The Wombats | Festival Hall
Last night in Melbourne, the energy was high as a stacked lineup hit the stage. From local favourites to international talent, the crowd was in for a night of charm, humour and plenty of singalongs.
Opening the evening, Perth’s Ra Ra Viper burst onto the stage with undeniable charisma. The frontman’s lively presence, jumping, striking poses and feeding off crowd energy, instantly set the tone. While only a handful of fans sported their merch, the warm applause and cheers showed they were converting newcomers with ease.
Photo Credit: Asuka Chen
Following them, Bea & Her Business offered a set that felt classy yet playful. Dressed in a striking red satin dress, her presence carried a kind of polish well beyond her 21 years. Though not comedic in the same way The Wombats lean into their Liverpool humour, she was witty and engaging, connecting with the room in a way that felt effortless. An unreleased track on keys and a closing singalong to Born to Be Alive left a lasting impression, hinting at a bright future ahead.
By the time The Wombats stepped into the spotlight, anticipation had boiled over into a roar. Their setlist mirrored Adelaide’s, but Melbourne made it their own with deafening singalongs and the floor literally trembling under encore chants. From the first notes, the crowd was dancing, transforming the venue into a euphoric indie-pop carnival.
Much of the onstage banter came courtesy of Matt and Dan, their dry and self-deprecating humour giving the night its signature charm. Tord, meanwhile, was the undeniable livewire, running, jumping and seemingly flying across the stage with boundless energy. At one point, he strummed a cheeky Wonderwall reference, setting up Matt’s story about flying to LA to see Oasis and crying through Champagne Supernova. It’s this balance of silliness and sincerity that makes their shows so memorable.
The set carried plenty of surprises. Lemon to a Knife Fight opened with a mellowed instrumental introduction not on the record, and the crowd immediately guessed what was coming. Matt then grinned, announcing, “so here’s another song about lemons…” a playful nod after already performing Pink Lemonade earlier in the set. Later, Greek Tragedy became a mass humming session of its iconic riff, while Ready For The High was joined by a plush Wombat on stage, foreshadowing the chaos to come.
The finale, Let’s Dance to Joy Division, saw three giant Wombats bounding across stage, sending the room into a frenzy. By then, the atmosphere felt less like a concert and more like a family gathering. The trio played the role of mischievous older brothers, while the audience, singing, stomping and laughing, were the younger siblings caught up in the fun.
Tight, confident and consistently hilarious, The Wombats once again proved why they remain one of indie-pop’s most beloved live acts: masters of turning music, comedy and chaos into an unforgettable night.
Photo Credit: Asuka Chen