Following the release of breakout singles “Shaq Attack” and “Rory Calhouns”, Magandjin/Brisbane outfit Super Hotel returned last Friday with their third single, “Driving at Dusk”. Earning a #14 spot in 4ZZZ’s Hot 100 for “Shaq Attack” and national spins across ABC Country and triple j with “Rory Calhouns”, “Driving at Dusk” is the final preview before the band’s self-titled EP lands in mid-March.
A wonderful complement to the band’s indie-folk-country-rock niche, “Driving at Dusk” rolls in on jangly guitars and a loose-limbed groove. It’s rare to stumble across a band that can blend well-worn (and at times seemingly contradictory) genres into something that feels entirely their own. Theoretically, it shouldn’t work. Super Hotel prove however, that it certainly does.
The song opens with a couple of ad-libs, a casual “alright” and “woo”, before lead singer Emily Simm’s distinct vocal tone cuts through. There’s an unapologetic Australian drawl stretching every vowel on “nose”, “hose” and “you”, her voice blooming over the track like a sunflower sprung from Queensland soil. Early harmonies emerge with restraint, with a nice warmth from Eliza Heath on backup vocals.
It’s a compelling combination: country textures wrapped in indie sensibilities. There’s something both familiar and entirely uncharted here. By the time Gabe Webster’s drums kick in, your head is already nodding.
With country music booming across the national landscape, I’ll admit I struggle to align with the beers-utes-boots caricature that dominates the mainstream. That’s what makes Super Hotel’s approach so refreshing. They bridge modern Australian indie, rock and folk with country’s melodic earnestness, all delivered with an unfiltered local accent. From Cold Chisel’s “Flame Trees” to Powderfinger’s “Sunsets”, there’s an intergenerational strain of Australiana that is woven into the DNA of certain tracks. They stir something undefinable, but infinitely knowable amongst the citizenry. A quality difficult to define, but instantly recognisable. Super Hotel tap into whatever that thing is, without any tactless mullet-and-footy-shorts exaggeration that crowds the scene.
The searing chorus line lodges itself instantly beneath aching slide guitars. The lyrics “You’re like driving at dusk, beautiful and dangerous” evoke images of a purple and orange Nullarbor sunset, with the same combination of physical and emotional isolation and beauty the song aims for.
Sonically, there’s a rare balance between DIY looseness and careful polish. A ‘90s alt-rock sensibility peeks through, particularly in the bridge. Gareth Newman and David Gaylard’s guitars find an urgency, while Leo Burmester’s pulsing bass keeps everything grounded. It’s a crescendo built to swell in a packed room.
By the 4:12 mark, there’s an undeniable sense of home threaded through the sound. The Americans may have the Hotel California — but Australia’s got the Super Hotel. You can check out “Driving at Dusk” anytime you like… I just can’t guarantee you’ll ever want to leave.
“Driving at Dusk” is out now. Listen HERE and keep an ear out for the band’s self-titled EP arriving mid-March.
You can keep up to date with Super Hotel via Instagram, YouTube, and Bandcamp.
Header Image: Deon D Heath
