Sunday night in Brisbane is never a great time to hold a gig no matter who you are, but when LOUD arrives at The Triffid on the outskirts of Brisbane’s Fortitude Valley district we are disheartened at the turnout five minutes before doors are due to open. If there are 100 people milling around the bar and beer garden it would be surprising.
A quick couple of questions later we are shocked to find out that there are only 250 tickets pre-sold for tonight. As doors open the few of us assembled quickly make headway into the room. With the minimal numbers, grabbing a prime position on the barrier is easy. Openers deadspace hail from Perth’s brewing metal scene. Going on twenty minutes later than their original start time has allowed more people to wander in. The band put in a massive effort in front of a minimal audience but make a racket great enough to get the stragglers at the bar in. LOUD isn’t familiar enough with the band to know everything played, but it was played with a great passion. Of highest note was the way vocalist Chris Gebauer worked the space so well launching himself onto the barrier to interact with the small crowd on several occasions.
Satyricon have always enjoyed the darkness that their music confronts and the live environment adds a little extra weight to the minimal theatrics and darkness the band use to their advantage. As the intro tape rolls a quick glance around the room shows that it is not near filled to capacity making for a more intimate show.
As the intro comes to a close, Frost and the rest of the band make their way onto the stage and start the introduction to ‘Midnight Serpent’ as Satyr saunters onstage and gets straight into his performance. And perform he does, conducting the band as if they where his own personal orchestra as well as the audience as they blast through some newer tracks, with the biggest early response for ‘Black Crow on a Tombstone’ before they take the first of three short, tension building intermissions.
The set blasts through most of the bands well known tracks with some of the biggest responses for ‘Now, Diabolical’, ‘Walk the Path of Sorrow’ and ‘Mother North’. Satyricon makes a quick exit when ‘Mother North’ is finished; after the previous intermissions it is unclear if that is the end of the set or not. But after a brief break they return to blast out a few more classics, finishing on a perfect rendition of ‘K.I.N.G’ and thanking the audience for their attendance.
Satyricon played as though they were in front of thousands instead of the meagre turnout that felt embarrassing considering their status not just within black metal circles but metal in general, and was a great testament to their professionalism. By far one of the most note perfect performances I have seen in a long time.
Frankly Brisbane, lift your game. This lack of turnout is why some acts have begun to avoid us again on ‘National’ tours.