Live Review: Pixies – Classic Set in Fremantle 2025
Fremantle Prison, Fremantle (Perth, Western Australia) on 9th November 2025
Review by Matt Gagen
Photography by Erica Lorimer Photographer
After playing Bossanova and Trompe le Monde in full on Saturday, Pixies returned to Fremantle Prison on Sunday night for a second show that spanned their full catalogue, dubbed “Classic Pixies Set” – performing hits from late ’80s staples to new songs off The Night the Zombies Came.
Conceived in Boston, Massachusetts in 1986, the band’s discography spans nine studio albums, beginning with the raw intensity of Come On Pilgrim (1987) and Surfer Rosa (1988), through the genre-defining Doolittle (1989), and into the spacey textures of Bossanova (1990) and Trompe le Monde (1991). After a decade-long hiatus, the band reunited in 2004, eventually releasing Indie Cindy (2014), Head Carrier (2016), Beneath the Eyrie (2019), Doggerel (2022), and most recently, The Night the Zombies Came (2024), marking a new chapter with bassist Emma Richardson, replacing Paz Lenchantin.
Bossanova showcased a shift toward more atmospheric and surf rock influences, moving slightly away from the raw edge of Doolittle. Trompe le Monde, released the following year, marked a shift toward a more aggressive, sci-fi-infused sound, with tighter production and heavier guitar work.
Catching both Pixies shows back-to-back in Fremantle was a rare treat. Night one leaned into the spacey, sci-fi textures of the two albums, while night two’s Classic Pixies Set was effectively the “greatest hits”, pulling from across their catalogue with a looser, more spontaneous energy. This review focuses on that second night, where early chaos met newer introspection without ever feeling like a nostalgia trip.
Fremantle Prison, a decommissioned 19th-century prison, proved ideal for the band’s tight, abrasive sound. The limestone courtyard created a natural reverb that pushed each snare hit and guitar stab back at the crowd. The lighting design added to the effect, with harsh beams and deep shadows projecting the frontman, Black Francis’s, silhouette onto the high cell block walls. It was simple but effective.
Opening with Bone Machine and Wave of Mutilation, the band wasted no time. Monkey Gone to Heaven and Caribou followed in quick succession, and the crowd immediately locked in. Without breaking stride, they moved through The Vegas Suite, Snakes, and Death Horizon, then lifted the mood with Here Comes Your Man.
The newer material from The Night the Zombies Came – including Primrose, Chicken, and Motoroller – sat comfortably among the older tracks. Guitarist Joey Santiago introduced Primrose with a grin, echoing its tongue-in-cheek opening line: “Good morning, Brigid, I can hear the bell!” Emma Richardson, on bass, kept things grounded with a steady pulse that gave the new songs room to move.
The middle stretch ran through Vamos, Nimrod’s Son, and their Neil Young cover Winterlong, before a run of crowd favourites – Gouge Away, Debaser, Cactus, and Hey. The band stayed economical between songs, no banter, no pauses – just a quick count and straight into the next.
By the time Mr. Grieves, Velouria, and The Happening rolled through, the set’s balance between precision and chaos was clear. When the opening notes of Where Is My Mind? hit, phones came out, lighting up the courtyard. The show closed with Into the White, a wall of noise fading into smoke and echo.
Black Francis’ voice remains unpredictable – still switching from whisper to shout without warning. Joey Santiago’s guitar work was sharp and instinctive, his leads adding bite without overplaying. David Lovering’s drumming was crisp and steady, and Richardson’s bass lines locked everything in.
There’s no sense of nostalgia in this version of the Pixies. The songs feel lived-in but alive – less about revisiting the past than proving they still have command of it. Fremantle Prison gave the night a sense of occasion. The band’s shadowy figures against the limestone backdrop reinforced the rawness that has always defined them. The audience – a mix of longtime fans and younger faces – stayed focused, phones mostly away until the closing stretch.
Compared to Saturday’s album-focused set, the Classic Pixies Set felt looser and more spontaneous. The setlist covered more ground, but the intensity never dropped. Even the newer tracks carried the same off-kilter energy that’s kept the Pixies relevant for nearly four decades.
After almost 40 years, the Pixies are still remarkably disciplined. No gimmicks, no extended solos – just one song after another, played with control and edge.
The Classic Pixies Set wasn’t about nostalgia or reinvention; it was a reminder that few bands from their era can still deliver this cleanly. Fremantle Prison added weight, the lighting gave shape, and the Pixies did what they’ve always done best: sound like no one else.
Two nights, two moods, one band still playing like no one else.
Classic Event Setlist (Fremantle)
Bone Machine – Surfer Rosa (1988)
Wave of Mutilation – Doolittle (1989)
Monkey Gone to Heaven – Doolittle (1989)
Caribou – Come On Pilgrim (1987)
The Vegas Suite – The Night the Zombies Came (2024)
Snakes – The Night the Zombies Came (2024)
In Heaven (Lady in the Radiator Song) – Cover (Peter Ivers & David Lynch)
Death Horizon – The Night the Zombies Came (2024)
Here Comes Your Man – Doolittle (1989)
Vamos – Come On Pilgrim (1987)
Nimrod’s Son – Come On Pilgrim (1987)
Winterlong – Cover (Neil Young)
Gouge Away – Doolittle (1989)
Debaser – Doolittle (1989)
Cactus – Surfer Rosa (1988)
Mr. Grieves – Doolittle (1989)
Chicken – The Night the Zombies Came (2024)
Primrose – The Night the Zombies Came (2024)
Motorroller – The Night the Zombies Came (2024)
Mercy Me – The Night the Zombies Came (2024)
Velouria – Bossanova (1990)
The Happening – Bossanova (1990)
Where Is My Mind? – Surfer Rosa (1988)
Into the White – B-side / Live staple (1991)
Into the White (reprise) – B-side / Live staple (1991)
About the Writer: Matt Gagen is a Fremantle-based bass guitarist of Residents’ Club and a member of numerous bands on the local scene. With a deep passion for both local and global music, he brings a unique perspective to his creative endeavours. He’s a Graduate of Architecture working in an architectural practice in Fremantle.
About the Photographer: Erica Lorimer holds a Bachelor of Arts (Hons) Degree from the University of Western Australia (UWA), majoring in English Literature and Economics, and a Certificate IV in Design. She is also a freelance photographer who loves capturing images of live music and travel photography, sometimes with film from vintage cameras and making prints in a home darkroom.
Sheldon Ang Media (est. May 2022) has been accredited to more than 200 of the hottest acts including Taylor Swift (ERAS Tour in Sydney), Coldplay (Perth), Backstreet Boys, KISS, Iron Maiden, RHCP, P!NK and of course Suzi Quatro with reviews shared by the likes of Belinda Carlisle, Roxette, Tina Arena, UB40, Delta Goodrem, Leo Sayer and Tina Arena on social media. He has interviewed rockers Suzi Quatro, Ace Frehley (KISS), John Steel (The Animals), Frank Ferrer (Guns N Roses), Phil X (Bon Jovi), Andrew Farris (INXS) plus over 70 artists. They are also a contributor on Triple M Radio as a music journalist.
