Absurdity meets brilliance in a way that has you shaking in your boots—that’s what it felt like at Hordern Pavilion on Friday night as thousands of drenched Sydneysiders arrived to witness TISM‘s ‘Death to Art‘ tour. The venue transformed into a mini-festival of nostalgia and oddities, a night that sold out well in advance and drew die-hard fans from all over the country ready to witness a stellar line-up of homegrown talent including The Mavis’s, Ben Lee, Eskimo Joe and Machine Gun Fellatio.
A casual stalk through social media made it clear this wasn’t your average reunion gig. Fans proudly flaunted their dedication, with some following TISM to every stop on the tour, a rare kind of devotion in the tender year of 2024.
The evening opened with The Mavis’s, the brother-sister duo back in full force after their 2023 reunion. Their set was an effervescent burst of energy, reminiscent of sunlit afternoons at the pub. A standout moment came with their hit ‘Cry’, a song that had the crowd swaying and singing along, proving their music is just as timeless as it is infectious.
Next up was Ben Lee, a staple of countless road trip playlists along the Great Ocean Road, embodying his status as a true national treasure. Stepping onto the stage with the ease of an old friend, Lee shared a memory of seeing Nirvana at the Hordern when he was 13, a moment that inspired him to start his first band the very next day. The crowd lit up during ‘Catch My Disease’, especially as Lee swapped the original shout-outs for fresh ones, nodding to Billie Eilish, Charli XCX, and Amyl & The Sniffers.
Eskimo Joe followed, their entrance set to the Star Wars theme, a playful touch for a band known for their polished alt-rock hits. Tracks like ‘Black Fingernails, Red Wine’ and, of course, ‘Sarah’ turned the venue into a full-blown karaoke singalong. These are songs everyone seems to know, and they felt like an anchor point in a night that was otherwise delightfully unpredictable.
Then came Machine Gun Fellatio (AKA “Machine Gunninglingus”), taking the stage for their supposed final-ever performance. Their set was a literal fever dream: a parade of costumes (including buttless jeans and glittering leotards), props (giant undies, no less), and outrageous antics. The energy peaked during ‘The Girl of My Dreams (Is Giving Me Nightmares)’, but honestly, you couldn’t look away for a second. An endless supply of hats tossed into the crowd became a strangely hilarious motif, making every moment a signature slice of perversion and parody.
Finally, TISM. The crowd was already chanting, “TISM are w***ers!” before they even stepped foot on stage, a strange testament to the adoring cult-like status (and accompanying traditions) they’ve garnered since the ’80s. Emerging from Naarm/Melbourne’s underground scene, TISM (This Is Serious Mum) quickly became provocateurs of Australian music with their masked anonymity, biting satire, and chaotic yet precise live performances. Albums like ‘Hot Dogma’ and ‘Machiavelli and the Four Seasons’ cemented their place as pioneers of performance art and musical subversion.
They launched into their set with biting commentary, cursing Kyle Sandilands and later delivering a particularly unfiltered (and welcomed) jab at Alan Jones. TISM’s synchronicity as performers is mind-boggling; even as they dive into the crowd or pop up unexpectedly in the nosebleed seats, their chaos is strangely choreographed. Towering scaffolding served as a backdrop to their wild antics, where live painters worked throughout the set. Tracks like ‘Greg! the Stop Sign!!’ and ‘Whatareya?’ had the audience roaring, while their between-song banter—“99% of art is shit and 99% of rich people are shit”—struck that quintessential TISM balance between comedy and critique.
The ‘Death to Art’ tour was a reminder of why TISM’s cult status endures. The night was a microcosm of everything brilliant about Australian live music: witty, sharp, and utterly unapologetic.
Image Credit: Jess Hutton
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