The hype over the launch of Reckless Vagina's single was over almost as quickly as it began. Moments after taking the stage, the boys announced “We’re Reckless Vagina. Let’s launch this bitch,” before flying into the frenzied, highly-strung shout fest of “Dollarhyde”. This was then described sheepishly, “That was the single... We’ve already played it.” Never the less, the Sydney six-piece continued to thrash out a wonderfully energetic, passionate, and varied set to a packed out club.

With connotations to the mangy guitars of Mogwai, or the impassioned vocal fury of Nick Cave in his days with The Birthday Party, Reckless Vagina’s fuzzy garage sound was a big hit with all audience members, ranging from high-waisted-pant-wearing, glasses-toting hipsters to Metallica-t-shirt-sporting, long-haired metal heads. What’s clear is that the whole crowd was almost as passionate about the music as the alcoholically fuelled band, though not as energetic and, well, reckless.

The sparkling gold jacket of the guitarist glistened as he spun his hair around on stage, whilst the synth/keys/melodica player decked out in a woollen poncho and muscle-singlet. From early on in the set, the top half of frontman Daniel Corby was clothed in only a ‘fragile’ luggage tag, after he removed his shirt to the pleasure of the crowd. It all pointed to a band that cares more about their music and their drink tokens at the bar than their self-promotion within the music industry, which is refreshing.

The measured, carnival-esque themes of “Merryl Streepshow” saw Corby yelling into a megaphone on stage, and the heartfelt pain of “Bullshit Year 10 Blues” had the whole band yelling the inspired, mournful lyrics at the top of their lungs. The last of the night, this song devolved into rhythmic piano chords and distorted guitar before picking up into a fast paced, discordant dance tune for all of the youthful malcontents in the crowd.

Young Melbourne upstarts The Priory Dolls were releasing their debut record, Suddenly, at the Priory, alongside the boys from Reckless Vagina. The baby-faced lead, Jeremy Mair, humbly introduced the five-piece as they tried to cram onto the tight stage at Tone. For most of the set, a few dozen people looked on silently, not being moved to dance to the wall of raw sound from the group. Slightly more polished than the antics of Reckless Vagina, the synths and rhythms of the Melbournites added a deepness to their hard-edged lo-fi rock. The crowd was moved into action later in the set, with a core set of groupies dancing to songs like “How the Goldfish Lost His Memory” and “Get Your Dark Wizard On”, as the band members lost their shit on stage.

Big Dumb Kid is a refreshing addition to the Australian music scene, fusing professional indie electronica with the lyricism of hip-hop vocals. Brogan Galceran, the brain behind the act, highlights his reserved, somewhat awkward personality through honest, introspective vocals. Big Dumb Kid was seemingly an odd addition to a line-up of garage rock, and it was clear some of the disparate audience didn’t appreciate the change of tone. However, Galceran’s beat-making skill and relaxed lyrical flow advertised his artistic merit, even though he was having trouble plugging himself and his freely available EP onstage.

After a number of false starts, Kill City Creeps delivered a hard and fast garage punk set for an eclectic crowd. The tight black jeans and leather vest of frontman Daniel Darling invoked references to Joey Ramone or The Clash, emphasised by the faded Clash t-shirt worn by Nina B on organ. Two other women round out the quartet. The garage fuzz foursome started off the night rocking, hair twirling, and gyrating on stage, to the appreciation of all who were watching. Songs like “Alice D” and “Mustang Mama” were driven by wailing organ, intense guitar fuzz, and heavy overdrive. Unpretentious rhythms and a despondent looking drummer belied a hidden talent for song-crafting and performing.

On stage, Kill City Creeps often had to take multiple goes at starting tracks, or embarrassedly ask for a few moments to tune. No one really cared, and it didn’t detract from a fantastic set, but by polishing their on-stage manner, this young band will be even more of a force to reckon with.

Opening the night was Cabaret Collado, with their psychedelically influenced folk-rock. With vocals akin to Chicago’s Wilco, the band was a more relaxed gateway into the chaotic guitar music of the rest of the night. The band even uses an electric violin to great effect, deepening the soundscape of their relaxed, nuanced sound.

What can’t be left unapplauded is the song choice between bands, and the DJ set immediately following the headline act. Destiny’s Child's “Independent Women” immediately preceded Reckless Vagina, to the delight of crowd and band alike, eliciting dancing and grooving from both groups. Immediately following the midnight performance, the resident DJ launched into a hip-hop set of Biggie, Jay Z, and Kanye. Although, it must be said that at least a third of the audience left at this point to stand outside the tiny venue, smoking their rolled cigarettes, emblematic of the kind of crowd populating the enigmatic Wentworth St club.