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Cult Melbourne band the Huxton Creepers built a loyal following in the ’80s and are back on the road celebrating four decades since the release of their debut album, 12 Days to Paris.

GIG REVIEW - Huxton Creepers | The Croxton Bandroom, VIC | 8/8/26

Along with The Stems, Hoodoo Gurus and Sunnyboys, they were part of the soundtrack for a generation of young Australian music fans and aspiring musos. They had charisma, those crunchy ’60s-style guitars and, most importantly, great hair.

Rob Craw had the long blond frontman hair, Arch Law cut his own path rocking an impressive red Afro, while Paul Thomas and Matthew Eddy, with their classic rockstar locks, bookended the stage. Although some of the hair has gone, baldness now appears to be very much in fashion for Craw and Law.

Nearly 40 years later, I'd made the trek from Adelaide to Melbourne to see them again - this time at the Croxton Bandroom.

The Croxton was bigger than I expected - a perfect venue for bands, with its wide stage and red paisley-style carpet giving it an almost theatrical feel. The room was filled with musos and loyal punters who'd been following bands like this for decades. Denim, leather and even the occasional suit jacket were on display.

The gig-savvy among them had already spotted the wide carpeted steps to the left of the stage and claimed the best seats in the house. The safety barrier up front, presumably designed for younger, wilder crowds, had found a new purpose - a place to hang jackets and safely double-park Jim Beam and Cola cans.

The Icecream Hands warmed the room with a punchy set of familiar favourites, driven by clean, jangly guitars and strong vocal melodies. Frontman Charles Jenkins made sure we knew they had new music available - and that they'd be signing merch afterwards. He may have mentioned it more than once.

Fair enough too. Playing live isn't necessarily the payday people imagine these days, and the merch table matters.

Before the Creepers started, I spotted Arch Law in the crowd and wandered over to introduce myself. Being a fellow drummer, I figured he'd probably be up for a chat - we're usually the last blokes anyone talks to.

I was right.

Arch couldn't have been more approachable. What I thought might be a quick exchange turned into an easy conversation, including why Adelaide hadn't made the tour schedule.

As showtime approached, Rob Craw was on his knees at the front of the stage checking his guitar pedals.

Old-school attention to detail.

Then it was time for the music. The premise was simple - 12 Days to Paris, played from beginning to end.

The Murderess opened proceedings before Autumn Leaves arrived and the handbrake was off. This was the Creepers I remembered - gritty guitars, rough edges and great melodies. The stage lighting was superb and the band sounded full, loud and raw - just the way we like it.

I'd planted myself in the second row. At 6'2", it probably wasn't the most considerate place for me to stand. But I'd come all this way, wanted the photos and had claimed my spot.

Bugger it - I wasn't moving.

From that close, you notice the stuff you miss from the back of the room. New guitarist Julian Matthews, who stepped in for Paul Thomas for this anniversary tour, regularly exchanged glances with Craw as they quietly cued each other through starts and endings.

There was a neat crossover too. Matthews also plays bass with The Stems - a fitting link between two bands from that same great era of Australian guitar music.

One of the early songs had a shaky beginning and was quickly restarted. Nobody cared. These were long-time followers hearing songs that had been part of their lives for decades. Perfection wasn't the point.

Soon after, the night's worst-kept secret arrived - the Flamin' Groovies' Shake Some Action, a “surprise” accidentally leaked during a radio interview. Slotted into the middle of the album running order, it broke things up nicely and was a natural fit for the Creepers' garage-rock roots.

King of the Road was a standout - gritty guitar chug, big chorus and pure Creepers drive.

They closed 12 Days to Paris with I Will Persuade You, one of their best anthemic numbers. You don't really listen to this one live. You join in. And the Croxton faithful did, “whoa-ohs” and all.

New single Opposites Attract proved this wasn't purely a nostalgia lap - snarly guitar, grungy edges and another hooky chorus.

They're not just playing their past. They're still adding to it.

By late in the night, Craw's voice was beginning to struggle. There was no white flag. The mood seemed pretty simple: “We'll deal with my voice in the morning.”

They still returned for four encore songs. Matthew Eddy stepped up for his only lead vocal of the night on Stop Your Sobbing and did a cracking job. It may have given Craw's throat a brief respite, but he couldn't help himself - joining Eddy on the harmonies, raspy voice and all.

By the time the house lights came up, my ears were ringing. Exactly how a Huxton Creepers gig should leave you.

They still had the ingredients that made them such a compelling band in the first place.

Crunchy guitars. Big melodies. Solid drums.

Some combinations never get old.

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