The Factory Theatre provided ample warmth on a brisk Saturday evening. The
concrete foyer bore witness to tight knit circles of bodies huddling close to
keep warm. Inside, the comforting hubbub of conversation fell lightly upon ears
as spectators waited for the next act.

With a newly released EP to their name, Sydney-based Cabins filed on stage
and delivered a solid set of exceptional songs off their new record. The boys
never wavered in energy; Leroy’s vocals were on key for the entire duration of playing time. Both the acoustic and guitar slider made an appearance, the front
man utilising the latter to great effect.

Catcher In The Rye, the more familiar
of songs from the boys, had the audience swaying along in the wake of the
hypnotising guitar chords. Mary took on a bolder rock edge, appropriately riling
the crowd up for the headlining act. Despite recurring sound troubles that saw
one of the members leave the stage for the last song, Hounds was still solidly
executed, chaperoned by the steady drumbeats from Brin. Cabins are one of those
bands who impress upon audiences a unique sound that, recreated in a live
setting, becomes better and better the more the boys play. Like a fine wine, their
music twists, turns and evolves in a way that hooks listeners from the opening
sip and, by the set’s end, has the crowd sculling the liquid by the barrel.

Children Collide walked on stage to raucous applause. Ripping out the
opening chords to the first song, the Melbourne band launched into what fast
became an incredibly energetic set, accompanied by chaotic moshers. Social
Currency easily pleased the audience with a quick beat and rocking vocals.
Crowd members were borne atop shoulders, yelling back lyrics and executing fist
pumps in full force. Farewell Rocketship, despite slowing things right down in
terms of tempo, did little to waver the vivacity of the mosh pit. Even front
man Johnny was bewildered at the astute lyrical performance of the crowd,
vocalising his slight surprise behind a coy smile and a curtain of hair, all the meanwhile swigging wine from a bottle
on stage.

The three-piece continued in that similar streak, pushing out the
rocking tunes that were lapped up ever so enthusiastically by the now sweaty
and exhilarated spectators. At one stage, a sneaker was hurled on stage by an
avid fan. It flew past the vocalist and hit the platform on which the drums
rested, after which Johnny reclaimed the footwear and kindly returned it to the
patron. A cover of Nirvana’s Milk It saw punters lose it completely – it was
surprising that a barrage of shoes were not thrown on stage at that point from
sheer enthusiasm. Skeleton Dance had the crowd grooving to no end; Jelly Legs
was polished off with ease. Yelling into his guitar microphone to amplify his
vocals was the least Johnny could do to keep up with the energy and noise of
the crowd. The boys rounded out the night with a generous thank you and a synchronised
bow, the audience’s hollering and yelling an appropriate aural backdrop to a
wonderful set.

A slight, deafening ring in the ears remains the mark of a Children
Collide experience, their sonic assault leaving punters buzzing well after
crossing the threshold of the vicinity.