Review: Little Birdy @ The Gov 03/07/25
Little Birdy took to the stage at The Gov to celebrate the 21st anniversary of their sublime debut album, BigBigLove. The band were in fine form and we were there to catch it all.
Words Will Oakeshott // Images Danny Wallace
Little Birdy w/DIVEBAR YOUTH @ The Gov 03/07/25
“Oh follow me here, oh follow me there. It's my kinda place.” – ‘Bodies’, Hollywood, Katy Steele, Little Birdy, 2009.
The 4th of October 2025 will ring in the 21st release date birthday for Perth’s indie rock icons Little Birdy’s debut album BigBigLove. The full-length album propelled the then quartet to incredible and unimaginable heights, including multiple ARIA awards, Gold certification in sales (less than one month after release), two tracks listed in the esteemed triple j’s Hottest 100, and an ARIA chart position peaking at number five.
The four-piece would go on to tour extensively with sell-out crowds through the nation, appearances at practically every major alternative rock festival, and even supporting R.E.M. on their tour of Australia, and so much more.
Since then, and frankly even before, devotees to Little Birdy have accomplished the exact request sung poetically by Katy Steele in the opening to this review. The supporters have followed them “here”, “there”, and on this night, they followed the Western Australian alt-rockers to The Governor Hindmarsh. For everyone in the audience and the band themselves, the time and location rang true as “It's my kinda place.”
Adelaide’s DIVEBAR YOUTH was presented with the honour of opening this revered reunion, and almost instantaneously, Vinnie Barbaro was glowing in the spotlight of his passion. This (generally) one-man songwriter, musician and producer undeniably lives and breathes his art. When he takes his favourite place in front of people to showcase his virtuosity, whether atop a stage or wherever he can exhibit his music, his fervency overtakes him, and it remarkably radiates and immerses his onlookers into an indie rock charm.
“How you guys doing? I’m DIVEBAR YOUTH and I hope you enjoy yourselves.”
Without skipping a beat, Mr. Barbaro launched into ‘CYPHER’, a composition more driven by electronica in its recorded format – it was exciting to witness the track undergo an alt-rock transformation. Venturing into a coalescence of sound featuring Matt Bellamy and the rhythms of Bloc Party, while Vinnie stalked the stage in erratic exuberance, the growing audience quickly took note.
‘Perfume’ was a slower emotional journey that Inhaler wish they had written, ‘Divide’ explored some post-punk territories that Divebar executed immaculately.
At this stage, the crowd numbers had risen exponentially and comprehensively; the majority were looking in just one direction. Vincent indisputably possesses that captivating finesse.
‘This One’s For You’ recalled The Real Tuesday Weld impeccably, ‘All You Ever Wanted’ would have instigated The Cinematics to bop-along in envy, and ‘Sharp Tongue’ would have had the same effect on White Lies.
‘Reminisce (lost time)’ was a charming electro-indie number The Bravery forgot to write, and ‘Living’ had that rustic funk dance aura that transformed the atmosphere of the entire venue.
‘Idioms’ was brilliantly brash, comparably, ‘Bad Line’ roamed the loud/quiet dynamic expertly in a live setting, and ‘Heart Of Gold’ built the momentum further with frenzied junctures of noise-rock where Barbaro managed to break his guitar strap altogether.
Unbelievably, this didn’t stop him.
‘Vertebrae’ was the party-starter; dancing, swaying, and devoted concentration on DIVERBAR YOUTH became the close-to-capacity crowd’s motivation. Similar to a remix of The Antlers that the band themselves would have aspired to undertake, it was a testament to why DIVEBAR YOURH is turning heads and shoes on dancefloors worldwide. Welcome to your new favourite South Australian discovery.
READ MORE: Review: Killing Heidi @ The Gov 20/06/25
The Gov suddenly darkened, a sole red heart instantly recognisable from the cover of Little Birdy’s cherished BigBigLove LP lit up the stage’s backscreen, and a resounding cheer erupted from the hundreds present in the venue.
Enter indie rock luminaries Little Birdy, for everyone in attendance, including the band, this moment was undoubtedly that motif: “It's my kinda place.”
‘Excited’ propelled this retrospective, and in the twinkling of an eye, a journey back in time became a perfectly profound adventure to warm Adelaide’s souls on a Thursday night.
“I'm excited to be with you,” Katy Steele graciously and powerfully sang into the hearts and souls of her admirers filling this historic and luscious locale. That feeling was exponentially returned to the four-piece immeasurably more.
