Words by Matt New
Pix by Angie New Photography
It’s a humbling thought to realise that many of our favourite generational bands, who have entertained us for decades, will eventually disappear from the mainstream. One of New Zealand’s proudest exports, Shihad, is among these respected musical institutions, announcing their retirement after a successful 37-year career. The band, who have toured tirelessly and made Australia their second home, are beloved by the Australian rock community. This news will be difficult for many fans to digest, but not before the band embarks on a farewell tour across the country, culminating in a proper farewell show.
The gravity of the Sydney show was so huge that the venue was upgraded from the Metro Theatre to The Roundhouse to accommodate the overwhelming demand of fans wanting to share in the experience of saying goodbye to this incredibly unique rock act. Shihad holds a special place in my memories, as they were one of the very first bands I saw live at a young age. Any opportunity to see them perform in Sydney, no matter how big or small the venue, was non-negotiable. I feel very lucky that I have been able to witness their evolution over the years, and it is a very sad thought that this will be the last time I get to see them play live.
Opening for Shihad was the local Sydney drum and bass duo Smallways. This was not your typical drum and bass ensemble, as they drew their sounds from the depths of punk rock, garage rock, and even had some tinges of experimental avant-garde overtones. Smallways consisted of Teriece McCully on bass and vocals, and Steven Cole on drums and vocals. They were a high-intensity powerhouse that didn’t stop once they got rolling. Despite being a fairly underground band, they seem to be on an upward trajectory, yet their place on the bill was an interesting but entertaining choice. Their easygoing, bogan-like charm was endearing, and their music was hard-hitting and eclectic. With hints of B-52s, Queens of The Stone Age, and Amyl and the Sniffers, Smallways were a very unique enterprise. Although they didn’t conform to the usual rock and roll playbook by lacking a guitarist, they held their own and made up for it with interesting bass tones, vocal juxtaposition, and, most importantly, energy.
Filling the main support slot for the evening was Battlesnake, who hail from Sydney’s Northern Beaches. This 6-piece band is a musical enigma and one of the most entertaining bands Sydney has produced in recent memory. I was very happy to see them get the opportunity to energize the crowd for Shihad, and that they did in spades.
Battlesnake is the complete package; they are all incredibly talented musicians and write amazingly complex songs that are powerful, compelling, yet have a tongue-in-cheek sense of humour too. Usually, bands with gimmicks can be tiresome, as they rely too heavily on their quirks rather than their musical ability, but not Battlesnake. Since I had already been warmed up to their antics when they supported The Smashing Pumpkins at the World Is A Vampire Festival, I could tell that there were going to be many people not prepared for the wild, unexpected ride that would ensue.
Battlesnake took to the stage to the chant “Pie Jesu Domine, dona eis requiem” from Monty Python‘s The Holy Grail, with many patrons hilariously pretending to smack a wooden plank in their face like the monks in the movie. Their set took off with a bang with songs such as Motorsteeple and I Am The Vomit that featured driving drum grooves, dual guitar lead passages, and plenty of moments to bang your head. You had to be an incredibly focused observer, because if you looked away for too long, you would miss something important, as there was so much chaos on stage. The contrast between their unholy lore and humour is one of their most amusing facets, as they continuously poke fun of some rather grim subject matter. Accompanied by animated visuals projected onto a big screen, cult-like medieval-inspired costumes, and pyrotechnics, Battlesnake spared no expense to capture their crowd’s undivided attention. Even if they had some technical issues with their pyrotechnics and pushed through with a lonesome fireworks box, it added to the humour and grandeur, as we were thrust into the fiery depths of hell with them.
Musically, they draw influence from many amazing bands and genres, with a distinct nod to the first wave of British Metal, with the stylings of Judas Priest and Iron Maiden in the mix. Then throw in the progressive element of bands like Queen and King Gizzard and the Lizard Wizard. This fusion of sounds, coupled with the attitude of taking themselves seriously but then not too seriously, parallels many successful Australian bands that have come before them, like Twelve Foot Ninja, for example. A true musical chameleon that actually delivers a phenomenal experience both visually and aurally.
Their energy was unparalleled, guitarists Ben Frank and Dan Willington trading guitar solos atop the PA arrays, as well as frontman Sam Frank getting right into the crowd to sing before stripping down to his underpants for a cover of AC/DC‘s Let There Be Rock to close their set. A trope that keyboardist Billy O’Key joined in on, as he hoisted Sam’s brother upon his shoulders and ran through the crowd while Frank shredded the guitar solo to this Australian rock classic on his Gibson Flying V. Battlesnake was a shock to the senses and delivered a performance paralleled by the artists they idolize, and for that, they left many people perplexed, entertained, and converted to their brand of heavy rock music.
