Live Nation Presents:
Live at The Garage, Highbury
Serpentine space-rock and smouldering falsetto R’nB. Stadium supports for Aerosmith and AC/DC and earnest covers of Destiny’s Child and First Aid Kit. Fly-by-night gigs in war-torn Afghanistan and recurring religious pilgrimages to the wood-grained heart of Nashville.
Welcome to the world of Kingswood. Don’t be confused by the veneer. Like the iconic Aussie car of the same name, it’s all about what’s under the hood.
“We wanted to make something that would rival Abbey Road,” guitarist Alex Laska told Rolling Stone magazine in the throes of their second album, After Hours, Close to Dawn. “I know it sounds insane but if you don’t strive for that kind of thing, what are you doing? Seriously, what are you doing?”
The goal posts refuse to yield on the Melbourne rock quartet’s third album, currently under construction across four studios in Sydney and Nashville. The first taste, Messed It Up — all sinewy synth-soul compulsion with a restless rock undertow — presages another stunning act of evolution.
“We’re a band that, in a philosophical way, wants to continue to change,” says singer Fergus Linacre. “We don’t want to make the same record twice and the support we’ve received so far has made us realise that we actually can do whatever we want. It’s a great position to be in.”
OK, let’s back up here…
It’s six years since Kingswood first crashed the teeming Australian touring circuit, raising the stakes for iconic headliners as diverse as the Saints and the Living End with balls-out and belching rock singles like Medusa, She’s My Baby, Sucker Punch and Ohio.
Their debut album, an electrifying act of hard rock sophistication called Microscopic Wars, was made at Nashville’s Blackbird Studio with multi-Grammy-winner Vance Powell (Jack White, Arctic Monkeys, Kings of Leon). It made directly for the Top 10 in 2014, followed by nomination for that year’s Best Rock Album at the annual ARIA Awards.