Hey PopRockers, we’re still buzzing from The Superjesus’ electrifying gig at The Carine—three-time ARIA winners as well as multi-platinum stars of the Australian rock scene who delivered big time.
The Carine’s low-key and intimate setting was perfect for this gig because it added acoustically to each set and amplified proceedings another notch.
Currently touring their new self-titled album, The Superjesus, the band proved they’ve still got it—tight, loud, and totally top shelf live.
Even better, they brought rising Perth talent Morgan Joanel as support—an extremely talented songwriter that should be on your radar.
Morgan Joanel won a contest to open for The Superjesus, but she’s no stranger to high-profile gigs and stages. She’s earned her stripes in the industry, proving she belongs on stages alongside some of the biggest names in pop.
She’s previously supported Adam Lambert and Jason Derulo, yet this time she arrived with a full band, not just her pedals. And she bought a really nice fresh sound that hit all the right notes.
Wearing her signature fedora, Morgan opened with Devils In The Details, a track that’s evolved since its 2011 release.
Originally alt-pop, it now channels blues-rock swagger—like she went down to Georgia and stole the devil’s swagger from him. From the first few notes, you could definitely tell this was a girl born to perform.
If you’re new to Morgan’s sound, this track is the perfect introduction—bold, bluesy, and dripping with attitude. It sets the tone for a set that’s equal parts grit, soul, and charisma.
The blues vibe continued with Wind Me Up, where her husky voice carried the tune with intense confidence.
Then came a twist—drummer, Minka dropped an unexpected beat in the second verse, giving the song a fresh, off-kilter edge.
Buy A Little Time also got a blues-rock makeover, shifting from dream-pop to gritty ’90s alt-rock-blues in the final third. That closing section hit hard, delivering an almost modern take on an old classic, like souping a Mustang with a speed boost.
Morgan briefly addressed the crowd, revealing she had bronchitis, but you would not know it with how she took the stage.
She launched into Undone, delivering raw emotion reminiscent of Melissa Etheridge at her most intense. The vulnerability in her voice made the song feel deeply personal, like she was pouring her heart out for all to see.
Despite her illness, she belted with conviction—proof that true performers don’t let anything dull their fire onstage.
A surprise cover of Killing Heidi’s Weir followed, and the crowd erupted—jumping, headbanging, and losing their collective minds. It was a nostalgic high point that united the room in a late 90s- early 2000s throwback.
Next came Bad Honey, a sexy track about someone so bad for you that they bring out of you. This was not your cliche “love song”; this was a love song about a love you’d find in a dive bar in a rough part of town.
Morgan introduced her effects pedal, and the band—Stefano (bass), Oscar (guitar), and Minka (drums). She joked they’d be carrying the load off its back.
Her latest single, Fallin, followed a bluesy banger with a catchy hook, groovy rhythm, and a song bound for chart success, in my opinion. It’s the kind of track that sticks in your head and begs for repeat listens.
She closed with Heavy Love, a foot-stomping, blues-soaked finale that wrapped the set with style and serious groove. It left the crowd buzzing, a perfect exclamation point on a set full of standout tracks.
Morgan’s been honing her craft for over a decade—unsigned, self-published, and quietly one of Perth’s diamonds. Her journey proves that talent and tenacity can shine even without a major label behind you.
If you’re tired of cookie-cutter chart hits, support independent artists like Morgan Joanel—because she’s the real deal. She’s carving her own path, and the sky’s the limit for her.
After a brief intermission, the lights dimmed and synths swelled—then The Superjesus exploded on stage. Consisting of Sarah McLeod on guitar and vocals, Cameron Blokland on lead guitar, Stuart Rudd on the bass and Ben Todd on drums, they were a powder keg from the word go.
They began the first part of their set, which would be their latest album, The Superjesus, in full before a sample of their greatest hits
Starlight blends their classic ’90s rock with modern grit, appealing to longtime fans and newcomers alike with an energy that gets your attention like a loud crack of thunder. Sarah’s powerhouse vocals were a standout from the first chorus, instantly commanding the room and setting the tone for the next hour.
A strong opener is essential, and Starlight delivered—bold, catchy, and a perfect reintroduction after a 22-year album hiatus. The track explores chemistry and lasting love, contrasting sharply with the next song’s cheeky takedown of someone who’s all flash but no sizzle.
