Like the Pied Piper of Hamelin, Philadelphia Grand Jury lure locals from their prospective hideouts and shepherd them to intimate venues whereby aural and visual rape occur in the form of infectious beats and rocking riffs, leaving victims sweaty, enlivened and thoroughly stimulated. Such was the demand for the Philadelphia Grand Jury “treatment” that last minute tickets were released on the morning of the Friday night sell-out gig at Oxford Arts. The events that consequently went down were criminal to say the least.

Supporting The Philly Jays on their national tour are The John Steel Singers, self-proclaimed long haired hippies hailing from Brisbane. Their upbeat and jaunty tunes exude an ebullient mood on stage with a complementary brass section of trumpet and trombone smoothly blaring out sublime notes. Strong percussion and pleasant vocals exuded a carefree vibe, affecting the front of the crowd who were swaying precariously under the spell of the band’s hippy-like tendencies. The steady drum line of “Masochist” perked the ears of those standing further back, while “Strawberry Wine” garnered ample attention that was maintained right to the end of the set. The band of six was at ease on stage, pleasing patrons with their buoyant beats and lively disposition.

A pre-recorded screeching introduction from Berkfinger arrested audience attention as The Philly Jays filed on stage, with notable icon Calvin Welch taking up drumming position. An impenetrable wall of bodies proceeded forward as the boys ripped out the first chords to immediate effect. “Ready To Roll” had patrons grooving to no end, perspiration dripping down intoxicated faces; long hair flying hither thither. Crowd pleaser “Going to the Casino (Tomorrow Night)” bore witness to the entire venue bellowing back lyrics, aurally assaulting ears with jarring voices and deafening roars. Personal space was non-existent; how MC Bad Genius managed to push his way through the throng of limbs on the floor was beyond comprehension. His guitar cord was lifted above heads, coming close to strangling many as he moshed with fellow punters. The pounding keyboard notes of “The Good News” saw dizzying head bangs incorporate themselves seamlessly amongst the crowd, facial features blurred beyond measure as Berkfinger worked his vocal pipes to exhaustion.

“I Don’t Want to Party (Party)” further heightened the evening with acute ferocity and cataclysmic energy. MC Bad Genius teetered precariously on the edge of the stage, dangling his bass above audience heads whilst casting out a piercing glare from beetle black eyes that could sear through the sturdiest of steel. Berkfinger upped the ante, kneeling down and grabbing a stray hand from the crowd that he forced upon his guitar, slapping out the chords with intense vigour. The song broke out into an extended jam, with Calvin Welch hammering away at a speed that was incredible to witness, the drums straining under the amount of assault raining down upon them. Berkfinger dove into the crowd and was borne to the back, dragging along both guitar and microphone, a trail of chords the only indication as to his whereabouts in the sea of jumping bodies.

Lifted back on stage, Berkfinger straightened his thick frames and launched straight into a cover of Jay Z’s “99 Problems”; the white stage lights flashing at a breakneck speed, inducing epileptic like visions among patrons. The boys belted out the lyrics with relentless energy, pleasing the crowd with a highly enthused song that satisfactorily rounded out the set.

The Philly Jays left an invigorated horde of punters in their wake, smiles evident on the faces of those who had been gratifyingly appeased. The band will finish off their Australian tour in Perth, after which they will jetset to the UK and accordingly subject the audiences there to the assaultive experience Australians have grown to appreciate from the charismatic three-piece.