Live Review: Kid Congo & The Pink Monkey Birds, The Ape, St Morris Sinners

St Morris Sinners opened the night with an entertaining and highly charismatic performance. Their cow punk (yes, that is a genre believe it or not!), blues and rock-based eclectic sound was an early crowd pleaser. Looking like Ian Curtis from Joy Division (but that's where the similarities end), the gesticulating, animated, audience-wandering, stage-humping, photographer-hugging lead singer Stephen Johnson was a somewhat bizarre but entertaining novelty. With songs re-telling the torment of "BFBF - Big Fucking Blow Flies" and The Gun Club-esque soundscape sets the tone for the night.

After a short interlude, The Ape featuring Australian rock legend Tex Perkins were second billing as a noted change from their earlier matinee show and, in true Perkins style, hit the audience with his unique drawl and waxing-poetic lyrics. The Ape, who include Raul Sanchez (Magic Dirt), Gus Agars (The Dark Horses) and Pat Bourke played a tight set and had the capacity crowd jumping from the get-go. Kicking in with Don't Need Nothin', Perkins and fellow Ape members rocked the stage and the eardrums of the completely filled room. Finishing up as quickly as they started, Perkins thanked the crowd and announced Kid Congo & The Pink Monkey Birds to follow.

After a short interval, Kid Kongo & The Pink Monkey Birds are last to hit the stage. Riding off the back of their latest release La Arana Es La Vida they are welcomed with a rapturous applause. Interestingly, they start their set with an instrumental piece that sets the tone; fuzzy guitar fills the room as Kid Congo (aka Brian Tristan) takes the crowd down a musical rabbit hole. As usual, Kid Congo celebrates his time with The Gun Club and The Cramps with She's Like Heroin To Me an obvious crowd favourite.

An American rock legend, Kid Congo is smartly dressed in what seems to be a suit with silver-painted stripes complete with bearskin hat and a dandy crooked smile. Flanked by six-string bassist Kiki Solis, rhythm guitarist Jesse Roberts and with heavily tattooed drummer Ron Miller perched at the back, Kid Congo launches into the jangly, echo-laden garage rock: The B-52's cum The Doors, pseudo-psychedelic sound that they are known for.

The best way to experience this sound is in its live setting, standing in that poorly lit, dank, crowded room, holding that half-spilt drink while feeling the fuzz vibrate through your feet and the echo ring your ears.