FRONT ROW | HOLY HOLY @ THE TRIFFID
Holy Holy fight the good war with their new record Paint, taking it across the country to play it to an ever growing fanbase keen for their gentle National-esque indie rock.
Arriving bang on 8.30, I’m surprised that I’m not the only one who has forgone pre-drinks to see Holy Holy’s first support act Machine Age. The crowd is loosely packed in, which gives everyone room to appreciate Adrian Mauro effortlessly shredding his guitar on top of carefully timed synth beats–all while belting out vocals like the best of them. Having no prior knowledge of Machine Age, I (along with the rest of the crowd), can’t help but be slightly taken aback by the unexpected ferocity of it all. There are jarring beats and experimental sounds, but Mauro pulls it all together with his unbelievable vocals, completely unapologetic and raw, definitely worth missing a beer for.
The Money War are next on stage, their brand of dreamy folk, punctuated by fast guitar and solid drumming, is a contrasting yet solid mix of sound. Vocals from both Dylan Ollivierre and Carmen Pepper are the type that help soothe your soul of aches you didn’t know you had. The Perth five-piece pulled out a solid set that felt like it was over too soon, humbled by the fact that so many of us had turned up to watch them play.
Holy Holy are introduced with a repetitive voiceover hyping the crowd up for what is about to be a magical hour-and-a-half-long set. Whizzing through songs from their newest release, Paint, the live four-piece are buzzing with more energy than a 6 year old after a handful of red lollies. Their newer tracks are mixed in with a few older songs from previous record When The Storms Would Come, bnut each and every song is still greated with an excited cheer from the floor. I’m amazed at how captivated the unnaturally well behaved crowd is, with every song echoed from the front to the back. Even the heckles are good natured, with an “I love and respect you Sir!” being shouted at lead Tim Carroll, starting a train of compliments being bellowed out between songs.
It obvious after watching Holy Holy perform, that their music is much more than meets the eye. There are songs that discuss some of the touchiest subjects in a beautiful way. Even the relationship between bandmates is visible just from watching them playing together on-stage. Sneaky smiles and encouraging words spreading their good vibes across the sold out room–something you don’t feel like you should be privy to, happening right in front of your face. A recent cover of Beyonce’s Hold Up is an instant crowd pleaser, the song made completely their own with trademark guitar riffs from Oscar Dawson, his fingers moving so fast they barely seem to touch his instrument at any given moment.
The end of their set comes with an acoustic singalong of Sentimental and Monday, an unbelievably sweet song considering it was the first that Dawson and Carrol wrote together. They barely need to encourage the crowd to take over on vocals, as the lyrics echo out from everyone. It’s one of those magical moments that resonate with you for a good few days after you’ve walked out the door, so if you ever get the chance to see Holy Holy in the flesh, I highly recommend it.