A Double Holly H Experience at The Triffid
- Bec Hoole
- 1 day ago
- 4 min read
There are Tuesday nights and then there was this Tuesday night at The Triffid. Bathed in fog, framed by its iconic aircraft-hangar silhouette, and packed shoulder-to-shoulder with sad-girl-pop devotees, Brisbane was treated to the ultimate double bill: Holly Hebe and Holly Humberstone. The energy was warm, involved, and buzzing from the moment we walked through the doors.
Beginning with the beautiful Holly Hebe who stepped into the spotlight as the room continued to fill. I arrived just in time for Ruby, a tender song about her childhood dog made even sweeter by Hebe mentioning her family connection here is Brisbane to Ruby (the dog’s) brother. It was one of many moments where Hebe’s personal touch drew the audience in.
Behind the keyboard, she delivered beautiful and delicate piano passages that hushed the room into a mesmerised stillness. Shifting gears as she moved into the electronic pop world of Strobe Lights, moving away from the keys and commanding the space with ease. It was heartening to see a fully packed venue for a support act on a Tuesday, and the crowd didn’t hold back. During Snap Out of It, the entire room echoed the word “snap” in perfect sync, creating a playful call-and-response that mirrored Hebe’s playful songwriting.
Bottle Blonde glowed under yellow-green lights, Hebe looking almost angelic as the chorus harmonies swelled. She closed with Ultra Love, backdropped by flashing red lights, leaving no doubt that she’s carving her own path with self-produced electronic pop, bringing an Addison Rae-esk sound we didn’t realise we’d be experiencing in this melancholy pop setting, but we are certainly glad we did!
The transition into Humberstone’s set was cinematic; dark lighting, flashing blue strobes, and a wave of anticipation washing over the room before the first synth chords of The Walls Are Way Too Thin hit. From that moment, it became a full-set singalong. Sad-girl music lovers wiped tears, clutched their friends, and belted lyrics skyward beneath The Triffid’s concave ceiling.
Blue shifted to red for Into Your Room with the crowd singing the iconic “without you my soul is eternally doomed” line like a sacred incantation. Paint My Bedroom Black arrived in a wash of pink and orange, supported by glorious backing harmonies from her bassist and guitarist – all while the drums held everything in a tight, moody groove.
Overkill was a major highlight. The snare hit like a gut punch, and the crowd sang with the devotion of someone who’s cried the memorable bridge alone in their bedroom. The vocal stacks at the end were nothing short of immaculate.
Throughout the night, Humberstone was warm, endearing, and clearly aware she was playing to die-hard fans who knew every word. She introduced Cruel World as a favourite from her new batch of songs with its pulsing bass, glossy synths, and crisp vocals giving off a deliciously 80s shimmer.
A lovely moment occurred when Humberstone acknowledged the “double Holly H” lineup, calling out thanks to Holly Hebe for joining her on the tour. A beautiful moment where an international act seeks out and recognises some of the great local music we have (more local acts for international artists please!!)
The set slowed for Kissing In Swimming Pools, drenched in a dreamy sliding guitar tone that added nostalgia and tenderness. Humberstone closed the song with a simple voice-and-guitar moment that hung in the air like a sigh.
Falling Asleep at the Wheel brought the energy right back up. Washed in green light, the rhythmic pulse of bass and drum toms vibrated through the crowd. Just before the last chorus, the band cut out entirely and the crowd filled the silence with their voices. A moment of pure musical communion.
Under red lights, Humberstone performed Deep End, her first ever release and still one of her live favourites. Her vocals here bordered on divine, like smooth honey with a raw edge. She treated us to a brand-new track (out in January), which was warmly embraced. The keys especially shimmered, and the refrain “It all breaks down, it always does. It all works out, it always does. At least you got to love somebody” made an immediate emotional imprint.
Finally we heard Dive, which was mesmerising under deep blue lighting. The “Real Housewives” line screamed joyfully by everyone in the room. It was the kind of finale that leaves you desperate to re-listen to her entire discography the moment you get home.
For the encore, Humberstone returned to the stage for Beauty Pageant, accompanied only by keys. Someone in the crowd blew bubbles, transforming the moment into something soft, intimate, and cinematic under the spotlight.
Then came Scarlett, the true closer, washed in matching lights. The opening sound hit like a tidal wave, sending goosebumps cascading down all our arms, before the synths and full-band harmonies engulfed the room. The crowd sang at the top of their lungs, united in one last cathartic release.
