ALBUM LAUNCH REVIEW: THE SLINGERS WITH THE MIRRORS + THE GEORGIA KNIGHT BAND, @ THE CORNER 24/03/23

Photography: Julia Enter

Although I’m sure they weren’t the first to say it, for the sake of keeping references home-grown we’ll attribute this observation to them, the Divinyls told us many hazy moons ago that it’s a fine, fine line between pleasure and pain. 

Whatever we find ourselves doing in this line, this almost transitional state of purgatory - tightrope walking between enormous ecstasy and deep despair, falling in love and falling out, living guiltily in the past, bewildered by crushing modernity and fearful of the unknown - we are always propelled to move forward, step by step, by great love. And this is what The Slingers explore with gusto and grace on the singles from their debut LP album, Sentimentalism.

There we huddled, a sold-out audience in the Corner’s densely packed band room, on a crisp night in late March. We drank, some vaped pensively and covertly, surveying the talent, talking over the top of each other. My friend informed me that some are choosing to refer to Richmond as ‘The Island’, as the suburb finds itself marooned between the Yarra River, the freeway and Punt Road. 

Photography: Julia Enter

I found myself on a similar island, elevated on the small stage to the side of the band room, a pint procured and my jacket abandoned. The room seemed to expand in the heat, so air conditioning was a stunning refreshment, the energy throbbed and heaved. Disco balls have now been present at every Slingers gig I’ve attended, which I’m choosing to believe is an omen from the disco gods; Donna Summer is shining down on us. 

The Mirrors provided a delicious entree; pleasant and pleasurable and self-effacing, with enviable hair, delivering early Hoodoo Gurus vibes served with a side dish of new-wave. Home-grown Georgia Knight wielded an accordion-appearing contraption and delivered powerful and heavy tunes. Her style has been described as multi-genre - dabbling in trad folk and grunge - which suits her impressively diverse vocal range. Her presence was magnetising, long locks cascading around her hung head, moving slowly and purposefully. 

At the eleventh hour, the crowd swelled, and a feeling of mirth and anticipation was palpable in the air. A bright red curtain that boasted similarities to that featured in the Potter Puppet Pals video revealed the sublime and swoon-worthy Slingers. Like rhinestone cowboys, they emerged. 

Photography: Julia Enter

The boys seem to routinely open with ‘The Cruellest Cut’, always prompting a crowd sing-along of great proportions. Stunning purple light framed the band, bestowing on them the colour of royalty they deserve. Their attire could also be read as a nod to rock royalty as they sported looks reminiscent of Bruce Springsteen circa Dancing in the Dark music video era; all firm-fitting jeans, chunky belts, tight singlets and generously unbuttoned shirts. This fashion choice very much fit the vibe, and I think the audience appreciated it, as one battler next to me continued to shout sweet words of affirmation to the boys. There was just a whole lotta love. 

We moved onto one of my favourite Slingers tracks to see live - ‘Down to The Bone,’ which features on the ‘Love Hurts’ compilation released by Flightless Records. It has this gorgeous nostalgic feel, proud and powerful yet also melancholic, lamenting a relationship breakdown through poignant lyrics such as ‘come to me baby, reap what you have sown – don’t try to roll me back, I’m not made of stone.’ The crowd swayed, glasses raised in the air in salute. 

Photography: Julia Enter

I am thrilled to report that The Slingers are unsurprisingly as tight and sharp as ever, unwavering in their delivery of passion. They always create a comfortable and loving atmosphere, the audience is enlivened and engaged; some watch in peace, while others dance gleefully. 

‘Our Last Day in the Sun,’ released in November of last year, was also wonderful to see live. For me, the meaning can be interpreted in a myriad of ways; if taken literally, this track could be an ode to a bittersweet summer, or a climate change rallying cry, suggesting our summers will change in form and shape if current matters persist, or a relationship’s last day in paradise and glory, farewelling to a honeymoon phase, particularly through the lyrics ‘I guess we won’t make it through, but you already knew that now, didn’t you?’

Before launching into inarguably their most popular track, Robbie expressed the band’s deep gratitude for our attendance - ‘This is very special for us.’ Every live performance of ‘One More Day’ I’ve seen has generated a certain fervour and excitement in the audience. I think it’s the exquisite and resonant Australiana imagery that speaks to every unique experience of growing up in a country with a bruised and shameful national identity; whether you’re from the Mornington Peninsula, Burleigh Heads, Launceston or Mount Druitt, you can picture the stories told in the song.

