Oxford Arts Factory have addressed the widespread opinion that traditional Christmas parties with the family are really no fun, and for the third year in a row, attempted to host a debaucherous and badass Christmas party for the drunken music fans of Sydney. Five buck entry was surely their idea of a thoughtful Christmas gift, ensuring all tightarses and layabouts could afford to join the party and embrace the festive season with their mates. That said though, the crew seemed to have forgotten to stick to the Christmas theme, and not even the slightest bit of tinsel or sparkly lights were draped anywhere in the venue. It was just another night at Oxford Arts Factory, just with more bands.
First on in the Gallery Bar were Reckless Vagina. Upon entering the venue I ran into a buzzed friend of the band, who repeatedly referred to them as “the greatest band in Sydney right now”. I initially dismissed this endorsement, but after a couple of minutes sitting on the sticky benches of the bar, and I could see what he was talking about. The three piece were thrusting under the red lighting, vocals were undistinguished, but it all added to the vibe of the band. Their music was dark, but still catchy and smooth, and they are definitely one of the more original bands I’ve heard recently. With a name like Reckless Vagina, a reasonable expectation would bring to mind a group of immature musicians who aren’t really serious about the music they’re making, but this band definitely have what it takes to succeed. It’s a shame they were on so early as it would have been interesting to see the reactions of a larger crowd to their music, rather than just a small group of mates and super eager partygoers.
After taking a short break to chill out and watch the film projected on the screen, 14 Actors Acting, I headed over to the Live Art Space to see The Preachers. Pretty massive in Sydney right now, The Preachers put on an energetic, almost bluesy type of show. Although their sound seemed to resonate a lot of similarities with other bands on the Sydney musical landscape, the switching of male-female vocals between Isabella and Gideon prevent any sort of banality and repetitiveness and kept the tipsy punters interested. The greatest thing about Oxford Arts Factory is the attentiveness of all its partiers, their respect for new music and their silence during shows create half the vibes that turn ordinary gigs into a success.
Back at the Gallery Bar, The Honey Pies were just starting their set. This band had great reception from the crowd; aesthetically, they are endearingly sweet, and their music echoes retro influences that seem to be enjoyed by all. Their songs had a startling intensity for such a young band, and seemed to carry both a Beatles and Monkeys sound, yet for some songs still engaged in an edgier, harsher, punk style. The musicianship of The Honey Pies was excellent, they know how to work together, and physically they put on an energetic and entertaining show devoid of any dull silences and awkwardness.
At this stage I surrendered my desire to wait around to see Zeahorse and headed home. Whilst it would have been nice to chill out to their psychedelic tunes, I decided to spare myself the embarrassment of falling asleep beneath the scrutinising gaze of the judgemental crowd. The Oxford Arts Factory Christmas Party was a brilliant night for live music, and the bands in the line up all seemed to correspond with one another nicely and carried a sweet dynamic. Besides that, there was little to remind us that it was Christmas, but I suppose the intention behind the night was to forget the horrors that are associated with the festive season and so I’d deem it as a rather successful endeavour.
