Review: Local Noise Festival @ UniBar Adelaide 21/02/26
UniBar played host to some of South Australia’s most exciting young bands, with Even Hannah, Loader Lane, Sticky Beak, The Fuss, The Hazys, Colter and headliners PASH showcasing why our music scene is thriving.
Words Dakota Griffiths // Image Brianna Da Silva
Image supplied
Local Noise Festival @ Adelaide UniBar 21/02/26
It was a landmark night for South Australia’s grassroots music scene as the debut Local Noise Festival took over UniBar Adelaide on February 21. Designed as a platform to champion homegrown talent, the event wasn’t just a gig; it was a celebration of community, advocacy and the depth of artistry brewing right here in SA. As punters filtered in early, there was a buzz of curiosity in the room that steadily built into something much louder by the end of the night. While the lineup was stacked with emerging acts, it was PASH who ultimately stole the show.
Kicking things off were Loader Lane, Even Hannah and Sticky Beak, who each set the tone with tight, confident sets despite being relatively fresh acts. The Fuss were an early highlight, performing an array of crowd favourites and unreleased tracks encompassing punchy riffs, driving rhythms and anthemic hooks. The Fuss proved once again why they’re one of the most exciting up-and-coming acts in the state. The set also marked the debut of new bassist Donna, who slotted in seamlessly.
The Hazys showcased just how much they’ve evolved over the past six months. There’s a noticeable edge to their sound now; it’s grittier, more refined and far more self-assured. They’ve clearly honed in on a direction that genuinely suits them, and the growth was evident in both their musicianship and stage presence.
Main support Colter doesn’t perform often, so it was a fun treat having them on the lineup. Their set was armed with sing-along choruses that even unfamiliar listeners could latch onto. It’s evident their songs are built for live settings, and the crowd responded accordingly. That said, a few onstage mistakes throughout the set were slightly disappointing given their main support slot, but mistakes happen, and it is a live show after all!
Headliners of the night PASH, opened their set with an unreleased track, and immediately signalled that this wasn't going to be a run-of-the-mill performance. The four-piece made the bold decision to play their upcoming EP in full, offering the crowd an exclusive preview of their new exciting era. It’s a confident move for any band, particularly in a mixed festival setting where audiences often gravitate toward familiarity.
It’s clear that PASH are releasing tracks that resonate with their listeners. Despite only being released two weeks earlier, ‘Ricochet’ already felt embedded in the crowd's consciousness, with punters singing along intently. Frontman Jett Gazley’s vocals were a standout throughout the set; they’re incredibly versatile, capable of cutting through with grit one moment and softening into vulnerability the next. Few frontpeople of emerging acts can adapt so seamlessly across emotional tones while still maintaining such control, which was a particularly captivating aspect of their performance
Unreleased track ‘Solid Ground’ landed with conviction, while ‘New City’ injected a fresh dynamic into the set. There were funk and blues influences that shimmered through the bass line of ‘New City’, which added a fun texture and is a great example of the expansion of the band’s sonic palette. Their cover of Fleetwood Mac’s ‘Everywhere’, reimagined with a funk-pop twist, further demonstrated this exploration of new sounds, but also demonstrated their ability to honour nostalgia while still making it sound unmistakably PASH.
‘East-End Girl’ carried a guitar line that subtly echoed the spirit of ‘Life Is A Highway’ by Rascal Flatts, but reshaped with bright pop elements, which created a sweet spot between familiarity and freshness. That balance seems to be PASH’s secret weapon. Their sound feels new, but there’s an undercurrent of nostalgia that draws in listeners almost subconsciously.
Jett’s stage presence is equally complelling. It’s not over-the-top theatrics; it’s the subtle shifts, like small changes in posture, glances to the eager fans on the barricade and understated crowd interactions between songs that entice fans. He understands how to hold attention without demanding it. Even during moments where the younger audience appeared slightly disengaged, PASH’s performance never wavered in polish or intensity.
In a festival context, sprinkling one or two older tracks may have elevated engagement even further. But I understand they are currently on tour for the EP release and can acknowledge the decision to showcase the EP in full to a relatively new audience was ambitious and artistically brave. This decision has positioned PASH as a band firmly stepping into their next chapter.
Now, closing with ‘Tracy’ was a masterstroke and the perfect way to complete their set. The entire room seemed to snap back into a unified motion, singing every word at full volume. It was chaotic, electric and deeply affirming that PASH are a band to watch. This was the kind of ending that lingers long after the venue lights come on.
As Jett declared while talking about the EP, “This is the start of something amazing,” and it didn’t feel like a throwaway line. It felt like a statement of intent. If this set at Local Noise is anything to go by, PASH aren’t just another local act, they’re ready to be your next favourite Australian boy band