Photography: Julia Enter

We then switched gears to ‘Living in the Age of Loneliness’, a track that beautifully explains how confusing it is to live and love in our modern world: ’an age beyond the age of reason.’ We’re navigating post-pandemic lethargy, omnipresent social media scrutiny and an imminent climate catastrophe. The cumulative listing in the lyrics of contradictory mindsets ‘constant pain and numbness…great compassion and crucifixion…staring at the end of time…loving you in spite of emptiness’ - mirrors the wide spectrum of emotions we experience daily.

We feel like we’re on top of the world yet also teetering on the brink of disaster, just wanting to be seen and heard and adored; it’s elation one hour and deep doubt the next. In their 1983 track ‘Back of Love’ Liverpudlian rockers Echo and the Bunnymen also expressed this rapid and unexplainable change in emotions due to dissatisfaction with the modern world - ‘we can’t tell our left from rights but you know we love extremes, we’re getting to grips with the ups and downs because there’s nothing in between.’ Some things don’t seem to change.

We were then treated to a track that saw Greg on vocals, delivering very early new wave, Robert Smith vibes, which received excellent audience reception. The aforementioned battler beside me who previously expressed a deep love for the treasured bassist was beside himself in glee. The track pulsated with an ever-thumping bass and thrashing guitar, building and building and then we crashed. It was dissimilar to their usual vibe, but as expected, they excelled. 

Photography: Julia Enter

‘Saddest Man in Melbourne’ seems to be a favourite of Robbie’s to perform. His stage presence in this track is effortlessly energetic and exuberant. He almost possesses a similar passion to Micheal Hutchence, grooving and moving, pumping his fists and twisting. 

The lyric ‘I’ll be your dying constellation’ never fails to make me shake my head in wonder; what a fucking LINE. The astronomy imagery reminds me of Roxy Music’s track ‘Beauty Queen’ which pays a similar homage to the stars - ‘Our soul-ships pass by solo trips to the stars’, which also has to be one of the sweetest and saddest lyrical uses of sibilance. Chris also concluded the performance with a riveting karate demonstration. As a former karate student of ten years, I can confidently say his form and discipline are immaculate - he could be mistaken for Daniel LaRusso.

Robbie’s donning of a stunning grey blazer, very Don-Johnson Miami-Vice era, activated business time for ‘Streets of Tokyo.’ This track is sublime; a synth-saturated, soaring and shimmering wall of new-wave sound. The lyrics detail all the difficulties and rewards of loving someone unconditionally. This track suggests that this love shakes and breaks you and causes crippling doubt; except your love for them, which remains the only unbreakable and doubtless thing. And as our forefathers, Bowie and Mercury, preached in ‘Under Pressure,’ a love of this nature ultimately dares us to change our way of caring about ourselves.

Photography: Julia Enter

‘Happy Birthday To Me’ was a stunning penultimate track. I love the story-telling and narrative element of this song, seven minutes of unadulterated highs and lows. It always prompts the best sing and dance along. The cryptic lyrics, which seem to explore childhood recollections and unstable and tenuous love, also touch on the alluring and addictive powers of reminiscence. You’re deceived into thinking recollecting is constructive and harmless, but sometimes it’s the furthest thing from it.

All good things must come to an end, and with that, the boys bid us adieu with ‘When You Know’, a jangly, fun and upbeat track which as always illustrates the band’s penchant for mouth-wateringly fantastic lyrics - ‘Well, the night cut short and the love she brought fell on me like rain, and it ran through me like a road-train down the highways of my veins’. Like, COME ON! Fucking brilliant. 

The crowd was getting friendly and smoochy, which I welcomed, wrapping my arms around my pal who stood below me and planting a kiss on top of her head. The band expressed their deep love and appreciation and headed out. 

I know I’m verging into gushing territory, but these guys are bona fide knockouts. Their performances are consistently warm and faultless, and the singles released so far lean into that adage that with great love comes even greater pain. It’s almost like they have been reading my diary - and I should be so honoured. 

Get ready for July 7.

Photography: Julia Enter

Sentimentalism will be released on July 7 2023 as a 10 track LP, featuring the tracks "Living in the Age of Loneliness”, “Streets of Tokyo” and “Our Last Day in the Sun.”