Every time I go to a local music gig, what really interests me is the gradual sense of understanding and growth that one feels towards the Perth scene the more one is exposed to it. This feeling seems to permeate not only the acts here but the venues that host them. Rhubarb Records proved no exception when I went to check out Tanaya Harper’s Crash Pad single launch. Rhubarb Records in Leederville is a vinyl and coffee shop by day, and a live music venue by night, hosting acts from the brand-new to the well-established within the cosy, classic-vinyl-cover-decorated confines of its walls. Whether you’re a vinyl browser or a fan of the local music scene, Rhubarb Records can accommodate everyone’s tastes. This theme of fluidity and malleability is a trend that I’ve noticed within Perth and is one that goes beyond the logistics of transforming venues. It can be seen in the exchange of ideas between artists, and in musicians jumping between different bands; playing very different roles as a result. This sense of adaptability among the Perth music scene was in full force that night, at Tanaya’s single launch.

Tanaya has regrouped herself into a full, four-piece band after a few years of going solo and has a new single to show for it. As seats and drinks were had, Tanaya took to the stage to introduce new three-piece Grunge Barbie, who opened the night with a refreshing set that lived up to their name. Post-punk-ish shouting in an unapologetic Australian accent just feels somehow right and it became almost hypnotic with their spoken-word delivery of vocals, reminiscent of Glasgow’s Life Without Buildings. With themes from personal expressions of love and loss to throwing shade on Latte moms, there were giggles to be had, but even better music to enjoy. Grunge Barbie brought the grunge to this cosy venue with damning riffs and head-bangy progressions that stood against the grain of the neo-soul funk that permeates this scene. As it turns out, ‘Grunge Barbie’ was a name suggested to frontwoman Shinead Ruby by Harper herself, commenting on her clothing at some past festival or event. You’ve got to give her credit: it’s a damn cool name.

Up next were Gazey, the five-piece, cult supergroup who have amassed quite a following in Perth. Fronted by brothers Ezekiel and Josiah Padmanabham, Gazey dropped a powerfully enthusiastic and equally emotive set, even with a few stand-ins. If you want to experience what they sounded like, you can either go catch them live or trawl their online releases because the band sound so true to their recordings that it’s hard not to feel the energy in their tracks. Seeing Gazey live is entertaining on many fronts, the first being the fantastic hooks, drums and lead-guitar lines providing a backdrop for Josiah to set his (multiple) keyboards on fire. The second is seeing his energy and enthusiasm radiate with the rest of the band and the crowd. Stand-ins for Gazey were drummer Alex Reid (from Grievous Bodily Calm) and bassist Naomi Robinson (Playground, Special Feelings, Mosquito Coast). Not only were they filling in for Gazey at this gig, Robinson apparently also wrote one of the headliner’s drum tracks. Seeing members of different acts fill in and contribute to each other’s music like this really set the tone for the friendly, light-hearted and celebratory atmosphere that pervaded the evening.

At first glance, the line-up for Tanaya Harper and her headlining group differed only slightly from Ghost Care (whose single launch we checked out a few weeks ago), with only a new bassist and altered stage and role arrangements. Harper has dropped her backing vocalist/bassist role from Ghost Care and fully embraced the mic as a stunning vocal lead. Beau Torrance took a backseat, playing more melodic solos and dreamy soundscapes that allowed Harper to flourish, and the emotion of reforming her solo act into a full band really came through in everyone’s performances. While you might expect Harper and Ghost Care’s songs to sound similar, this just isn’t the case. Both acts take different turns, Ghost Care forging a rock-driven path while Harper constructs a sonic expanse that is alluring and captivating in a ‘watch with your mouth half-open’ kind of way. After starting out with some softer and older material, Harper drove forward confidently, gradually upping the dial with grungier, rockier releases and tying the night off with a lovely solo piece. Harper (who actually works at Rhubarb Records,) was extremely grateful when recognising the efforts of the supporting acts, fill-ins and hosts of the venue who made this all come together. And I think we all shared that gratitude.

The small interactions between individuals that may seem minimal, but they really help to paint the bigger picture of the Perth scene. Whether it’s suggesting a band name to a mate or agreeing to host a single launch, these exchanges contribute to the living, breathing organism that is Perth music. The ideas passed through direct collaboration or by influence can be seen all around the city, including in the current neo-soul funk trend creating and giving rise to so many talented artists and creators. Jack-of-all trades is probably the best term to describe Perth and its unique scene and, perhaps, no one does it better when it comes to fluidity. Perth seems to embody a fond and welcoming culture rooted in its tightly-knit community. It’s organic, it has consistency and narrative and it still doesn’t feel like an oversaturated or commercialised cesspool. I’m glad to be a part of it.