Romance humbles that person who’s hot as hell on the outside but is about as exciting as a sloth in a coma in the romance department. This was fun song to experience live being a sucker for a good take down song.
We Won’t Let Go Til It’s Over, followed—an anthem built for stadium sing-alongs and memories made with friends or lovers. It celebrates life’s milestones, from first kisses to road trips, urging us to hold on until the final moment.
Themes of anthems, hooks, and living life to the full run throughout the album. Three songs in, it was clear they weren’t chasing trends—they were crafting something authentic, passionate, and proudly their own.
This leads perfectly into Money? We Only Do It For Love, driving home that doing what you love and you’ll never work a day in your life message. In a world so concerned with the hustle, it’s important to love what you do and maintain your fire. They played it like their lives depended on it—hungry, raw, and with the fire of a band chasing their big break.
Next came Diamonds, a song on the slower side that really showed off the softer side of Sarah’s vocal range. This song is about the people we cherish, reminding us not to take them for granted and to keep them close.
Loneliness Is The New Black followed, a standout track celebrating solitude as something peaceful, not something to fear or avoid. Stripped back and unplugged, it resonated—especially when Sarah led the crowd in the final chorus. Perfect for those times you just want to shut out the world and get lost in your imagination or have a conversation with your inner monologue.
Then came Something Good, the first of two tracks that would go hard in a big festival or even a wild house party. The band was electric, with Sarah practically screaming out he chorus like she wanted the next few suburbs to hear.
Gangbusters came next—equal parts party anthem and anxious spiral, depending on how you choose to look at it. The Superjesus chose both, lighting up the stage with a performance that was chaotic, frenetic and wild.
The final original track, Lights Out, brought the headbanging energy, with the entire venue joining in the frenzy. It was loud, fast, and unrelenting—before they unleashed their take on a Billy Idol classic as the last song on the album setlist.
The classic in question was Dancing With Myself. The original is a product of its time, being almost goofy but ultimately fun. Whereas the Superjesus channelled the rebellious side of Billy Idol with their signature edge while still staying true to the spirit of the original.
After the briefest intermission, the band returned to the stage with a medley of greatest hits, starting with Ashes from Sumo. Sumo won the first ARIA for Best Rock Album and earned nominations for Best Breakthrough Artist and Best Cover Art.
Ashes still hits hard, reminding everyone why The Superjesus became a defining force in the Australian rock scene.
Down Again followed, a fan-favourite often called underrated, blending heavy bass, industrial rock, and a message of honest self-reflection. It captured the ’90s rock spirit perfectly—gritty and emotionally charged without losing its edge or musical precision.
The band softened the mood with Now And Then, a song whose melodies still hold up all these years later. Sarah’s vocals shone here, especially impressive given the relentless energy she’d poured into every song leading up to this moment.
Next came Shut My Eyes, a groovy, upbeat track that sounded even better live thanks to Cameron’s standout guitar solo. If you love tight guitar solos, give this song a listen.
To close the night, they chose Gravity from their second album, the 2000s Jet Age—an album that really put them on the map. With its sing-along chorus and fun energy, it gave the audience exactly what they came for—and then some.
For the final chorus, Sarah led a crowd sing-along, which sounded incredible given the size of The Carines’ gig space. It was the perfect send-off—the cherry on top of what had been a pretty darn good night.
The band stayed after the show for photos everyone who wanted one, and also signed copies of their latest album on vinyl. It’s easy to see why The Superjesus have earned their flowers in the rock scene, with a deep discography, awards, and loyal fanbase support.
Their new self-titled album will fly off shelves—digital or physical—thanks to its heart, energy, and consistent, life-affirming message throughout. The theme is clear: life’s short, so prioritise passion, connection, and self-reflection, and don’t forget to dance with yourself occasionally.
They also found a kindred spirit in Morgan Joanel, whose dedication shines, even performing while unwell without compromising her performance. She’s a skilled songwriter with a knack for crafting tracks that will connect with you emotionally while still sounding fresh and accessible.
Together, the Superjesus and Morgan delivered a high-energy show that rocked hard, even in an intimate venue like The Carine. The crowd buzzed all night, smiling, singing, and chatting with the band—proof of a gig that truly hit the mark.
If you get the chance to see The Superjesus live, don’t hesitate—they’ll exceed expectations and leave you wanting more.
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