Words by Isaac Vernon
I’ve been wanting to see a headline show from Australia’s finest, Courtney Barnett, since I saw her grace the All Points East line-up back in 2019, before The Strokes. Her first full LP has been a staple for me since my teenage years, and with each release she builds a stronger discography. I was disappointed to miss a recent intimate Sunderland gig due to prior engagements, so the announcement of a Gateshead date filled me with excitement.
Seeing a contemporary artist like this at The Glasshouse, somewhere I’ve always thought of as a classical music venue, was particularly special. The attention the venue put into its acoustics is second to none, and our seats in the “middle middle” were the ideal spot to hear every layer of sound the three-piece threw at us. It was an extraordinary auditory experience.
On the other hand, having the whole venue seated left me scratching my head. During the heavier cuts I was itching to stand up and let loose, but I stayed put as not to ruin the view for those behind me. At a gig in the same room last month (Saint Etienne, who were superb) there was a dedicated standing area at the front, with non-stop dancing throughout. Knowing Barnett’s material, and that she can dip into punk-rock territory, I assumed this gig would have the same chair-free space front and centre. I can’t imagine the band loved it when they broke into raw, stomping outros and looked out at a sea of stationary bodies, but if so, they didn’t show it. The energy never dipped or faltered; we just got to enjoy a band of good mates jamming out.
Her newest release, ‘Creature of Habit’, featured heavily in the set, with ten tracks played and the cover art’s praying mantis towering over the band as a huge backdrop. I’d only listened to the album once on release, but I was so impressed with the live renditions that I couldn’t leave without the vinyl from the merch stand, and bonus points for it being signed. Sadly, I missed out on the signed posters available earlier on the night. I love it when artists do this, as it gives you a unique memento to keep from a gig. Every time I play or look at the record now, I’ll be sent back to October 2026.
Setlist-wise, there was a great selection. I always think it’s crazy that her most popular song is the quieter, contemplative ‘Avant Gardener’. It’s not a bad song by any means, but there are at least ten more catchy and interesting songs in her discography that I return to more often, such as ‘Charity’, ‘Nameless, Faceless’ and ‘Take It Day by Day’, all sadly omitted. Still, playing her best-known song third was a clever way to get the audience to lean forward and tune in properly.
Midway through, the mellow-yet-catchy ‘Depreston’ began with fantastically textured solo guitar from Courtney, aided by perhaps some delay, reverb and loop pedals, which isn’t part of the intro on the studio version. It was an extended instrumental intro that used The Glasshouse’s acoustics to its advantage and was captivating to listen to before the full song was ushered in.
The crowd were very receptive to other fan favourites from ‘Sometimes I Sit and Think’, and ‘Sometimes I Just Sit’, like ‘Elevator Operator’ (the song that got me hooked!) and ‘Pedestrian at Best’, the penultimate song of the encore. The latter actually got people to stand up! Its raw energy was too much to keep anyone in their seat, that’s how you know Courtney Barnett holds something special; she got a seated crowd on its feet in what is essentially the North East’s answer to her native Sydney’s Opera House. Maybe one day she’ll play the Opera House itself and start a mosh pit (if she hasn’t already)!
