road, an idyllic stretch of road deep in the South West, hinting at the band’s sense of adventure and perhaps a longing for simpler times. 

With groovy and melodic Zeppelin-inspired riffs, The Bures Band graced the crowd with unreleased songs Ozonia and Avon Valley along with Caravan Land and Green Town off their 2024 album Fool Circle. 

The sound of trumpet then echoed through the venue as Floodlights opened with Alive (I Want to Feel), a gorgeous, meandering tune that erupted in a sudden explosion of sound once all the members’ instruments merged.

Floodlights began recording six years ago and were joined by Sarah Hellyer for their 2023 album Painting of My Time. Her input on trumpet and keyboard offers both depth and an emotive tone to Underneath and it sounds like she will be an ongoing fixture in the band.

During their second song, Cloud Away, it seemed Sinead O’Connor and Dolores O’Riordan had been conjured through the Sean-nós style female vocals from Hellyer and Ashlee Kehoe. Suburbia really emphasised Kehoe’s harmonica abilities, intensifying the pared back symphonic sound.

Compared to 2019 EP Backyard which has an Australiana twang to it and lyrics recanting modern Aussie tales, 2024’s
Underneath has a more expressive and refined rock sound. Guitarist and lead singer Louis Parsons’ approach to his vocals has evolved, showcasing the extent of his vocal ability which had been somewhat limited in their previous albums – not for the worse – however the laid back style has been fine tuned and his vulnerability and confidence as the leading man shines through moreso now.

There is still a distinctly Australian sound reminiscent of rock and punk bands from the 80s and 90s such as Hunters and Collectors, The Triffids, The Church, but perhaps Melbourne itself breeds a certain sound as there seemed to be influences from artists such as Jack Ladder and The Drones in addition to post punk elements à la the late, great Ian Curtis. Regardless of the many musical influences, Floodlights certainly have their own unique voice and personal lyrics.

There is also a political element to some of their songs, giving them a punk edge at times. Parsons made an Acknowledgment of Country early on in their set, while also acknowledging Ukraine, Palestine, Sudan “and anyone who is being oppressed,” before the band then kicked off Small Town Pub – a punchy, poignant spoken word punk track.

While the Hellyer and Kehoe oscillate adeptly between instruments (trumpet and keyboard, harmonica and guitar, respectively) bassist Joelle Draffen and drummer Archie Shannon provide the rhythmic deeper tones. While Draffen has admitted the band can put off practice by going surfing instead, the procrastination doesn’t show. The band are tight and in synch.

JOY offers an emotive yet energetic example of Floodlights’ wonderful harmonisation, both vocally and instrumentally, while Nullarbor got the fans pumped up for some pub-rock nostalgia. The line “I want to rattle my own cage” seemed to reverberate through the room with a bittersweet feeling.

The crowd were most psyched for Buoyant the rock song worthy of a sentimental sing-along, which Parsons fills us in is a song about ageing and being aware of how we can be judgmental of older generations.

After a brief run off stage, Floodlights returned for an encore, finishing with another highlight The Light Won’t Shine Forever, encompassing a contemplative yet uplifting performance.

KYRA SHENNAN

Photos by Adrian Thomson