The jangly-country-alt-rock composition ‘Come On Little Heartbreaker’ provoked that hip-shaking and groove-along motivation from both crowd and band alike, especially Ms. Steele. She was in her realm of euphoric ecstasy, and Adelaide was inspired by her energy. ‘Beautiful To Me’ was a soul-warming and sensationally striking musical sonnet that became a deafening karaoke. This wasn’t just a reunion, it was enrapturing.
“We have been gone away a long time. We have to make up for it!” Katy announced to the audience. This was, beyond a doubt, a heavenly declaration for us all to hear.
The delicate lullaby of ‘It’s Always My Fault’ was above charismatic. ‘Tonight’s The Night’ was a rocking revelation that inspired Steele to practically immerse herself into the attendees at the front before turning around and descending to the ground, wrangling her guitar, then arising to coax her followers to clap-along and join in with the “ooh-la-la-la” sing-along. Big windmill arm movements while strumming her strings and leaning backwards in acrobatic motions; 21 years ago seemed an impossibility. The music and Katy had achieved timelessness.
‘Message To God’ exhibited a Nick Cave theatrical ambience that acted as the calm of the storm, the duet with bassist Scott 'Barney' O'Donoghue was simply spectacular. ‘Losing You’ proved that the four-piece were human, with the introductory backing track throwing the timing out for the composition. In her renowned grace, Katy made jokes about it all, which would act as a splendid theme throughout the night.
“What’s the fucking rush man? We have all night…” she exclaimed in laughter that surpassed contagious as all within exploded in hysterics. The track itself would have had Jeff Buckley mesmerised with its beauty.
‘Relapse’ was captivatingly enchanting, the track is an emotional voyage that encourages an amazing affiliation lyrically, this strikes at the hearts and souls of those fortunate to undergo this magnificent musical expedition. Live, it is even more powerful, and it becomes an all-encompassing movement of inner rumination that listeners will want to revisit over and over again. Breaking that hypnotic fixation, Katy admitted gleefully: “I am still singing in that same key 21 years later, I have still got it bitch!”
She most certainly has, and so much more.
‘Forever’ was a dazzling bonding extravaganza that encouraged a delightful community disposition with its quirky ravishment. ‘Close To You’ then wondrously wandered into a spacey shoegaze art-rock motif that echoed David Bowie, a well-known inspiration for Little Birdy. This carried through with ‘It’s A Rule For All’, but with a Nightmare Before Christmas furtherance, as well as ‘Andy Warhol’, a track Steele has admitted was written to replicate Bowie’s ‘Space Oddity’. Nevertheless, the song’s performance incorporated a massive solo, and the band skyrocketed to full flight in a bombardment of bedazzling energy.
The quartet did exit the stage area, and while an encore was requested, everyone knew they would return. Thankfully, there was A LOT MORE to come.
The first question Steele asked upon their return jokingly, “How many more songs?”
‘Brother’ was a jaw-dropping acoustic ballad which transformed into a sea-shanty sing and clap-along that was irresistibly sophisticated. Barney’s harmonica inclusion was a marvellous magic touch.
“That felt amazing.” Katy disclosed in elation.
‘Stay Wild’ was quaintly cinematic, then Steele declared: “We are going way back… don’t go home yet, Adelaide!” and ‘Baby Blue’ magnetised all with its country folk adorability.
‘Summarize’ had Ms. Steele relinquishing her guitar so she could become the glittering front-woman she is in full effect. It is a sensational parade that she performs when it is just her and a microphone. The aforementioned ‘Bodies’ was a love song to The Gov (Steele’s signed photograph is within the ticket booth when entering the venue), a synth-pop rocker that provokes dancing, air guitars, high-fives and jumping. This matter-of-factly includes Little Birdy themselves, not just the audience, but all we’re involved, enchantedly.
Katy retrieved her guitar for ‘Come On Come On’, which had more grunge punk spirit and led into a cover of Split Enz’s ‘Six Months In A Leaky Boat’ flawlessly. Ms. Steele then took a moment to thank everyone, especially the amazing Little Birdy fanbase present in Adelaide. The big reveal came with a promise of releasing new music next year and a return to our fine city to celebrate.
‘Don’t’ was to be the closing chapter, but amongst all the excitement, even Katy Steele was tripping over her own exhilaration from the entire showcase. After a couple of false starts, the grand rock pulveriser that Queens Of The Stone Age would be more-than-jealous of, delightfully devastated South Australia in the best way possible.
“Oh follow me here, oh follow me there. It's my kinda place.”
We already have, and we will continue to do so for years to come. Little Birdy’s music is our “kinda place” always.
Want more pics of the gig? Check out our full photo gallery here.
