Dear Seattle - Gig Review & Photo Gallery 16th May @ Manning Bar, Sydney NSW

Dear Seattle 
‍Manning Bar, Sydney NSW
May 16th, 2025
Supports: Heart Attack Man, TOWNS, Lucky

Among the Gothic architecture of Sydney University, now even more mysterious engulfed in apocalyptic rain clouds and nasty rolls of thunder, one of Australia’s most vibrant and colourful bands found themselves hurling gear up slippery stairs. If you’re anything like me, the sheer mention of rain on a gig day is immediately a deflating omen- a dread lingering from the moment you wake up, the train ride there, even lining up (and hearing the doors have been prolonged). Yet, there was something about this lineup that infused my spirit with so much excitement that it was impossible to let pathetic fallacy take its course. The night was set to be a glorious mix, with Dear Seattle headlining their dearest Ohio pals in Heart Attack Man, along with homegrown heroes in TOWNS and Lucky!

To the untrained eye, this night was heavily disjointed. As emo tunes belted throughout the venue between bands, I took a moment to reflect on the lineup for the evening. Trudging through the worlds of dazzling indie, a sharp turn into sing-a-long style pop-punk, before diverting into territory that so delicately dances between the lines of Aussie surf rock to grunge rock. On paper, it almost doesn’t make sense- yet, in practice, the night was a reflection of a set of bands that all correlate through an intertwining sense of heart that exudes heavily from their music. No matter the genre, this was a night of passion that saw fans channelling through the room, acknowledging each other’s interests and indulging in the talent that surrounded them. I have never seen a show where so many people filtered through the barricade, with a set of new faces lurking there for every band; almost a code of practice within this venue that the diehards were at the front for their favourites, and that clump of steel wasn’t hogged all night- wow! This is just a small sample of the escalating sense of community that grew throughout the night, before exploding in the final moments of the evening. 

As the first few punters shook off the rain and ascended the rickety stairs, the dynamics of the night assured themselves as slightly unpredictable. As the doors were already delayed by about 15 minutes, the night's proceedings seemed a little jagged, and saw Lucky taking the stage probably as quickly as the first few of us entered. The rain also seemed to deter many from lining up, or more so, arriving early, which saw Lucky face a crowd of merely a few spectators. The vibe was intimate, fostering a calm yet collected energy that was the true mark of professionalism from the artist and her band. The set saw itself almost belonging to a different evening; matched with the rain, the sombre and delicate articulation and style emulated a much-needed warmth, but not so much a warm-up. Dazzling under shimmering lights, Lucky enchanted the heads in front of her with a synchronized sway, effortlessly recalibrating to the crowd that shifted beneath her. 

Next up are the ever-dynamic duo, TOWNS. I have seen this project once before, opening for Trophy Eyes at the Roundhouse last year. To say I was awe-struck by them is an understatement, and it left me with extremely high expectations. From the moment the band took the stage, the environment on the floor changed drastically. Without warning, an army of the most dedicated TOWNS fans flocked to the front- each reciting the songs word for word, and gushing in admiration to the Adelaide duo. It was a fanfare that was heartwarming, but caught me by surprise. There was a moment, when all the dust had settled, that it became clear that TOWNS drew the largest opening crowd to their set that evening, even amongst an American addition to the bill. The only thing more intoxicating than TOWNS’ nostalgic 90s flair, is the onstage (and presumably all the time) persona of drummer, Dan. From their stunning comedic timing, the flair in their articulation, and of course, the foundational drumming (with nowhere to hide on a two-person stage), they add a homeliness that spills off the stage, which is perhaps one of the keys to TOWNS’ alluring nature. It feels like a community, it feels like a family. As the crowd recited the sentiments of the band’s debut album, sentimental slowdown, this felt like the middle of something massive for this band. There is something more brewing, and it’s only a matter of time before it explodes upon us. 

Now, despite my love of the headliner, the real drawcard for me was the lurking presence of Ohio’s kookiest punks, Heart Attack Man. Hammy, if you will. Descending down under for the first time in their career, as well as being the most foreign band on the bill, I naturally assumed that many attendees would hold the same level of appropriate excitement (utter insanity) as I did for the band’s appearance on stage. Nonchalantly, Hammy strutted on stage, swagger leaking from their legs, and armed with an orange Gatorade in one hand. Situated tightly on the barricade, I was ready for a thrashing… but it never arrived. Instead, I was offered something much more heartwarming; a group of around ten people occupying the middle of the room, crawling over each other, pointing their hands like conductors masterfully serenading their orchestra. These voices almost became louder than frontman, Eric Egan. Metaphorically, this group became a loud and patriotic representation of the ‘heart’ of Heart Attack Man, which saw the room shrivel up to only focus on what was going on in this group of die-hards. The rest of the room ceased to exist, and it was this cherished moment of unity, love, and elation that sold the band’s set in Sydney. Swirling through a catalogue more than five albums wide, Heart Attack Man’s biggest challenge became sifting through their best, cramming as many songs as possible into their short slot. Whilst cherishing the latest release, Joyride The Pale Horse, they also indulged in the critically (fan) acclaimed album, Freak Of Nature. Closing on the song of the same name, this is where the energy within the room really began to buzz. With one of the catchiest and explosive choruses in recent years, bodies spluttered and the decibel level rose as patrons in the room proclaimed their freakiness. It was the first look at just how crazy this room would grow to become, and a hint that some of the ‘Sydney-itis’ had been sweated out by now. Personal bias aside, Heart Attack Man was such a fun act to witness, and word on the street is their next visit is not far off. Wall Of Sound is sure to be first in line. 

