Glenn Waller, Journalist

Having played Raise fully through, the encore brings with it Last Train To Satansville, and the change in audience mood is immediate, bodies moving with renewed vigour.

Tracks like Amber sum up the band’s hammer-and-tong sound that drops and stops in all the right places. These guys deserve to make some waves.

This isn’t one for grandma – more for the discerning weirdo.

There’s enough going on musically to keep the initiated sated and the newcomer entertained, while the perpetually frustrated continue waiting for a Sepultura reunion

Formulaic to the point of pedestrian, not even Jordison’s typically water-tight drumming is enough to save Scar The Martyr from sub-par banality.

The Cat Empire exit the stage as the hometown heroes that they undoubtedly are.

Like a smoky single malt aftertaste, Imitations lingers and requires more than one shot to fully appreciate its understated charms

With plenty of chugging breakdowns and heart-palpitating beats to keep the faithful happy, this album sees TDWP at the top of their game.

Standout performances are delivered by the two more sexually liberated characters, Steph and Waldorf, who provide plenty of laughs, especially Steph, whose charismatic vagueness at times threatens to steal the show.

The top three songs are The Charles Atlas Way, Dogs Are The Best People and, not surprisingly, Self Abuser. It’s great to hear these tracks in the live arena played by this shameless bunch of Aussie larrikins.

How they’ve managed this at such a tender age is anyone’s guess, but they’ve done it again.