Much respect must be given to openers Red Lotus. Their vocalist Stephanie Briffa had to pull out of the gig at the 11th hour due to laryngitis and, instead of cancelling, the remaining band members soldier on, playing their set as an instrumental three-piece. It's a gutsy move, but they pull it off with aplomb.

This is actually a good test for any band. If you pull the vocals out, leaving the music exposed, and that music still holds up as being vibrant and interesting to listen to then you know your band is excellent. We probably find out more about Red Lotus this night than if they'd done a regular set with their frontwoman.

Opening with stabby accents over a symphonic wash, the band then lace into a titanic groove. There is some enthralling interplay between these instruments, the lack of vocals actually allowing them more space to breath and shine. In fact, if you walked in and were unaware of the situation, you probably would have been left with the impression that Red Lotus were an interesting, experimental instrumental act. 

After an inordinately long break, Khan take the stage and instantly make the wait worthwhile. They make a racket for a three-piece and the fat grooves, fuzz-drenched bass tones and general aesthetic are equal to that of a monstrous, stoner-rock band. And they would certainly appeal to a stoner crowd, but they prove themselves to be more than this over the course of their set. The band's second song brings the slow-burning moodiness, there are more eerie, stripped-back vocal and guitar moments and the singing become ethereal at times as Khan's set takes the listener across some adventurous soundscapes. Khan have hit upon a unique vibe. Is 'experimental stoner' a thing? It is now.

Like Thieves are like an explosion after the slightly more avant sounds and performances that preceded them. Their songs are powerful, muscular slices of heavy, alternative rock, especially In My Arms Till The End, The Wolves At Winter's Edge and brand new single Never See It Coming, which are exuberantly delivered with a sprinkling of progressiveness to keep the prog-heads interested. Guitar player Oden Johansson peels off the nimble-fingered licks with particular zeal.

Then there's the great Clint Boge, a warrior of Aussie rock that age has not wearied whatsoever. His vocal stylings add such mood and drama to these songs, as they do with The Butterfly Effect, and his high-end range and sweet falsetto wails send shivers down the spine as much as, if not more than, they ever did.

This band has been off the scene for a couple of years, Boge's recent reuniting with The Butterfly Effect no doubt being a major factor here. But it's great to have both of these bands back and touring the nation within a few months of each othe.