_{Happy Hour at The Gin Palace.}

The Gin Palace
+ Swaggerland
Factory Floor, Marrickville
Saturday 9 August 2025 

On a wet and miserable Sydney winter night, a cosy Factory Floor welcomed around 50 punters to  share an intimate musical experience. It was the long awaited gig to launch The Gin Palace’s online single “Petrichor” and album material from Bronwyn Eather’s latest project  Swaggerland 24.

First up The Gin Palace: A super group of players, with a pedigree drawn from, among others, Crow, Glide, and Copperline, they are a six-piece band and welcomed us with a short set of songs from upcoming album, “The Year of the Dog”. As it turns out, it was a set that was almost too big for this little stage, as The Gin Palace powered through an effortless and positive set of numbers with their unique, euphoric sound.

The high energy “She’s Higher” and new single “Petrichor” followed to make for a powerful middle section.

“Utopia” is a slower number that features a nice dreamy mid section with Marc Lynch’s punchy bass, the sailing vocals of Peter Fenton and understated keys.

“New Light” is a powerful ballad in which we were asked to “fly like a bird”. The Paul McDonald-written number “Fall for Always” followed with Bronwyn Either joining the band on-stage.

”I've Known Trouble” is another from the pen of Paul McDonald and featured some lovely interplay of two guitars: the look of contentment on Pete Fenton’s face said it all and it’s bound to be a classic album track, IMHO.

“Unsettled”, a past single featuring a co-write credit for former Midnight Oil legend Jim Moginie, was well received with the video clip playing in the background giving the song extra gravitas.

The last song “Burn” with a message for us all in these unpleasant times and the climate we are in, was delivered with a stirring full sound that exemplifies The Gin Palace.

I came along not knowing a lot about Bronwyn Eather’s Swaggerland project. A few years few years ago, I caught a slim-line version of it in support of Joeys Coop. I confess that was planning on only catching a few numbers owing to lobbing into the country from overseas the night before. But I was pleasantly surprised and drawn into the performance.

To start the set, Bronwyn did something unique: welcoming to the floor, the three girls featured on her album cover and giving a warm plug for their mum. Daggy, but so on point for this night!

“Swaggerland” tonight features four players: Paul Vassallo on slide and lead guitar, Marc Lynch on bass, drummer  Reuben Alexander (with occasional harmonica) and the powerful and artistic vocals of Bronwyn Eather. To the uninitiated, the Swaggerland band are art rock exponents, using programmed instrumentation and backdrop visuals to enhance their performance. Can I add that Bronwyn is a fabulous raconteur and born for the stage?

_{Brownyn and Marc Lynch in Swaggerland.}

So filmscore-type sound ensued. With extra players in this line-up, this largely experimental style steers the songs in a spacey, theatrical direction with a stirring stage presence. It worked for me!

It’s all effortless and delivered with such joy and enthusiasm. Not what I was expecting.

“In A Box” is song-three of the set and a powerful number allowing all four players room to move.

Collaborations with The Gin Palace’s Brad Christmas on keys and Pete Fenton on vocals (for one track, “Still Here”) are well received. “Still Here” track reaches some great heights, lifting us to places only prog rock devotees would know!

From a Greek myth, “Sacred Ibis” has Bronwyn moving to rhythm guitar and is a deeply swampy, bass-driven ballad. A delightful number.

_{Bronwyn Eather.}

The earthiness of performance and addictions are underlined by “Sister Hurricane” where Brownyn offers a growl or two and the punchy, dirty “Gondwandaland”. A solo encore of “Luminous Days” channels David Bowie and makes for a charming closing soliloquy.

It was good to see Bronwyn and her Swaggerland Project recently supported by 2SER’s Outpost show. It’s sure to be well received by the broader indie/ art rock audience.

Special mention to the Tracey Pew of these times, bassist Marc Lynch, who did double duty on bass all night, sporting a truckers cap for The Gin Palace and a Stetson for Swaggerland. In his spare time Marc provided artwork for the show and for The Gin Palace album. Keeping it all in the family, his son worked the lighting for the night. Collaborations abound!

This was an evening worthy of fine musicians and artists. The collaborations between band members is a big part of why being at live intimate shows is what we do and savour.

Buy the music, and merch folks.