An evening spent with some of Melbourne’s top rocker frontwomen on Smith Street promises to be an entertaining one. It’s refreshing to see a line-up that boasts three local talented ensembles, and each orchestrated unapologetically by skirt wearers (on this Friday night anyway). Broaching the subject of sex and the music biz, it’s hard not to consider what kind of statement this could or could not be intended to mean, but it does make for a welcome change on the rock n’ roll circuit as far as this skirt-wearing scribe is concerned. Yah Yah’s is the perfect venue for such an attraction, and the crowd is a fairly low-key group considering the mayhem that’s about to blast through the speakers.

The first rock-tet to take stage is threesome Constant Killer. Lead singer/songwriter Greer Turner is a small, unassuming guitarist whose sweet vocals meet in stark contrast to her heavy, grunge-inspired guitar rifts. Bassist Tyler Kuulberg’s hair is distractingly good, but his musical ability compliments Turner’s in such a way the two are like hair gel. What’s great about this pair is that they’re not the dancing types. They stand planted firmly behind their instruments and let the music do the rest. The group also benefit from the help of drummer Pete McKew, who smashes his kit like he means it. Their set carries with it a comforting angst but is also completely raw and refreshing. Favourite tracks of the night include “Runaround”, which the group play a whole lot faster when they’re performing it live.

Next to take the stage are word-play trio Ferry Tails. Much like Turner, lead vocalist Ali Edmonds shreds on the guitar but sings forlorn melodies that juxtapose the group’s instrumentation. She plays the guitar fearlessly, letting the higher notes wail during her solos. It’s clear that drummer Mark Renall, who is a founding member of the once-was duo outfit, likes to play loud. Bassist Clayton Pegus is the perfect late addition the band, and altogether the trio’s musical talents end up overshadowing the performance side of things. Their sound is atmospheric, which allows Edmonds the opportunity to face away from the crowd for most of their set – and doesn’t really bother this scribe because a view of her fingers playing wildly remains unobstructed.

Both opening acts are very personal in their delivery, which sets the mood to finally welcome quintet Seri Vida on stage.

By this time a sizable crowd has gathered carrying the electricity of anticipation with it. The band are appropriately all dressed in black and the speakers have been cranked even louder. The audience is not spared a minute as they enter an unflinching rendition of “Heartless” to get the night really going. Frontwoman Vida also plays the guitar which adds to the intensity levels on tracks such as “The Things We Need” and “Factory”.

She writes music about the daily grind that gives everyone reason to get reckless on a night such as this, and the band’s live performance is a testament to just how much they embody that sense of abandon. Guitarist/violinist Andrew Watson is hard not to watch. The music fills his body as if he’s overcome by fever. It’s impressive to glance at his pedals and not even have the faintest clue how he’s tailored his unique, screeching sound. Bassist Chris Mildren is a solid addition who keeps the group’s strong sense of rhythm right alongside drummer Alan Murphy, who’s rhythmic skills are impeccable and yet easy to move to.

In the middle of this organized chaos, Vida stands piercing the crowd with her strong gaze. Her vocals are dark and husky, but take on a completely different form in songs such as “Liar” and “Scarlette”, when they suddenly become innocence and empathetic. Vida appears unflinchingly and intensely focused until their last two songs, when she puts down her guitar and really lets her hair down. Her vocals go raw and her high heels come off. This is the moment the crowd has been waiting for.

Of course, we’ve also gathered to celebrate the release of their seductively-catchy single “The Hound”, which the group destroys in all its glory. To hear the track on a Seri Vida LP is one enjoyable thing, but to see and hear it thrown, spat in your face is another. The group goes crazy and brings the house down in a way punters wouldn‘t regularly experience at their local. My compatriot likens Vida to a young PJ Harvey, a claim that seems suitable with the rush of pulse and the ringing in ours ears. She’s certainly got the star quality.

Finally, they finish up their rockin’ set with “Competition”, to which Vida’s lyrics begin “If this is a competition, baby, well my pain’s much bigger than yours” – and from this moment on it is clear they’re out to prove as much with their thrash-heavy, unrelenting sound. If this was a competition, baby, the odds are definitely in Seri Vida’s favour.

– Cayce Hill

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