top of page



What the promoter said:

“Known better as the front man for Brisbane band TrashQueen Sean’s Solo career has been his main focus during lockdown honing his skills and recording new music.”

What I  reckoned:

There were two folks on stage with guitar, but they looked right at home. Sean immediately apologised that they had only put this together last minute and that his partner in crime was playing a guitar that fell apart as you played it. He then instructed us to strap ourselves in – which was prophetic, because this set was one hell of a ride.

This music was blues infused swagger of the highest quality. Whilst the two performers might have been late to connect, there was endless connection. They meandered and wandered through the set, feeding off each other in a synergistic style that is rare.

One particular track was built around subject matter to which we can all relate – being hungover on on a Sunday morning, just surviving, when we can’t stop our head from hurting.

They tuned their guitars on the fly – showing this to be raw and honest, but my eyes were closed and my head was nodding the whole way through. The interplay of guitars was seamless and evocative. The lead guitar work was was abundantly clever – clear and appropriate.

Sean’s voice is that one that reminded me of your best mate – that rare mammal that you call on when you need some time with a great friend. His resonator guitar was played with such emotion that it seemed to resonate in our souls.

These were the songs of the working class that were given artistic flair. The only effects were the ones on the crowd – because these folks needed nothing to hide behind – because nothing was needed.

I REALLY enjoyed this set. It was the voice of the bayou.

And, I want an alligator.

And some moonshine.


What the promoter said:

Forming in 2003, the bands music has been described as “old-fashioned, dirty rock” which is “reminiscent of the glory days of Aussie rock’n’roll”. (DCR – Time Off

What I  reckoned:

Even the tune up showed their passion and unity. I had a smile and the very different looks of each band member. They were like The Mystery Men of rock – Hat Man, Afro Boy, The Growler, Skin Basher and Dorothy (because this guitarist had red shoes and he never. Stood. Still. It was awesome as he danced, moved and did calisthenics on stage!).

I smelt The Angels immediately in terms of sound and stage presence. These folks started with quiet intensity and built from there. This was good old pumping Oz rock – proud and unashamed. I want a Southern Cross tattoo and a pack of Winnie Blues.

I found myself lost in the music – flashing back to simpler times. It was welcome. There was a clarity of sound and vocals – these folks can stand amongst the recognised bands of Oz rock.

It was fun and it was true. Every member knew their job and not only did it well, they augured into each others’ groove. They obviously enjoyed what they did and we did too. The front man had my rapt attention – his engagement with the music, connection with the moment, enthusiasm for the task at hand and he had the appropriate degree of arrogance – in no way a bad thing.

I really bonded with a song about anxiety – I think it was called “Let it in, Let it out”.

Theses folks are the Holden Statesman of music – retro, classic, cool as hell and they get you there in style.

After their set I met me of these folks and I was deeply impressed by their banter and willingness to have a genuine chat. I warned them about the pisstake about The Mystery Men and they had a laugh! I told them about the comment about The Angels. The vocalist had a laugh and said, “Yeah, we toured with them 3 times – we’re like The Angels, but with melody.”


What the promoter said:

“Homeless Yellow are a Brisbane based, four piece acoustic band. They have been playing together since 2006. It Started as a side project for the boys who have come from diverse musical backgrounds. Homeless yellow has turned from a side project into an enjoyable band that keeps gaining momentum. They have toured around the country playing everywhere from country pubs, sleepy surf towns to sleepless cities. The diversity of the band leaves a taste that’s hard to categories, it’s a blend that just tastes good! the sound grabs people no matter there walk of life and unites them in song.”

What I  reckoned:

These folks opened with a slow, unhurried melody. They were like John Butler with an intensity injection, like folk music suddenly became relevant to a new age.

I found them to be musically fascinating in the way that they used different sounds and techniques to bring different feelings and textures to their work. There were some really epic sounds that belied the presence of only 4 people on stage. It was understated, yet intense, with a Byron Bay feel. I want some weed.

These folks had a commanding stage presence through elegant simplicity and quality of sound. Their songs often started with relative calm, before becoming forces of nature.

The tracks shifted in feeling and tempo without warning, but at the precisely appropriate moment. There was some really clever guitar work to enrich their music, but every band member performed brilliantly. It was a really diverse set, with them easily shifting gears between the sounds.

Good luck putting these folks in box – they were in a realm unto themselves.


What the promoter said:

Logan-based band Stapylton Street have been together as a creative unit since 2017. Like most grass-roots bands, they organically discovered and honed their sound in an old garage attached to the lead singer’s  house. Drawing inspiration from artists such as Jason Mraz, Bernard Fanning, Mumford and Sons, the John Butler Trio, Powderfinger, Pete Murray and John Mayer, the band’s repertoire is extremely diverse. Comfortable performing a range of genres, they seamlessly  flow between feel-good folk, up-beat pop/reggae, and a dash of pop-rock occasionally reminiscent of the country music heard at the Tamworth festival. The group’s versatile, eclectic style is accentuated by their unique instrumentation. From ripping electric  guitar leads to beautiful acoustic guitar riffs with some banjo, trumpet and melodica thrown in, audiences are kept wondering what their ears will be treated to next. Their clever lyrics leave a powerful impression, subtly incorporating messages about love,  sex and loss into the playful vibes created by the group. Audiences get chills from the strong words and harmonies of “Suzie Part 1”, “Throwing Stones” and “Elliot” or find themselves dancing involuntarily to the beats of “Kill Me Slow” “Ride With Me” and  “Never Stop”. Stapylton Street frequents gigs around Brisbane and the Gold Coast, always leaving their audience with a spring in their step, wanting more.

What I  reckoned:

This was the biggest band I’ve seen in a while – 6 on stage – 2 vocalists and a keyboard (that also played trumpet), 2 guitars and a bass, with percussion.

The opening was surprising, with lots going on in terms of sound and movement – this is possible with so many mammals. There were many interesting rhythms and uses of instruments. These folks were not afraid to push the boundaries. Having a full roster offers lots of different options.

was deeply impressed by their vocal set of supporters – they have developed a robust cult following, unsurprisingly, given their obvious work to get to this point. Their music morphed and flowed like a molten chameleon. The occasional addition of trumpet added a Latin big band feel. These folks struck me as the ultimate club band – no matter the crowd, they’d get it swaying.

I enjoyed the vocal harmonies – these folks have spent much time perfecting their connection. There were reggae elements, groove and funk. It was smooth and cool.

There was much to like in this honest and robust storytelling. These folks have travelled a significant journey together and they took us along with them for a while.

As I watched the audience, I saw swaying, head nodding and foot taping.

As the last note rang out, there was a sense of euphoria, but also one of loss…

These folks left us on a high, eager for more, but satisfied with the experience that we shared.

This was one of the most cohesively diverse gigs put together by MMK Music Promotions. All of the bands thanked the incredible Karen Andrews for her work – deservedly so – for keeping the live music flame burning.

-Greg Noble.

bottom of page