It has been a minute—or perhaps closer to twenty years—since I last stepped foot into a university bar, but the vibe is one that seemingly holds true through the ages. Walking through the stunning, rain-washed grounds of Sydney University as the bells of the War Memorial Carillon rang out and the sun shone finally, there was a distinct sense of a time capsule opening up. A demographic cocktail of “goth-core” teens, British backpackers, and nostalgic locals like myself gathered in a queue that felt more like a communal catch-up than a wait for a show.
Opening the night were Purple Disturbance, a four-piece teen punk outfit hailing from Coffs Harbour who were, quite simply, electric. Having already shared stages with the likes of Grinspoon and Jebediah, they carried the self-assured “frenetic” energy of a band on the precipice of something massive.
Frontman Thomas Downes possesses a swagger that surely wasn’t the easiest path through a coastal high school, but it translates into a raw, approachable stage presence. Musically, they lean into a Pennywise-infused alt-rock sound, anchored by the technical prowess of drummer Jessica Franklin (reminiscent of Spurs for Jesus’ Michelle Kerr) and the tight grooves of Joshua Downes and Jed Freudenstein. A personal highlight was “Sara Lee”—a track I hoped was a long-overdue ode to frozen cheesecake, though the lyrics suggested a slightly less sugary subject matter. They are a group to watch.
The nostalgia dial turned up significantly as the Thomas Nicholas Band took the stage. For many, Thomas Ian Nicholas is “that guy” from a dozen beloved projects, but in the specific context of this tour, he is forever Kevin Myers of American Pie.
He exploded out of the gate with “My Generation,” immediately amping the room. While “Tomorrow’s Gonna Hurt” provided a great retro vibe, it was the clever selection of era-appropriate hits that truly unified the room. When he launched into Blink-182’s “All The Small Things”—calling it the song he “wishes he wrote”—followed by a cheeky reimagining of Fountains of Wayne classic “Stacy’s Mom” (affectionately re-dubbed “Stifler’s Mom”), the room was in his pocket. Nicholas is an earnest performer; he spoke with genuine gratitude about the 25-year legacy of the franchise that brought him here, closing a high-energy set with the quintessential anthem of the era, Jimmy Eat World’s “The Middle.”
By the time Wheatus appeared, the room was primed for a celebration of their 2000 self-titled debut. Eschewing the traditional “frontman” ego, Brendan B. Brown stood to the left of the stage, flanked by three powerhouse female vocalists—a configuration reflecting the humility of a man who still views himself as part of the ensemble. They kicked off with the quirky “Truffles,” followed quickly by “Leroy,” with Brown noting that Australia was “the first place that liked us.”
The set evolved into a masterclass in crowd engagement. Because Wheatus play without a setlist, the night was dictated by shouts from the floor, leading to a “gem-filled” run of overlooked bangers. “Sunshine” was a killer track straight off the bat, while “Hump’em n’Dump’em” was cleverly repurposed as a biting statement on modern politics, complete with a few bars of Madonna’s “Material Girl” thrown in for good measure. Between the Erasure cover “A Little Respect” and a snappy, female-led version of “Punk Ass Bitch,” the band proved that their musicianship has only sharpened over the decades.
As the night progressed, the band leaned into the deeper corners of their catalogue, satisfying the die-hards with “Lemonade” and the infectious “Wannabe Gangstar.” There’s a certain charm in seeing a band so comfortable in their own skin that they can veer from social commentary to pure pop-rock fun without missing a beat. The chemistry between Brown and his backing vocalists added a rich, textured layer to the songs that the original studio recordings only hinted at, making tracks like “Hey, Mr. Brown” feel fresh despite their 25-year history. This lead-up created a palpable tension in the room, a collective holding of breath as the inevitable conclusion approached.
Then came the moment everyone was waiting for. “Teenage Dirtbag” wasn’t just a song; it was an eight-minute extravaganza that served as the night’s emotional peak. In a poignant, heavy-hitting moment during the lead-up to the famous “Noelle” solo, Brown delivered a heartfelt tribute to the legendary Rob Hirst of Midnight Oil, who had recently passed. It brought a sudden, reverent weight to the room before the crowd was asked to take over the high-pitched vocals. We were surprisingly good, certainly robust. The fantastic female singers, stepped in shortly after and did it properly before the room erupted, a sea of voices singing out that final chorus in what was a bona fide “moment.”
Brown left the stage after thanking the crowd for remembering them, and I certainly will. Many might go for the one song they know from the radio, but they leave with a memory of a band that well and truly “gets the brief.” It was a night of pure, unadulterated nostalgia that proved some vibes really are timeless.
FIVE STARS (OUT OF FIVE)
The Wheatus 25th Anniversary Tour heads to Melbourne’s 170 Russell this Thursday, before hitting Hobart, Fremantle, and Duncraig. Head HERE for ticketing information.
