Ringlets (NZ) deliver an evening to remember, supported by Macho Macho (NZ), Bennetts Grove and Special Features at the Petersham Bowling Club.

The Petersham Bowling Club is an iconic venue in the inner west of Sydney. Slated for development into multi-million dollar apartments, the local residents rallied around to keep the institution going – a little cosy green in the middle of a densely populated urban area. It’s unusually pokie-free (none of those infernal gambling machines taking up precious space and resources) and supporting local music in the process. Some of the best and most creative bands have played there. And also my band on a few occasions, which shows its willingness to give anybody a go.

This evening, the mighty New Zealand band Ringlets, as part of their East Coast Australian tour, graced the hallowed stage down in the depths of the Club, and it was truly a privilege to see such a band play in such an intimate venue. And that was not all – three other excellent bands played in support, providing a tantalising breadth of new and innovative music. Sadly due to a delayed flight, I miss fellow New Zealand band Macho Macho opening proceedings, but I was reliably informed by friends that they played an incredible set and were one of the highlights of the evening.

Eora/Sydney band Bennetts Grove played a thunderous set, channelling to some degree bands like Fontaines D.C. and Idles with their style and passion, creating a visceral and raw delivery.

Meanjin/Brisbane’s Special Features were an absolute treat with the dual singers at each end of the stage providing contrasting deliveries, a Pixies-like quite/loud ethos and a mesmerising stage presence. The three guitarists at the front creating a cathartic spectacle as they threw themselves wholeheartedly into the pounding music. It was very much a post punk/punk set, hard to place in any particular genre and they played to a very passionate room. The final track was a cathartic blast with stabbing rhythms and an anthemic delivery. This is a young band with an enormous future ahead.

Backseat Mafia recently reviewed Ringlets’ last album, the endearingly titled ‘The Lord Is My German Shepherd (Time For Walkies)’, giving it a rare 9.2/10 rating and saying the album:

…is a stunning creative force: droll, wry and angry all the same time, laced with a sprightly delivery – angular and raw at times – and yet assured and swaggering with a thousand yard stare and a raised eyebrow. It is an album of contrasts and contradictions yet viscerally exciting.

It was incredibly exciting to see them undertake an understated tour of the East Coast of Australia – enough to wake me from my usual torpor to make the trip to see them.

Live, they delivered – although my only disappointment was the briefness of the set, caused by other bands playing longer than they should and the very strict noise requirements preventing any play after 11pm.

A delicious taste, nonetheless. Arabella Poulsen (bass & vocals) and László Reynolds (guitar & vocals) presented as dark gothic figures at the extremities of the stage with singer Leith Towers looking like he had stumbled in from a church choir session next door. But this was misleading: his performance was enthralling and enigmatic – dancing, gurning, twisting, his voice displaying an extraordinary range, his charismatic presence transfixing.

The wry sense of humour displayed in the song titles and lyrics seeped into the performance. Reynolds was a wraith as he coaxed thrilling sounds from the guitar, Poulsen enigmatic and chilled, drummer Arlo Grey a veritable subtle machine. The short set list was almost exclusively from the last album (including ‘Heavenly Wheel. ‘Ancient Gays’, ‘Street Massage’ and ‘Hit The Frog’) and to see the audience singing back to Towers during ‘I Was on That Roof Once’ was exhilarating, with the three vocals forceful and dramatic.

At the risk of national stereotyping, it occurred to me that there were many aspects of early Split Enz in the performance: a certain theatricality in the delivery, a knowing wry tongue-in-cheek self awareness augmented by a glint in Tower’s eyes, all which served to ramp up the level of entertainment.

And the musicianship and tightness of the band indicated that they were seasoned performers who know just how to entertain. At the end, the crowd wanted more, bureaucracy and red tape said no, but it felt a great privilege to see this band play live, however short. I certainly hope they come back for a more comprehensive tour: this band deserves more.

New Zealand continues to over-deliver musically, nurtured by the great Flying Nun label.