Violent Soho’s WACO Tour

“If we were in the business of making profitable bets, then tonight’s sold out show at the Tivoli, the first for the nationally sold out Violent Soho ‘WACO’ tour, would give us due cause to invest heavily in the stocks of bucket hats, weed socks and those choker necklace things the chicks wear.
Fortunately, the Tivoli have their shit sorted, because set times are running like a Swiss watch this evening. With minimal preparation, the lights fade out for the final time as we prepare to take in the main event: Brisbane’s favourite sons, Violent Soho. The first few notes of How To Taste, the opener to their newest record and tour namesake, ring out across the full room to rapturous chanting, all before Luke Boerdam’s empathic ‘Yeahhhhh!’ rips the place wide open. It’s likely that a good half of these kids don’t remember the era of grunge, and that’s just fine when you’ve got bands like Soho keeping the spirit alive and well. The four piece scream through a huge track list that pulls heavily from their new record WACO and the breakthrough Hungry Ghost. The call and response on ragers like Like Sodaand In The Aisle is immense, leading guitarist James Tidswell and bassist Luke Henery to pace the stage with their luscious locks in perpetual tornado-like head bangs. At one point, we glimpse an enthusiastic punter slapping herself in the face mid-riff, almost as if she’s in a state of delirium and disbelief.
During the rousing So Sentimental, an inebriated daredevil manages to climb into the rafters and walk over the crowd across one of the lighting rig walkways. It’s clear that he’s a tad cooked, complete with gyrations and crotch grabs. Someone else gets in on the fun, but only has the stones to crawl across the walkway and look like they’re doing the worm. Pussy. As the song finishes, Tidswell diffuses the situation by calling them out and saying, “If you want to get up there and steal the show, then get naked.” Bluffs called and suitably shamed, the show must go on.
Drummer Michael Richards gives a suitably inhuman performance on singles Viceroy, and the neo-classic Dope Calypso, beating his cymbals like they owe him money. Watching Violent Soho work the room, it’s almost hard to imagine that they’re the same group of dudes we saw play Club 299 to a handful of fans close to a decade ago, but we guess hard work pays off eventually, and these boys deserve all their credit and then some. They contrast their slower and more sombre moments like OK Cathedral, Fur Eyes and Slow Wave, with older jams like Neighbour, Neighbour and Son Of Sam. Playing for over an hour, Soho never suffer a dull moment, and this crowd are with them all the way, right to the obvious closer Covered In Chrome, which warrants an ear-shattering singalong.
Despite what the adult, ‘normie’ voting bloc and the fun police might tell you, the kids ARE alright and close to 1,500 people came to a gig tonight, had a good fucking time and went home before midnight. On a school night no less. They sipped, they spliffed and they soared. And tomorrow they’ll probably wake up with side-splitting hangovers and go on to make more terrible/excellent life choices. Hell fuck yeah. Hysteria out *drops mic*.” – Hysteria Magazine











“For the inconvenience of having masses moving to and from a stage after a set, there was the benefit of reducing the number of fans who would get to a stage well in advance to see a certain performance, thus denying others the opportunity to be at the front for an earlier performing artist. The perfect example of this were the final two performers on the Dean Turner stage, Violent Soho and CHVRCHES, with the overlay in fans between the two groups being small at best.



Violent Soho’s reputation as a fantastic live band preceded them as the sun set over Melbourne, and the Aussie rock outfit certainly did not disappoint, flying through a 45 minute set that included their latest single “Viceroy”, and was capped off with massive hit “Covered in Chrome”. Matching the huge applause for the Australians’ finale was that for the entrance of Scottish electronic three-piece CHVRCHES, one of the biggest names on the bill and understandably so, given the quality of their performance.” – AU Review