LIVE REVIEW: Platform // Volume 4 @ Badlands Bar
Photos courtesy of Jimmy HXG Visuals
Rotating through a series of live venues in Perth is the music scene’s latest initiative, Platform.
Through an ongoing series of non-for-profit gigs, Platform’s mission is to keep live music alive and let “local artists be found, heard and recognised on a bigger scale” – and in WA’s post-restrictions age, I couldn’t think of a more fitting way to spend my Friday night.
As the possibility for interstate and international travel becomes less likely, the desire to explore new places and things continues to brew. Yet, with a flurry of great local musical talent, Platform’s local music showcase satisfies in this respect.
In its fourth and latest instalment of Platform, Badlands Bar was bustling with people hungry for live music. With charismatic emcee Dustin Skipworth on the mic, we were introduced to band after band – most of whom I’d actually never heard of before. With no set times, it was a strategic way to get punters in nice and early and listening to what entire lineup had to offer.
Taking the wheel first was Palo Alto, who were perhaps my favourite find of the night. Right from the start, the Fremantle five-piece honestly looked like they were having the time of their lives on stage – and how they could not after being deprived of performing for so long? In the finest show of alt-rock, the band came in with crashing guitars and drums for their bellowing track, ‘Blue/Gold’. Announcing the brand new launch of their single ‘Daisy’, the song paved the way for more hard-hitting and melodic notes. Going from good to great, they kicked it up a notch with some screaming electric guitar, before rounding off with a heavy psychedelic finish.
Internet Friends
Kicking things off next in the cave-like venue was sassy pop-punk outfit Internet Friends. In dedicating their first song to her vibrator, frontwoman Booka Nile made her undeniable presence known. We knew she was a force to be reckoned with, especially considering her previous metalcore roots. Yet despite the band’s sweet demeanour, their tunes were surprisingly satirical – with the next song aptly titled ‘Baby Tears’. This little number exuded Best Coast vibes, to my delight. Overall, their set was edgy, loud and full of hilarious lyrics. ”Thanks for being super hot, everyone!” was the sign-off we all needed to hear.
The Gusset
Hailing from Mandurah, The Gusset hit us with a wave of irresistible indie-rock reminiscent of Ocean Alley and Death By Denim. The boys were up for a WAM award nomination, and it was easy to see why. Despite the technical difficulty of a few broken guitar strings, the band took it in their stride – which led to the intimate crowd chanting for them even louder. In mentioning it was their first gig in months, they had a great set lined up for us with ‘Something Good’ and ‘Disconnect’ being my personal faves. With funky, warbled guitars, this last song did not disappoint.
Mt. Cleverest
Experimenting with a new setup, showstoppers Mt. Cleverest delivered yet again. Bringing the heat with ‘Linger’ and ‘These Nights’, the crowd got rowdy fast with vocalist Christian Mechler even having to pause to take a sip of tea onstage. You either go hard or go home with Mt. Cleverest, and this performance was no different. The highlights were the unveiling of two fresh new songs and the countless clever verses. throughout the night. Getting hyped up beyond measure, the audience gave back tenfold energy to the band, particularly towards the end with ‘I Don’t Want to Go Alone’.
Those Who Dream
Those Who Dream was saved for the last, and their cult-like following was not to be missed. With a discernable amount of fans gathered and donning merch, the crowd went crazy for the two talented brothers, and I was about to understand why. While a duo, Those Who Dream were larger than life with their chaotic energy and likeness to 2000s pop-punk. Gracing us with their crystal clear vocals, the pair had the effortless ability to shift between instruments such as the keys and drums. In listening to songs like ‘Monster’, it feels like kind of music that takes you right back and makes you want to get an emo fringe again. Their ensuing cover 5SOS’ ‘Babylon’, I promise, did its bit in cementing this.
All five acts were just a taste of what Platform had to offer, and it felt great to witness so many people fully behind the cause. No matter the genre, live music deserves a place – particularly when it comes to giving local artists a voice.
