Originating from Gadigal Country/Sydney, indie-rock post-punk quartet Radio Free Alice (RFA) first found their footing in Naarm/Melbourne, before participating in an inevitable across the pond migration. The UK gave the band a chance to stretch their legs in its vibrant and brimming alternative music scene. This has granted them space to hone in on a sound rooted in rich 80s/90s traditions, imitating their idols; The Strokes, New Order and The Smiths. The last time RFA graced Melbourne was earlier this year, when they opened for NYC genre-blending rock band Geese, back in February. After some exciting jet-setting across Europe and the US over the past few months, the band has made a quick stop-off on home soil with two free gigs in Sydney and Melbourne. This followed on from a slew of other street performances in cities such as Texas and LA, marketing their full-length debut album, What’s In Between, coming out on October 30th. Among the crowd at Coburg’s Pentridge Prison last Sunday, I wondered whether both these Aussie shows were RFA’s way of giving back to the cities that nurtured them … or perhaps they were opportunities to flaunt fame and success at those they’ve left behind.

Turnout at the gig wasn’t guaranteed and I speculated whether Melbourne listeners would be divided in their support for the band following the uproar that dominated the Australian music community in April. This was in the wake of social-media criticism surrounding disrespectful comments made by the band in an interview accompanying their Triple J Like a Version appearance. RFA converted Usher’s 2010 party-anthem DJ’s Got Us Fallin’ In Love into a slowed and ponderous piece, labelling the original an “ugly duckling” and a “bad song”. Their adaptation was decent and intriguing, shifting the euphoric hit––a high-energy dance number––into a groovy, indie infused end of the night song. But the comments claiming they had transformed it into a “beautiful swan” rubbed audiences up the wrong way especially given the implications of white private school boys debasing the work of a black artist. The band released official apologies following the backlash. Naturally, it is difficult to resist this recent fiasco and its potential revealing of their characters, as it still clouds a judgment of their music and image. For me, it begs the questions; was it a momentary lapse? Is this their tongue-in-cheek attempt at a rockstar persona? And is a haughty attitude yet warranted? … Is it ever? With RFA’s 2026 international tour being another dose of early career success, many of their dreams are already coming true. But can they manage to keep their egos in check?

On Sunday’s sunny afternoon, fans queued beside Pentridge’s stone walls for a good few hours. There was even talk that the show would reach capacity, running the unexpected risk of having to turn people away. The doors opened at 6:30PM sharp and we were welcomed into the rectangular H Division cell block. The stage was set-up beneath the first set of stairs and was surrounded by metal caging, with mezzanine walkways above. RFA had dragged us with them down to musician jail!

The crowd was instructed to walk through the balcony above, to a front view of the stage. With the space filling up quickly, many gathered on the stairs, watching from the gallery and even from behind. This made for a buzzing, immersive and rowdy format. As the show began, RFA emerged from stage-left prison stalls and kicked off their lineup with a handful of lead singles from the upcoming album. The album appears to be something more pioneering for the band, stepping outside of the comfortable and well-treaded post-punk niche and into a more refreshed contemporary indie skin. For instance, Lunch Money has paired nostalgia with indie-pop rhythms, featuring a riling lead guitar riff that recalls the timeless sound of The Killers and a bedrock baseline upholding its joyful major scale throughout. 

Pentridge’s echoing acoustics accentuated the drawl of frontman Noah Learmonth’s whiny Morrissey-esque vocal style. This was strung out in Paris is Gone from their 2023 self-titled EP and my personal favourite Toyota Camry. The setting made for a haunting and memorable set, almost becoming an honorary fifth band member. As the show progressed, RFA performed practically all of the favourites. The catchy Johnny was cool to hear live, raising spirits with its glowing guitar section. Popular OG hit, Look What You’ve Done made a welcomed appearance, whilst the fresher, Crying With You was an impressive contribution from What’s In Between. The singles anticipating this album are already exhibiting a sleek production quality, the result of a collaboration with producer Peter Katis, who is best known for his work with Interpol and Death Cab For A Cutie. 

Recent release, Big Ideas, features Rachel Brown of American experimentalist duo, Water from Your Eyes, and exemplifies the band's influences. The lyric, “I’ve got a thorn in my side” references The Smith’s The Boy With the Thorn in his Side. The song also contains a rather telling line; “I’d rather be stuck in hell than stuck in Melbourne with reports to sell.” It might be expressing the sense of stasis and ennui many Aussie kids know well. That experience of feeling stuck so far from the rest of the world. With their sights set high, RFA have been lucky enough to roll in greener pastures, but they would do well to remember that Australia still has lots to offer.

Many of the band’s “spoken-word” narrative-driven lyrics mimic the lewd quirk of lesser known The Smith’s tracks such as Vicar in a Tutu and Some Girls Are Bigger than Others from The Queen Is Dead. Rather than demonstrating groundbreaking vivid poetics, they express coordinated rhythms through their word choices. The strung phrases in many songs are reminiscent of the compositions in The Cure’s “superficial” but playful debut album, Three Imaginary Boys. It seems that RFA have figured out how to write a dependable chord progression too, laying the groundwork for a series of catchy hits. During the prison set, their rhythm section held solid, with drummer Lochie Dowd’s percussion thundering up and down the industrial hall. Pentridge was catching their music between its metal grates, hooking us all in.

As the generous set came to a close, Noah farewelled the crowd with air-kisses, thanking everyone for attending and reminding us to get our hands on the upcoming album. Attendees were invited to an impromptu afterparty at the Bergy Seltzer. Bassist Michael Phillips, spun a gothic and new wave inspired DJ set as listeners and friends of the band flowed in and out of the beer garden and back bar. I anticipated that the experience would be a chance for everyone to connect and celebrate the show, talking about our combined love for music over the haze of shared cigarettes. Instead, it turned into what felt like a premeditated groupie meet and greet serving to puff-up some egos. This dynamic left a foul taste on my tongue. RFA are local trail blazers but given the events of April, they are in need of a firm reminder that their success is owed to the dedication of long-term listeners and their supportive roots. As the late night afters wavered, the thrill of their evening show was beginning to wear off. I’m certain the band would strongly benefit from some more self-introspection. 

I hope this is what What's In Between can offer. It’s incredible that they get to do this. Their goals, ambitions and many of their achievements are really exciting. Radio Free Alice should save a moment to step back, take it all in and let their art speak for itself. 

Photography by Jeven Wang.