Review: Osees @ The Gov 01/03/25
“Osees aren’t just one of the best live bands today, they are, quite possibly, the best.”
Words & Images by Michael Lockheart
Osees @ The Gov 01/03/25
There’s a reason why Osees (aka Thee Oh Sees, OCS, The Ohsees, etc.) are hailed as one of the greatest live bands on the planet. Their performance at The Gov on Saturday night was proof of this claim, along with being a highly entertaining watch.
Frontman John Dwyer cooly led the charge with his signature blend of intensity and unpredictability. His vintage Gibson double-cut guitar, gnarled and battered, bore the marks of a musician who pushes his instrument to the brink. At times, he held it between his clenched teeth, gnashing his way through solos with the same manic energy that fuels every note he plays and lays to tape. Sweat and spit flew from his face as he leaned into the microphone, frequently swallowing it whilst belting out lines - eyes darting around like a ringleader orchestrating a sonic circus.
The rhythmic foundation of the show was truly hypnotic, courtesy of drummers Dan Rincon and Paul Quattrone, whose captivating synchronicity had the crowd in a trance-like state. Rincon observed Quattrone’s every stroke and cymbal flourish, their precision so tight it felt almost supernatural and impossible to peel your eyes off. The result was a relentless groove, an undulating force that kept the sonic atmosphere in perpetual motion.
Despite the sheer aggression of the performance, the mood in the room wasn’t one of jubilant chaos – it was something closer to stunned reverence. People weren’t just moving; they were mesmerized to a large extent. The diversity of the audience was striking too, spanning generations all equally transfixed by the frenetic assault. Even amid this controlled frenzy, beaming crowd surfers launched themselves skyward, riding the waves of energy crashing through the room.
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Keyboardist Tomas Dolas, half-hidden behind his long hair, kept a watchful eye on Dwyer, his fingers dancing across the keys in perfect synchrony with the Zappa-esque madness of the band’s increasingly deranged discography. Meanwhile, Dwyer’s thrown-together suitcase of effects, perched precariously on a stand, became an extension of his performance, adding manic digitised texture to the sound. He toyed with it between songs, utilising his hands, elbows and forehead, twisting knobs and flicking switches, at times coaxing borderline-irritating beeps and tweets, at others pulling back just enough to keep things grounded.
A particularly transcendent moment arrived during the closing trio of songs from latest (and 28th) album SORCS 80 where the band drifted into a lengthy, Pink Floydian jam. Spacey sound effects swirled around the room as Dwyer toyed with his exposed guitar leads and drenched the mic in reverb, transforming the venue into something more akin to an alien transmission than a rock show. It was a reminder that while Osees are rooted in garage punk, they are continually unafraid to veer into the cosmic unknown.
On the surface, the show could have seemed like a freeform explosion of noise, but beneath it all was a level of precision and refinement that only a band of this calibre could achieve. Not a single powerhouse tune was omitted, each track handpicked from their enormous and diverse back catalogue. Osees have perfected the balance between unhinged energy and surgical execution, making every performance feel like it could spiral out of control at any second – but never actually does.
By the time the final notes rang out, The Gov was left in a state of exhaustion and exhilaration. If there were any doubts before, they were obliterated. Osees aren’t just one of the best live bands today, they are, quite possibly, the best.
Check out the full gallery of Osees images from their Adelaide gig here.
