Review: Joshua Hobbins
Photography: Nate Rose
For more than two decades, The Bronx have built a reputation as one of punk’s most ferocious live bands. On Saturday night at Brisbane’s Tivoli, they proved once again why that reputation still holds. Closing out the Australian leg of their tour in the very city where they first played in the country all those years ago (The Zoo, 2004), the band delivered a show that celebrated every side of their identity. From blistering punk anthems to the vibrant spectacle of Mariachi El Bronx, the night unfolded as a joyful reminder of just how unique, powerful and beloved this band truly is.
Opening the night were Brisbane’s Total Pace, a DIY punk rock project featuring members of Tape/Off, Violent Soho, DZ Deathrays, Velociraptor and I Heart Hiroshima, who wasted no time setting the tone with a tight blast of grunge-tinged punk. Despite the early slot, the Tivoli crowd responded quickly to the band’s energy, helped in no small part by the driving rhythm section of Luke Henerey on bass and Branko Cosic on drums. Henerey in particular drew attention, pushing a surprisingly huge sound through what looked like a tiny Peavey amp. The tone cut through the room effortlessly and gave the band’s songs a satisfying punch.
One of the more genuine moments of the set came when Matt Somers (guitar, lead vocals) shared that he and guitarist Simon Ridley had first discovered The Bronx while they were still in school and were inspired to form a band. Now, years later, they were opening for the band on the Brisbane date of the tour. It was a full circle moment that clearly meant a lot to them, and the crowd responded warmly.
Total Pace leaned on material from their 2018 release I, including 73, Nice Work, and Changes, and they also debuted a new single which stood out as the strongest track of their set. The new song hinted at a band growing in confidence and sharpening their craft. They closed with Just 1 More, an ode to beers and a fitting send-off that left the room well warmed up for the rest of the night.
With the crowd now fully warmed up, Wizz took the stage and shifted the room into a different gear with their retro garage rock aesthetic. The band arrived in coordinated uniforms and launched into a set built around big riffs and simple, hook driven songwriting.
Their setup raised some curiosity from the start with two drummers positioned side by side behind matching kits. While the visual was striking, both players largely performed the same parts throughout the set, leaving the feeling that the two drummer setup still had plenty more potential to explore.
The band leaned heavily on classic three chord rock structures. Opening with last year’s single Otherside, they also played their most recent single Come and Say Hi, which the crowd responded to immediately. Chicken Joe shifted into a slower, more atmospheric section toward the end that offered a welcome change of pace, while The Wizard, an ode to Gandalf, introduced another slower passage before surging back into their familiar riff driven sound.
Wizz closed their set with In My Head, which began with a spacey, almost psychedelic introduction before before lifting the room for one final burst of energy.
When The Bronx hit the stage, they wasted no time reminding everyone why their live reputation has remained untouchable for more than two decades. Opening with White Shadow, the band immediately ignited the Tivoli floor before charging through Shitty Future, The Unholy Hand, Heart Attack American, False Alarm, and Curb Feelers. It was a blistering opening run that left little room to breathe.
Frontman Matt Caughthran was as charismatic as ever and clearly feeding off the Brisbane crowd. Throughout the set he spoke about how special the night felt, explaining that Brisbane was the first Australian city the band ever toured all those years ago. Finishing the tour in Brisbane, and doing so at the Tivoli, clearly meant a lot to him.
There was also a strong sense of celebration on stage with Joby Ford back in the fold after missing the band’s previous Australian tour. Caughthran’s admiration for his long-time bandmate was obvious, repeatedly praising Ford throughout the set. On stage, Ford and Ken Horne traded riffs and leads with effortless chemistry while Joey Castillo delivered a thunderous performance behind the kit. Anchoring it all was Brad Magers, whose bass locked in with Castillo to form one of the tightest rhythm sections in punk.
After blitzing through the opening run of songs, the band briefly disappeared from the stage before returning in an entirely different form.
While the transformation into Mariachi El Bronx was underway, Castillo was joined by Jarred Shavelson for a brilliant drum and percussion duet that eased the crowd into the next chapter of the night. One by one, the members of the Mariachi El Bronx ensemble entered the stage, each offering a short instrumental flourish before the full band assembled.
It was fascinating to watch The Bronx members step into completely different musical roles. Ford moved between requinto, jarana huasteca, accordion and guitar, while Magers swapped bass for trumpet. Horne added requinto and jarana huasteca, while the extended Mariachi lineup, including Laena Myers on violin and vocals, Keith Douglas on trumpet, percussion and vocals, and Vincent Hidalgo on guitarrón, jarana huasteca and guitar, rounded out the sound beautifully.
Caughthran’s voice was exceptional throughout the set, but the moments he shared with Myers were particularly striking. Their vocal harmonies added a warmth that contrasted perfectly with the ferocity of the earlier punk set.
For many in the crowd, Mariachi El Bronx is just as beloved as the band’s punk incarnation, and the response made that clear. The Tivoli punters sang along loudly to every song, with 48 Roses, Cell Mates and Revolution Girls emerging as clear crowd favourites.
To close out the night, the band returned to their punk roots for a final burst of The Bronx classics including Knifeman, History’s Stranglers and Around The Horn. The Mariachi players joined the fun, filling out the sound and turning the closing stretch into a unique hybrid performance. It was a fitting end to a show that celebrated every side of the band’s identity.
Before the final notes of Around The Horn rang out, Caughthran took a moment to lovingly introduce each musician on stage, clearly proud of the collective effort behind both versions of the band.
It was a powerful reminder that after more than two decades, The Bronx remain one of punk’s most compelling live bands, capable of shifting between chaos and celebration while making it all feel completely natural.
– GALLERY –
