Review: Refused @ Northcote Theatre, Melbourne 04/12/25
Performing for one of the last times on Australian soil, Swedish hardcore punk originators Refused put on a powerful display that had everyone wishing this wasn’t the end.
Words Will Oakeshott // Image Tim Tronckoe
Refused w/Delivery & Baby Mullet @ Northcote Theatre, Melbourne, 04/12/25
“We wanted a do-over, to see what was still there, if anything, and what could be made of it. There’s a Neil Young song called ‘Buffalo Springfield Again’ where he sings: ‘I’d like to see those guys again and give it a shot. Maybe now we can show the world what we got. But I’d just like to play for the fun we had.’” - David Sandström, Clash Music (2024).
Mr Sandström is arguably best recognised as the percussionist of the groundbreaking post-hardcore outfit known as Refused. In 1998, vocalist Dennis Lyxzén, multi-instrumentalists Kristofer Steen, Jon Brännström, Magnus Björklund and Sandström bestowed upon the world 12 compositions of artistic punk odysseys that would alter the direction of the genre for decades to come. The iconic third album from the Swedes significantly re-established the punk motif to include jazz, electronica, metal, and alternative music, which would remarkably roam into new territories of prestigious virtuosity. This landmark release was perfectly entitled The Shape Of Punk To Come.
Consequently, and dispiritedly, the album required time to escalate into its trailblazing status. However, nearly 15 years after the earthshaking LP’s release, Refused found the ‘Liberation Frequency’ to rejoin, and thankfully showcase ‘The Deadly Rhythm’. This time, though, the world was ready.
Two more full-lengths followed, as well as intensive global touring schedules. After what seemed to be a mind-bending duration of worldwide post-hardcore demonstrations, a heart attack brought the Umeå-bos to a halt. In fact, Refused were almost thought to be “fucking dead” again.
“But I’d just like to play for the fun we had.”
In under a dozen words, Refused now have a new war cry, and it is gratefully before they are “fucking dead” again. Australia, welcome to ‘The Refused Party Program’, for the last time.
Melbourne’s Baby Mullet are a punk-rock trio that would more-than-likely set Mr. Lyxzén’s soul, senses, and heart in ‘Everlasting’ praise and adoration (as well as Refused’s). Lyxzén is best-known for his hardcore recklessness, but he also adores an extensive sphere of music (this writer implores observers to check his project INVSN). Nevertheless, his expansive love for compelling music was beyond befitting for this three-piece, and this aura irrefutably translated toward the building audience at this magnificent venue. Baby Mullet’s Riot Grrrl rock undertaking was a flawless exhibition of vitalisation, especially ‘Not Your Toys’.
In quick summation, Baby Mullet need to be on Joan Jett’s radar, as well as sensationally screaming their poetic words in club shows all the way to Laneway festival as soon as yesterday – ‘Take A Hint’?
“…the fun we had.”
Now, drummer extraordinaire Mr. Sandström has the ideal four words to describe the main support brilliantly. Melbourne’s indie-garage-punk Delivery encourages a “positivity atmosphere”, but not in a “cult sense”, more so that their message is loving and embracing of celebrating togetherness through art.
Honestly, it’s a breath of fresh air.
Before incorrect analysis is made, the quintet is not wholeheartedly of that “Sugar and spice, and all things nice” architecture. Unquestionably, the five-piece demonstrates the “light” in “blight” when they idyllically portray their fiery soundscape. However, with fire comes warmth, and that is superbly, these Melburnians’ tremendous tone.
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‘Like A Million Bucks’ was an amazing hybrid of Lauran Hibberd with Drunk Mums, yet it is the quintet’s attitude that is above contagious. Whether members kneel, dance, or both, it is superbly infectious.
There is currently a phenomenal niche of musical outfits that are dominating this new wave of indie-garage-rock that straightforwardly demands more attention. Truth be told, Delivery are potentially at that “need to know” status. Honestly though, the five-piece could support or co-headline with acts like Tigers Jaw, The World Is A Beautiful Place And I No Longer Need To Die, A Great Big Pile Of Leaves, and even Bad//Dreems. In actuality, Touché Amoré, pay SERIOUS attention – Rebecca Allan and co. are a Force Majeure.
“…to see what was still there, if anything, and what could be made of it.”
The capacity crowd for the luminaries of post-hardcore and art-punk were in all likelihood, not expecting Refused to open with ‘Poetry Written In Gasoline’. But what could be made of it?
“Maybe now we can show the world what we got.”
For years, Refused have executed this exact sentiment exquisitely. It’s their “do-over” - truthfully, we are lucky we share this creative space that they helped pioneer.
That groove and ridiculously rockin’ rhythm of ‘The Shape Of Punk To Come’ changed everything in Australia instantly. For those five minutes, Northcote Theatre was no longer within a gravitational pull; it was in an outstanding orbit of powerfully perplexing punk, and there was a lot “still there”.
Lyxzén is the epitome of showmanship. It is very difficult to believe he suffered a heart attack only six months ago, but this scribe challenges any of the readers to find a rhapsodic lyricist and performer of his enthralling vivaciousness in their 50s.
‘Destroy The Man’? Mr Lyxzén is simply ‘The Slayer’.
‘The Refused Party Program’ stopped time in an eruption of political awareness, which was faultlessly followed by the anthem that is ‘Rather Be Dead’.
That pulsating terRIFFic tempo is all-embracing and illustrious.
“They try to create a culture war. Capitalism is a failure.”
“Let’s live in a world where we help each other, destroy capitalism!” Lyxzén proclaimed to deafening cheers.
‘Blood Red’ was wondrously wounded. Rage Against The Machine would have probably envied the cinematic recklessness and refinement of this journey. ‘Liberation Frequency’ followed and went impossibly further in sensational severity; it might just be the best loud/quiet dynamic known.
‘Summerholiday vs. Punkroutine’ is a song The Hives wish they had the inventiveness for; ‘The Deadly Rhythm’ was so intense that it amazingly required a Slayer interlude.
“…to see what was still there.”
Lyxzén abruptly discussed the band’s departure from hardcore, before the four-piece blasted ‘Çircle Pit’ and the crowd surfers ‘Re-Fused’ their psychosis. ‘Economy Of Death’ was crushing, then ‘Refused Are Fucking Dead’ STOMPED!
Before the readers decipher the brutality of the past descriptions, please understand Lyxzén is conceivably the suavest frontman in post-hardcore. Microphone swings (one landed on his chest with surgical precision), microphone stand athleticism and a magnetism that is beyond description. Theatrical is an understatement.
“Since we came back in 2012, it’s been fantastic. But when you are 50+, don’t play 80 minutes!” Dennis jokingly revealed.
‘New Noise’ – there is no “joking” with that spiritual expression of prestige.
“…we can show the world what we got”.
ICONIC.
“This is music for rebellion!” Lyxzén stamped in notorious glee.
The heartfelt love shared for the immigrants, LGBTQIA+, and the message to “FREE PALESTINE!” was immense.
It was powerful, it was punk rock, it was REFUSED.
The encore of ‘Coup d'état’ and the historic ‘Pump The Brakes’ was Refused showing “the world what we got” one final time in Melbourne for a club show.
“THE.FUN.WE.HAD!
