Review: Joshua Hobbins
Photography: Nate Rose

Brisbane’s Riverstage was alive (albeit a little damp) with anticipation as Bloc Party rolled into town for the final Australian show of their 20 Years of Silent Alarm tour, a celebration of one of the most game-changing indie rock albums of the 2000s. Despite a steady drizzle, spirits were high. Silent Alarm is the kind of record that demands you move, sing, and feel, and tonight Brisbane was ready.

California’s Young the Giant had the honour of opening the night with their first ever Brisbane appearance. They wasted no time in winning over the crowd, with Evergreen setting the mood through a big synth intro and lush vocal harmonies. The Walk Home showed off front man Sameer Gadhia’s commanding vocal presence, a constant throughout their set. Fan favourite Cough Syrup hit hard with its pop hooks before the band moved into Ships Passing and Waves.

Superposition brought a nice textural surprise with the use of a charango, while Mind Over Matter carried extra meaning – Gadhia shared that it had been considered a flop upon release, but has since become their biggest song. The set closed with the funky Silvertongue and the high-energy My Body, the latter sealing the deal as a perfect warm-up for the night’s headliners.

From the first notes of So Here We Are, Bloc Party made it clear this wasn’t going to be a nostalgia cash-in – this was a masterclass in how to keep an old record feeling vital. The mellow opener eased the soaked but ecstatic crowd before She’s Hearing Voices shook the Riverstage with Harry Deacon’s chest-rattling bass. By Mercury, Kele Okereke was in full command, his charisma and presence undeniable.

Highlights came thick and fast; the snarl of Price of Gasoline, the communal singalong of “If that’s the way it is, then, that’s the way it is” in Blue Light, and a cheeky snippet of Sneaker Pimps’ Spin Spin Sugar leading into Song for Clay (Disappear Here). Banquet was explosive, Traps kept the momentum raging, and Only He Can Heal Me offered a trippy mid-set break.

Russell Lissack’s shimmering, delay-soaked guitar was outstanding all set, but on Blue hit an emotional peak – huge and textural without ever slipping into emo territory. Positive Tension was an energy bomb, the whole band in top gear and Deacon’s bass tone crisp and cutting through perfectly. Like Eating Glass closed the main set brilliantly, capping off a show where the vibe was electric and the lighting was simple but incredibly effective, enhancing every beat and shift without ever distracting from the music.

The encore kept the adrenaline pumping. Plans and Little Thoughts gave drummer Louise Bartle a chance to show why she’s the queen of the disco/dance beat, and the backbone of the band’s relentless drive. Helicopter unleashed a massive crowd response – still an unstoppable live track, and This Modern Love hit that perfect bittersweet balance. Set closer Ratchet was a perfect swansong for the night – a high-energy, joyous send-off that left the Riverstage crowd buzzing.

If there was one small disappointment, it was the absence of The Pioneers, my personal favourite from Silent Alarm, but 20 years on since first seeing them at Splendour in the Grass, Bloc Party remain as relevant, vital, and electrifying as ever. A mate’s teenage son was there for his first proper live gig and was absolutely frothing — proof that this is not just music for our generation. This is timeless.