It has been some time since I have seen the Roundhouse as packed as it was for this particular occasion. Shihad‘s merchandise purposely designed to be black with headstone artwork, playing on the deliberate funeral overtones accompanying this tour. Yes, this is the death of an era, but the legacy of this amazing band will live on through their music. As I weaved through the crowd to get back to my spot for the show, I was accidentally bumped into by none other than Shihad bassist Karl Kippenberger, who was out mingling with his adoring fans. He apologised profusely in his endearing kiwi accent, and I thanked him for all his music and the memories, and he gave me a hug, what an absolute legend! This exchange really tugged at my heartstrings as I was even more eager for the show to get underway.
Shihad casually walked out onto the stage to Toto‘s Main Theme from the original Dune film and a raucous cheer of thousands of enthusiastic punters. Frontman Jon Toogood took the opportunity to let everyone know how the evening was going to go down, with the set to be a chronological trip in reverse touching on tracks from every album the band has released throughout their 37-year career. Opening with Tear Down Those Names and Feel The Fire from the band’s final album Old Gods that was released back in 2021. By the time they got into Think You’re So Free and FVEY from the FVEY record, they were warmed up and perfectly locked in with one another. Their raw and aggressive sound contrasted at times with some highly melodic and delicate parts that really broadened the band’s appeal. Toogood stated “you’re at a real rock and roll show now“, as he implied the band was just getting started, and he was absolutely right.
Shihad is a very special band in the sense that they have had the same lineup since 1991. A feat that is only paralleled by a few bands in the world including 311 and U2, so the chemistry and camaraderie within this camp must be especially significant. On the many occasions I have seen Shihad live, you can tell these guys are friends and brothers first before they are bandmates. The mutual respect, understanding, and passion that radiate across the stage are always visibly evident. Each member of Shihad brings something unique to the overall construction that is their wall of sound. Drummer Tom Larkin with his larger-than-life drum kit, thunders with rhythmic precision, and let’s not forget; this man provides the vast majority of the backing vocal harmonies that complement Toogood so perfectly. Guitarist Phil Knight appears shy on the outside, but his guitar playing is always on point, and adds dimension and sonically he is so creative with his use of guitar effects and techniques.
Bassist Karl Kippenberger is bulletproof and he always plays with so much passion and freedom. Finally, we have frontman Jon Toogood, whose workload is always admirable, as he always delivers heartfelt vocals with attitude while strumming his Fender Telecasters with immense power.
As we approached the midway point in the set, we started to reach the golden era of the band’s catalogue. With the choice of songs from Shihad’s most decorated albums being carefully selected by the band based on their level of connection and emotion to them. The primal driving beats of Alive and anarchistic punk rock anthem All The Young Fascists from 2005’s Love Is The New Hate energised the crowd to a new level. Toogood citing many people in the crowd may have seen them at Big Day Out in the nineties, but that was no excuse not to let up the intensity, even if they were “old as fuck”. Comfort Me, Everything and Bulletproof from 2002’s Pacifier record would continue the tirade of bodies bouncing in unison. In the moment, I felt like I was briefly teleported back to the early 2000s, that is how consistently good Shihad is live. Like all rock bands, they are rough around the edges, and that is what makes them perfect. As they do not hide behind an artificial layer of technology like so many modern bands.
If you think the night would not get as intense as the tracks from these two favourites, we still needed to get through songs from The General Electric, Shihad, Killjoy and Churn. Shihad was intent on making sure no stone was left unturned, and every generation of fans left satisfied that they heard their favourite tracks from their favourite eras of the band. Toogood requested everyone in the room turn their phone lights on and illuminate the Roundhouse during Pacifier. These moments in shows are usually very cliched, but on this occasion, the emotion overrode the spectacle, and in all honesty; the moment was just perfection. Shihad dug deep into the catalogue, making sure some of the more obscure tracks got played, including Sport and Religion which they have not performed since 2011. Rounding out the main part of the set with Deb’s Night Out, You Again and Factory from the band’s first two releases.
Emotions were high, as the band soaked in the moment before taking a small break from playing. Returning to treat Sydney to one last encore, and they saved some of the best songs until last. Run heading up the encore was massive, with everyone in the room singing at the top of their lungs along with Toogood. Shihad’s cover of fellow New Zealand rock royalty Split Enz I Got You was an upbeat and fun ride. Then finally they ended with Home Again, which left many people very emotional knowing this was it. The crowd participation throughout the night evidently left Toogood and his bandmates feeling very humbled, as at times you could see how much this resonated with them.
The band really took the time to thank everyone for the decades of love and support, as without Australia, or cities like Sydney; they would not have had the careers they dreamed of when they started this band as teenagers in Wellington. And just like that, the reality started to sink in that we will never see this amazing band from New Zealand play in Sydney again. I feel blessed and honoured to have been able to share my youth with Shihad and their amazing catalogue of music. The memories will always live with me, and this farewell show was up there as one of the most enjoyable shows they have given their Sydney fans. So, thank you for decades of amazing music, and from everyone who has supported the band, we wish them well on their future musical endeavours. In true Aussie fashion, we hold hope that maybe Shihad gets itchy, and decide to pull a “Farnsy“, and one day return to where they’re at their greatest, on a stage rocking out to thousands of rock and roll fans.
RIP Shihad
