Words – @ladylane____
Photos – @photo.amai
SANDY DISH may be branded as ‘your Dad’s favourite band’, but they are fast becoming a hot contender for being mine as well. They explode with grit, ferocity and pure Riot Grrrl energy that only needs to be heard at one volume – loud. Their 30-minute set was audacious and fun without dimming down or minimising themselves. They bring an unfiltered, dirty and unrefined brilliance with every lyrical hook, guitar riff and rowdy drum beat, which is a brilliant way to invigorate the punters with their no prisoners taken attitude. Give me more of that, please. They even did a cheeky intro of “Everyone Has More Sex Than Me” by TISM for added flavour.
LARGE MIRAGE are a stunning classic rock and roll band that delivers soaring and angelic harmonies with addictive and alluring guitar riffs that feel like you were transported back to the 1970’s. Their striking vintage garb added to their glimmering stage presence, which boasted a dream-like sound, transfixing and garnering attention from the punters. Having sold out performances in the UK and Germany, LARGE MIRAGE is a band you cannot afford to miss out.
The gals! HOT MACHINE are a feisty all-girl rock ‘n’ roller group with a burning passion for classic soaked rock. They are incapable of not putting on a high-octane live show that pulls you in with gritty guitars, a thunderous rhythm section, and huge, anthemic choruses made to be shouted at full volume and boy, did they deliver. The barriers were packed and the crowd was heaving! The gals donned in their finest leather boast an unapologetic performance that is a see to believe it. No wonder why they are driving the rock ‘n’ roll scene – go the girls.
Funnily enough, when their set ended, I was accosted by a gentleman asking me if I was in the band. To accurately paint a picture, I was in 90’s mum jeans, wearing my Chuck Taylors and donning my Good Things 2022 shirt (for obvious reasons) – I cheekily said that I wasn’t but thankful for the nice comment. After a swig from his crisp can of Jameson and Dry he said, ‘Well ya bloody look good’. Thank you kind stranger! My 90’s Mum get up begs to differ.
DR SURE’S UNUSUAL PRACTICE is a band that’s been on my personal ‘need to see list’ for ages and their signature style of bombastic, synth-punk was a spectacle to behold. Following their impassioned Welcome to Country and calling out genocide which reverberated around PICA they decided to get us in the mood with their song “Celebration” – they certainly got us primed and ready to continue celebrating. Their set was tight, joyous and at times cathartic from their output of energy.
DRUNK MUMS are a messy, loud, and unapologetically fun Australian garage punk band that thrive on chaos more than polish. Their sound is rough-edged and high-energy – crunchy guitars, driving rhythms, and hooks that feel more shouted than carefully constructed, in the best possible way. There’s a raw, party-leaning attitude to everything they do, like they’re barely holding it together just enough for it to work. They’re all sweat, volume, and attitude- less about precision and more about collapsing into the moment with the crowd.
THE BELAIR HOT LIPS are Frankston’s revered rock band that sit comfortably in that perfect middle ground between catchy and understated. With jangly guitars, punchy rhythms, and melodies that lodge themselves in your head, their music feels instantly familiar without ever tipping into blandness. What stands out is their ability to move from upbeat, driving tracks to more stripped-back, reflective moments without losing flow or energy. Maisie Everett’s cool, unflashy vocals and candid, relationship-driven lyrics keep everything grounded and relatable. Live, they’re tight and assured – no gimmicks, just strong songs delivered with confidence.
I genuinely struggle to describe what I experienced throughout TISM’s entire set other than: “WHAT THE ACTUAL FUCK?” – and I mean that in the best possible way. As a swarm of TISM-hungry fans packed into every inch of PICA, my partner and I managed to slip in at the very back, near one of the side stages (second? third? I still couldn’t tell you), counting down the minutes until they appeared. The room was thick with darkness, beer fumes, the chatter of long-time fans, and a suffocating heat that only heightened the anticipation.