Of course, it was now time for the headliners, Dear Seattle. I have been fortunate enough to see this band on multiple occasions, however, all of which have been festival appearances in very coastal areas. Often the most punk, or drawing the hardest mosh pits of the day, Dear Seattle find their home within a strange niche of music, intertwining elements from a selection of creative genres, fusing them into something so inherently and charmingly Australian sounding. The night was a celebration of the band’s latest offering, TOY - an album that has seen Dear Seattle flourish in their self-expressive form, still fostering their youthful and tongue-in-cheek nature, but refining through the memories, experiences, and hard work of their long-spanning career. The release was a step ahead for the Northern Beaches boys, and tonight, facing a Sydney crowd, it was an assertion of every moment, career-wise and personally, that had led up to now. 

Opening with a belting rendition of the hit single, ‘Nothing’s Stopping Me Now’, it was clear the band needed no introduction, nor warm up. This same energy infused into the crowd, with a sizeable group in the middle forging their alliances, now bumping and shoving- an event that would cease to wrap up until the final curtain was called. 

Under dominant green lighting, Dear Seattle remarkably recalled the highlights of their career, with the fruits of TOY bearing true to those hearing, and reflecting in the crowd engagement that was fostered in full potential all night long. It was one of those shows that the crowd was constantly battling with lead singer, Brae Fisher- almost competing with his honey-like, but at times, jarringly homegrown tones. 

There was a moment of irony as the band delved into ‘Maybe’. Among the grand halls of Sydney University, the band proclaimed “I don’t wanna go to University, because I don’t think they offer a fuckwit degree”- a sentiment that was met with a roaring applause and passionate admission from many in the crowd. It was moments like this where Dear Seattle’s loveable personality and audience-centred storytelling breached the lines of artistry, and almost saw the night become a room of mates sharing stories and memories, reflecting on shared years gone by, and moments that have grown them together. It was this theme of homeliness that was arising again for me, a warmth that cannot be replicated artificially, but stirs from the unbridled authenticity of a band shocked at where they came from, and where they’ve ended up. 

Magically, the Sydney show found itself plastered on the one-year anniversary of ‘Sungazer’, a song that redefined the band’s new era, and asserted TOY as the next step in their long-running career. It was the perfect celebration for a child born from hard work and self-backed confidence- a smile brimming from every member's face as they reminisced on the release. It was here that bodies started to fly through the air, and once it begins, how are you going to stop it? 

When is it too soon to induct someone into the Australian Hall of Fame? Because I already feel like this claim has been a long time coming, and I simply cannot wait much longer for Dear Seattle to receive their flowers. It becomes poignant by the end of the night, swelling masses of bodies and vocal cords shredded, that this band conjures something else- they are capable of something else. Asserted by ‘The Meadows’ and ‘Daytime TV’, Dear Seattle also have the recipe, creating two of the most melancholic yet explosive sing-a-longs I’ve ever witnessed, with retrospection and storytelling that is heart wrenching, but presentation so beautifully fun and energetic that the whole room cannot help but scream, dance, laugh, hug, cry. This was a moment of pure euphoria. And it’s a feeling I've long craved to feel again since leaving the venue that night. Truly, Dear Seattle is at a calibre so high, in a position that seems to be so overlooked, and this needs to change. Whether that means every person goes out to a DS show, or I continue flying this flag loud and proud- they are both journeys I am willing to invest in. 

No matter your cup of tea, Dear Seattle bridges a gap in music that is alluring not only because of their sound, but because of their relatable and authentic nature. At a festival, and now within the walls of a University, the Sydney group has truly asserted themselves as one of Australia’s best live acts. Bursting with energy, and injecting everyone in the room with an overdose of pure happiness, what this band is doing is important. The feeling, the community, and the experience that broods within their music in a live setting is truly something to behold- and you shouldn’t be missing out. 

Review by Georgia Haskins @ghaskins2002

Photo Gallery by Jackson Saunders @jsaundersfilm. Please credit Wall Of Sound and Jackson Saunders if you repost photos.