.

.

THE JESUS AND MARY CHAIN
+ Merryn Jeann
@ Astor Theatre, Perth,
8th August 2024
(Live Review)

Review by Harvey Rae

Photos by Adrian Thomson (@_awii_)

.

The Jesus and Mary Chain, Astor Theatre, 08/08/2024, Photo – @_awii_

.

It all starts with Mary Chain.

The Scottish band have accidentally found themselves at the forefront of any number of genres: 1989’s Automatic basically predated the noughties rock revival by 12 years; 1992’s Honey’s Dead was Britpop before Britpop existed (play it next to Definitely Maybe and tell us we’re wrong).

But it’s that wild, distorted feedback accompanying the pure pop songwritng of 1985 debut Psychocandy that’s remembered most fondly, inadvertently capturing the essence of shoegaze long before My Bloody Valentine made the genre their own.

On Thursday, The Jesus and Mary Chain let their songs do the talking with an impressively loud sonic assault and light show. They kicked out the jams early with Automatic hits Head On and Blues From a Gun, and bared their mid-80s goth rock soul on Happy When It Rains and Nine Million Rainy Days.

.

The Jesus and Mary Chain, Astor Theatre, 08/08/2024, Photo – @_awii_

.

In a Hole was the first of three Psychocandy highlights, while 1988 standalone single Sidewalking featured some artfully constructed feedback.

Around these were carefully placed new songs such as opener JAMCOD, the heavy grunge of Pure Poor, and Venal Joy, which opens this year’s Glasgow Eyes (a welcome improvement on their other comeback album, 2017’s Damage and Joy).

The full throttle guitars were led by William Reid, while brother Jim was a commanding presence throughout on lead vocals, even on songs William sings on record. The short tracks, minimal banter and fast pace meant the night went quickly, but highlights simultaneously got bigger and better.

.

The Jesus and Mary Chain, Astor Theatre, 08/08/2024, Photo – @_awii_

.

Some Candy Talking marked the beginning of the home straight and was a strobe-induced standout. Simone Butler from Primal Scream filled in on bass for the night, making Hope Sandoval’s part on Sometimes Always all her own.

Darklands’ title track was a moody, melodic singalong before I Hate Rock and Roll ended the main set with that roar of distorted fuzz that we’d all come to hear. But it was the encore still to come that truly delivered in spades.

Just Like Honey was simply dreamy, with Butler providing the signature backing vocals originally sung by Karen Parker. Also harking back to 1985, Taste of Cindy was the punk near-finale, before Reverence was irreverent in tearing down all that had come before it; the rock gods Reid turned to electro-dance icons with one final blast of strobes and ear-shattering sound. Truly epic.

.

Merryn Jeann, Astor Theatre, 08/08/2024, Photo – @_awii_

.

Earlier we were treated to unlikely NSW support act Merryn Jean, whose difficult listening and freak folk probably alienated as much of the ageing crowd as it won her new fans. Largely foregoing the synth-pop and neo-soul that makes up many of her recordings to date, in a paired back two-piece multi-instrumentalist format Jean peaked on avant-garde closer Nun at the Airport, lifted from this year’s rather good indie rock record, Dog Beach.

Like early Mary Chain live, Jean isn’t afraid to stand out even if it means polarising audiences.

.

The Jesus and Mary Chain, Astor Theatre, 08/08/2024, Photo – @_awii_

.

Check out Adrian Thomson’s (@_awii_) full gallery of this event HERE

.

The Jesus and Mary Chain, Astor Theatre, 08/08/2024, Photo – @_awii_

.

Follow THE JESUS AND MARY CHAIN
 Spotify – Apple Music – YouTube
Facebook – Instagram – Twitter – Website

.

.

Press Release 4th July 2024 (below) HERE

SBM PRESENTS:

THE JESUS AND MARY CHAIN
Announce
‘40 YEARS’
Australia and New Zealand
Tour 2024

.

.

AMNPLIFY – DB