Gallery by Williamb

If you were reading the gig guide last week you would have noticed two killer rock shows lined up for Friday night. While Gyroscope and Jebediah were no doubt poised to rip up the Metro’s stage, across the horseshoe bridge at Amplifier their female counterparts were on the brink preparing to thrash away with equal command and vigour.

If anything, the gig was only made poorer for the inclusion of all male band French Rockets who with their methodical stylings thudded through forty minutes. With a clock radio on stage blinking 12:02 it was literally as though time was at a standstill, or at least repeating itself over bars and bars of tablature.

After the protracted removal of lengths of extension cord, mirror balls, lights and synth from the stage it was time for the rock to kick in.

Abbe May and The Rockin’ Pneumonia arrived on stage with barley a word but when the amps were engaged the message was all about sex and drugs and blues inspired exorcism.

With a voice like a deep penetrating thrust May dove into the first song gutturally punctuating “I’m gonna put my 25-55 in your 7-17-24”.

Luring the crowd in, The Rockin’ Pneumonia spun a drawn out and meandering Sidesteppin’ now renamed No CoffeeNo CiggarettesNo Weed, after a healthy resolution by May that went awry. Merging into the next song Lay Me Down the bluesy rock riffs were deeply entrenched in the band’s character with guitarist K.T. Rumble playing one handed whilst drinking a beer.

Grinding her fret board with a steel bar, Abbe May and the band impelled the crowd into stomping the blues along to the beat and wild imagery of the lyrics throughout Cast The Devil Out.

Winding down into The Soul of a Man, May lamented the masculine essence before again stimulating a blues fever with album opener Howl and Moan.

The anticipation and crowd building were visible indications that the headliners were finishing the last of their rider prior to entry.

Whoever was worried that the potency of this band would diminish over time was gratefully proved wrong. Since their debut of 1996, Magic Dirt, like a 12 year old scotch whiskey has aged to perfection, daring you to drink heavily from the chalice. With time and a life split between the road and the studio their sound and stage presence has only got better.

Openers, Get Ready To Die and Emerald Green from the recent Girl album seemed to turn into classics as soon as they hit the ear.

An uncharacteristically calm Adalita performed the first two songs with somewhat of a reverent demeanour. Looking healthy and in control, she appears a woman in charge of her music, her fans and her rock destiny.

Launching into Feels Like a Demon the crowd was transported to a time when Magic Dirt were the dirty darlings of the youth broadcaster. Coupled with hit Dirty Jeans it was impressive to see the reaction of the crowd as though all were looking back to when they first fell in love with each song.

Clearly enjoying the attention drummer Adam Robertson was first to remove clothing just one song in to the set and guitarist Raul Sanchez gyrated around the stage for most of the night with guitar neck pointed in front of him and a leering look which seemed to say – œcome fellate my fender’.

Bassist Dean Turner was a noted omission to the line up and it was revealed that he had returned home, sick. A friend of the band had joined Magic Dirt on their last few WA dates and delivered a solid and faultless stand-in performance. With his long blonde curly locks ‘Matt’ gained plenty of attention from Sanchez who was the envy of many as he nuzzled the bassist’s ringlets. The set progressed with Pristine Christine, a track not played since it’s 1996 release, dedicated to the absent Deano.

To the delight of the audience, Adalita came alive, unleashing the hell cat within. She stalked the stage high kicking, shaking and strutting. Taunting the people in the front row Adalita questioned them “You all gettin’ fucked up?” with a resounding response, “fuck yeah”!

Highlights of the set included All My Crushes, Romy, and Pace It with a great assortment of new and old. Flat out on her back with legs splayed, there was time to fit in one More before curfew during which Adalita played and balanced her guitar on her feet.

Returning to stage from the guitar racks at the side of stage that provided the only cover for the band in the current Amplifier bar set up Watch Out Boys was delivered to a crowd now reveling in the familiar favourites.

The inevitable conclusion came all too soon it seemed, with Adalita staying on stage working her guitar over the amps for several minutes until walking to the front and taking a bow.

Gallery by Williamb