I turned to Mark and joked, “Wouldn’t it be hilarious if they came out behind us instead of on the main stage?” Turns out I might have a future as a clairvoyant because that’s exactly what happened. They kicked things off with “Old Skool TISM”, and from that moment on it was clear: this was going to be every bit as chaotic as promised. With near-military precision, they launched into the set without missing a beat – or dance move mind you. Even through the ceremonial boos, I was clearly thrilled – ducking and weaving through a sea of sweaty, mostly 40-plus men in a failed attempt to get a better view (unsurprising, given I’m about half the size of 98% of the crowd). Aching legs and a sore back weren’t enough to stop me bouncing along to their infectious beats and taking in their MET Gala-worthy outfits. Their tongue-in-cheek lyrics still land perfectly, leaving me grinning from ear to ear.
Seeing TISM reform in 2022 at Good Things Festival remains one of the biggest live music highlights of my life—but honestly, catching them at PICA might have just topped it. They tore through “I’m Interested in Apathy,” “I’ll ’Ave Ya,” “Everybody Needs Somebody to Hate,” and “Diatribe” like it was their final night on earth – bursting with energy, intensity, and that unmistakable TISM charm.
Then – blackout. A brief monologue from one band member (remember that), before the rest reappeared on the main stage. That’s when it clicked: this wasn’t a straightforward set – it was a multi-stage spectacle. And I knew I was in for a ride.
“What Nationality Is Les Murray?” absolutely kicked things into gear. The laughter rolled through the crowd in waves, the energy was electric—and then came the thunderous, perfectly in-sync chant of “The C Word,” which felt like it nearly shattered the sound barrier. I made the mistake of pulling out one of my Loops… and instantly regretted it.
Another cryptic monologue flashed by, and suddenly I was turning back toward the second stage, where we were treated to an alternate version of “40 Years – The Death” their first time performing it in 14 years. You can imagine how thrilled I was. “Saturday Night Palsy” followed seamlessly, keeping spirits sky-high among the TISM faithful.
Without so much as a breath or a pause, TISM snapped back to the main stage and launched into my personal favourite, “Death Death Death,” immediately followed by crowd favourite “Greg! The Stop Sign!!.” Then it was a dash to the second stage for “All Homeboys Are Dickheads” and “Whatareya?”- at this point, I’d completely lost track. They bounced back again, tearing through “Defecate On My Face” on the main stage before pivoting straight into “Death to Art” on the second, all with relentless speed and precision. And just when I thought I’d seen it all, what came next completely blew my mind.
TISM multiplied.
Three stages. Three performances. All happening at once. WHAT?!
“The Mystery of the Artist”, the country version of “Defecate On My Face” and “TISM Are Shit” blasted out of each individual stage simultaneously, and there I was- completely exhilarated, slightly overwhelmed, spinning in circles trying to take it all in, both sonically and visually. Lights flashed, bodies danced, and a sea of phones shot into the air to capture just how massive and surreal the whole moment felt. I didn’t have time to add vertigo or whiplash to my already aching back and limbs, so I just surrendered to the dizzy mix of awe and mild disassociation.
Wrapping up their colossal set with “(He’ll Never Be An) Ol’ Man River, “I Drive a Truck” and their departing kiss of “Give Up For Australia” – TISM fucking electrified PICA and left the punters spellbound, awe-struck and craving for more.
Please give us more TISM.
TISM are dickheads but that’s part of the act. What isn’t part of the act, and shouldn’t be brushed off in 2026, is the very real problem of sexual harassment at gigs. The worst behaviour of the night came from a belligerently drunk guy shouting “SHOW US YA TITS” during The Belair Lip Bombs’ set – something that’s not just outdated, it’s unacceptable.
Live music should be a space where everyone feels safe, respected, and able to enjoy themselves without being subjected to that kind of treatment. It’s not banter, it’s not harmless- it’s harassment, and there’s no place for it.
Thank you to SANDY DISH, LARGE MIRAGE, HOT MACHINE, DR SURE’s UNUSUAL PRACTICE, DRUNK MUMS, THE BELAIR HOT LIPS & TISM and DALLAS DOES PR
