Australian rock band Superjesus has a storied history filled with chaotic performances and personal transformations. Once known for their wild antics, the band's infamous London gig marked both their peak and downfall. Now reformed after a decade-long hiatus, they reflect on lessons learned from lineup changes and evolving perspectives on music and life. Meanwhile, Sarah Nixey, the band's frontwoman, shares her thoughts on the potential return of CD culture, controversial pop culture opinions, memorable fan interactions, and more.
In their early years, Superjesus was notorious for overindulgence and impromptu stage behavior. One legendary performance at an Australian food and wine festival in London exemplified this era. The concert stretched into lengthy jams as band members wandered offstage intermittently, leading to a 27-minute rant by the lead singer. This event not only ended their chances of returning to London but also culminated in a ten-year breakup. Reflecting on these times, Nixey acknowledges youthful indiscretion and credits maturity for their recent reunion.
During their initial rise, Superjesus embraced spontaneity, often blurring boundaries between creativity and chaos. At the fateful London show, excessive indulgence transformed structured performances into extended improvisations. Bandmates left the stage temporarily, disrupting the flow entirely. Despite its negative consequences, this incident served as a pivotal moment for introspection. After disbanding, each member pursued individual paths, allowing them to reassess priorities. Upon reconvening, they brought renewed focus and commitment, ensuring that past mistakes would not repeat themselves.
Sarah Nixey attributes much of the band's success during their comeback phase to improved decision-making processes. She emphasizes trusting one’s instincts rather than succumbing to louder voices within the group. Difficult discussions regarding membership changes required tactful communication, focusing on positive contributions while minimizing criticism. Furthermore, Nixey challenges outdated assumptions about age and gender superiority in music, advocating instead for merit-based evaluations.
Nixey recounts how she refined her approach to managing interpersonal dynamics within the band. Initially prone to deferring to others' opinions due to volume or authority, she now prioritizes thoughtful consideration. During challenging conversations about personnel shifts, she adopted a constructive feedback model where strengths were highlighted alongside vague references to areas needing improvement. Additionally, she dismisses misconceptions linking seniority with wisdom or associating masculinity with inherent musical prowess. By fostering an inclusive environment valuing genuine talent, Superjesus thrives anew under principles emphasizing equality and respect.