The Shiralee is a book by D’Arcy Niland. It tells the tale of a swagman who finds himself looking after his daughter post finding her mother with another man. An aboriginal word for burden, The Shiralee is also the title of theredsunband’s latest album, released on the 14th of June. Entering the scene four years ago to a swell of indie popularity and critical acclaim for their debut album Peapod, theredsunband has shelved the support role of the last few years and returned to headlining slots on the back of this recent release, the Globe the sixth stop on an eleven date eastern seaboard tour.

Friday night was touted as a night of indie grrrrl rock. With a posted line up of Sianna Lee (Love Outside Andromeda), The Butcher Birds and theredsunband, the oestrogen levels were pitched at 11 and the Globe’s sloping cinema floor was dotted with groups of young women expecting the same. It was not to be, as The Butcher Birds were replaced with a hastily organised replacement band of local lads. Thankfully this didn’t slow the pace as all three had something new and different to offer.

Opening the night, Sianna Lee welcomed us to the show, seating herself centre stage, just her and her electric guitar. Comfortable and casual in skinny black jeans, check shirt and ponytail hair, you could have been forgiven for thinking that this was someone completely different to the front-woman of Love Outside Andromeda, and maybe that was the point. Although her playing and voice were all familiar and as distinctive as ever, her seeming lack of confidence – evidenced by repeated apologies for (unnoticed) mistakes and commentary around not knowing if she was going to remember lyrics or how she was going to approach songs – was disappointing. None of it was justified. Her rendition of Tonuge Like A Tether was even more confronting in its rawer form, the female angst sharpened by the simplicity of guitar and girl. Her version of Marianne Faithful’s, Damon Albarn scribed, Kissin’ Time inspired and, although reluctantly played, her performance of Boxcutter Baby bang on. Further solo work is in development, and it sounds great. Hopefully whatever is holding her back, will propel her forward. Another LOA-styled, Sianna-resplendent-recording is long overdue.

Playing a very short set, the second support band was made up of a mix of somewhat familiar band members, including Scott Regan from The Gin Club on said band’s drum kit, however none this reviewer queried knew their name for sure. A four piece of lead singer on bass, too cool Mr Suave on keys (drinking with one hand, playing with the other), drums and rhythm guitar, their set started with a TV Eye-esk screech and didn’t really progress from there until later in the set. Moments of drum induced clarity broke through, the vocals tempered and retro blues rock a la Kings of Leon brought the crowd’s attention back from the bar and toward the stage. Unfortunately just as it was getting good, this is about where the set ended. Short, sharp and shouty.

By the time theredsunband started their set there were people lying, rather than just sitting, on the carpet. Lead singer, Sarah Kelly, the definition of indie rock waif, stands stage left, her tiny black and purple clad form dwarfed by her guitar. She introduced the band, letting the crowd know that they would be playing some old songs and then some new songs from their new album. The delivery is understated, however there are changes in their sound that provide more depth than their earlier tracks. Sporting a Red Eye Records shirt, Lizzie Kelly’s Korg on stage right is more prevalent, darker, with moments of sound effect, mood and helicopter echoes. The drums are also heavier, and the male harmonies different. This is explained when it is realised that the man behind the skins isn’t John Matthews, but a new recruit. Investigations uncover this addition to be Jasper Fenton, noted for his involvement in Josh Pyke’s Memories & Dust recording.

theredsunband are noted for their subdued lo-key performances, and Friday’s gig confirmed this view. Ethereal and dark, their sounds are reminiscent of The Clouds, Elastica, Mazzy Star and other GenX fem grunge acts with an angelic voice at the helm. Sarah’s vocals were just that, with Jasper and Lizzie adding complexity with their harmonies. Unfortunately, most of the set was lost to white noise which blocked out the nuances of chord progressions and there were problems with feedback all night (at one point it was thought that the second band may have been influenced by early Jesus & Mary Chain -it was that bad). Sarah stopped after Sleep Forever, commenting on how comfortable the crowd looked on the floor “kinda like you’re having a picnic or somethin’”, and to ask for the vocals to be turned up, yet this still didn’t address the difficulty in making out the lyrics or even hearing her voice properly. One lone dancer arose as track Ghosts from last year’s Like an Arrow EP wafted and swayed through the room, building to Devil Song which encouraged more lasses to move to the front and shake their heads and hips a little. Closing with current single The Eagle, theredsunband offer hope to fans of quiet noise and sweet melancholy – certainly not a burden, but a grrrrl-sized gift.