Review: The Beths at Rosemount Hotel

The Beths at Rosemount Hotel
w/ Juice Webster
Monday, March 4, 2024

With a jam-packed tour schedule over the last two years in support of 2022’s Expert in a Dying Field, fans of The Beths, and especially those in Perth, were lucky the Auckland group found time for another lap around the country. Despite this being their third visit across the ditch in less than two years, including Laneway 2023, a packed Rosemount Main Room last Monday proved their ongoing appeal.

Melbourne singer-songwriter Juice Webster opened the show with a solo set. After the first number, Julia, as she and her debut album are named, complimented the headliner’s fans on their kindness and listening skills. Both were visible among the crowd. Turning out in large numbers for the support act, Webster’s sweet chirping voice and bright fingerstyle guitar were well-appreciated by attendees.

By the time an '80s synth pop-inspired rendition of Future Me Hates Me began playing over the speakers, the crowd filled the room right to the entry door, all cheering together as The Beths entered the stage. A punchy pair of songs from their most recent album followed, with Knees Deep and I Told You I Was Afraid kicking up the energy levels from the beginning. The latter’s tempo and pounding, syncopated beat showcased drummer Tristan Deck's driving energy, which was very much needed for a Monday night gig. Attention was drawn to the life-size replica of the fish donning the album cover—the only fish cool enough to feature on a Tinder profile.

You Wouldn’t Like Me was augmented by the crowd recreating the rhythmic handclaps featured on the recorded version—more of that trademark Beths' fans' kindness. The band took turns introducing each other before joining their voices in the angelic harmony on the 2023 single Watching the Credits, serving as a melodic foil to the distortion. Some slight cracks in the voice of frontwoman Elizabeth Stokes may have shown some of the toll of a national tour, but they did not make her delivery any less heartfelt, retaining the chirpiness she is known for.

The shimmering tremolo-effected guitar of Jonathan Pearce signalled the start of Best Left. The audience again assisted in recreating the recordings, this time by chanting “Some things are best left to rot” with great passion and relatability. After catching their breaths during the slower singalong, Little Death brought the show back up to speed. The band continued to go up and down with tempos for the next few songs, as if teasing a breakneck race to the finish. When You Know You Know was a highlight of lead guitar from Pearce, one of many wailing and melodic moments to choose from.

The last few songs might not have quite been the frantic race teased, but they still brought the audience even closer to the stage. A mess of feedback and percussion ensued before the speedy, marching snare beat of Silence Is Golden created a radiating bop amongst attendees, patiently reserving applause until after Stokes delivered the final a cappella chorus line. Expert in a Dying Field proved to be a friendly, toe-tapping choice of closer, and it was impossible not to get caught in its anthemic qualities.

After the crowd called for an encore, the band returned, seemingly unprepared, as they debated on the mics what song to gracefully send the kind crowd home with. They eventually agreed on Not Running, giving the audience one last burst of energy.

The warm personality present in The Beth’s music is emphasised in their live show. The quirky and relatable banter between themselves and fans made the music feel even more authentic. Their sound, while upbeat, has enough gritty angst mixed in, which helps in both resonating with and escaping the current times.

AJ MAHAR

Photos by Sethen Sheehan-Lee