Review: Jet at Metropolis Fremantle

Jet at Metropolis Fremantle
w/ Super American Eagle
Friday, May 17, 2024

Upon arrival at Metros Freo, it was evident from the line stretching onto South Terrace that Jet fans had gathered in full force to celebrate the group's debut album Get Born with them on Friday night. The paper cups serving drinks and the immediately sticky floor only added to the anticipation.

Super American Eagle were lucky to have such a large number of early arrivals. Their assortment of gritty rock, topped with snarling harmonies, was a stylistically appropriate sound for the occasion, bringing strong reminders of Misty Mountain Hop and Ace of Spades throughout their set.

Emerging onto the stage next, Jet appeared older and wiser, with a mixture of beards, dinner jackets, and bandannas donning the members. Put Your Money Where Your Mouth Is launched the show with midtempo nerves as Nic Cester’s falsetto got lost in the boomy and reflective room.

The opening riff to She’s a Genius immediately had the crowd chanting along, with Chris Cester’s stomping backbeat bringing much-needed defibrillation. The joy of the chorus brought the already sardined audience closer together, but no one seemed to mind—being squashed against sweaty strangers who like the same band is truly the strongest form of human contact. The steady Black Hearts (On Fire) rocked confidently to round out the opening trio.

Nic Cester announced the centrepiece of the set by mentioning the time passed since the release of Get Born. Despite twenty years, the audience was willing to ‘give it just one more try’ as they launched into Last Chance. Then it was time for that infamous tambourine intro, with the heat generated from the buzz of Are You Gonna Be My Girl enough to bring one back to the summer of 2004. False endings were extended to savour the moment, with the singing Cester using one as an opportunity to remove his jacket.

The meaning of the album to those in attendance became clear during Look What You’ve Done, with just about every couple embracing as Cester took a seat on the stage floor to tenderly snarl the Beatle-esque power ballad. Along with Move On and Radio Song, the softer side of Get Born shone through, assisted by the ever-powerful and reliable Metropolis Choir.

Get Me Outta Here marked a return to energetic riffage, before a familiar ominous buildup led to a collective shriek across the room for Cold Hard Bitch. Mates and strangers jumped with arms around each other’s shoulders to its irresistible beat.

A brief moment of calm came with Come Around Again, Cameron Muncey’s second track on the album, once again showing him to be the Gram Parsons of Jet. Country rock stylings were short-lived, though, as the band then tore through the frantic Take It Or Leave It.

Lazy Gun and the acoustic Timothy, sung by Chris Cester, ended the album in a reflective mood, making it a perfect time for the crowd to bond over the album’s meaning. In lieu of the patrons chanting encore, the band exited the stage minus Nic Cester, who remained on stage with his acoustic guitar for a solo rendition of Shine On. His voice and instrument alone were no match for the rich hollering; 'shine on’ had more meaning than ‘encore!’

With the full band returned, there was only one way to close the show: to Rip It Up, absolutely shredding through the track with force that could rip a phone book in half. With the music no longer pounding, the audience was then faced with the daunting task of shuffling through each other to the exit.

Despite the guitar solos getting lost in the bass-heavy room and the vocals and stage banter getting lost in the reflective walls, the crowd's appreciation for Jet and their debut album was always on full display. The evening was more than a band playing or even a dose of nostalgia; it was a celebration of an important piece of Australian culture for a congregation of people that shared an important part of their lives.

AJ MAHAR

Photos by Linda Dunjey