Aussie melodic glam rockers Sisters Doll have been around for a while, their first album released as long ago as 2012, but over the past year or two seem to be making a concerted effort to break the UK. I’d heard a few friends, one in particular, rave about them, so after previous London dates had been as a support to the likes of Kickin Valentina, a headline show across town at the Cart and Horses was my chance to discover for myself what the fuss is about.

A tube strike placed obstacles in the way but the venue sensibly moved the set times forward slightly and the original three band bill was trimmed to two. Support came from a familiar act in Daxx and Roxane who have been knocking on the door for a while. I last saw them open up Maid of Stone a couple of years ago but didn’t realise they have been largely inactive since and are just gearing up again.

The Swiss specialise in a no holds barred supercharged rock’n’roll with the early AC/DC feel of opener ‘Fast Lane’, while the hyperactivity of guitarist Cal Wymann was extraordinary, whether it be standing on the crowd barrier, or jumping onto the drum kit and threatening to destroy it. Other influences included Motorhead, in the way Cedric Pfister delivered his throaty vocals close to his old school microphone, and the odd Thin Lizzy guitar harmonies.

Alongside older numbers such as ‘Heal’, where the pace momentarily dropped for most of the song, and ‘Evil Eyes’, was a new song, sounding darker and heavier than what has come before. There was an old favourite in the lengthy ‘Ticket to Rock’ with the long intro and extended riffing patented by AC/DC or Airbourne, before sneaking in another in ‘Hard Rocking Man’, including harmonica playing by second guitarist Simon Golaz. It was exhausting just watching them and good to have them back, as they proved a very well matched support.

I was a bit worried how things thinned out at the interval with their fans going elsewhere but luckily there was a good crowd in place when Sisters Doll hit the stage. I formed an initial favourable impression of their stage presence, notably tousle-haired singer Brennan Mileto, and the big backing vocals on the choruses but cannot pretend to have been overly blown away with the opening pair in ‘Climbing Out Of Hell’ and ‘United’.

However things picked up with ‘Johnny’, the great harmony vocals that kicked it off a reminder that, almost uniquely, they are a quartet of brothers, while on ‘Dancing With the Devil’, Brennan got the crowd to sing the opening ‘whoa-oahs’ that then proved prominent on the chorus.

The band came over as very personable and with an endearing modesty, awestruck that they were playing the venue that gave rise to Iron Maiden and joking that one day their old home town of Collie, Western Australia, might boast a tribute to them.

After ‘You Can’t Bring Me Down’, they played a medley of songs that Brennan said represented their history for the uninitiated. There must have been seven or eight, of which I picked up on ‘Kiss Me’, ‘Old Enough’ and ‘All Dolled Up’ but, all being new to me, they did rather blur into one another. From then on, the set just kept improving and ‘Black Mirror’ was very infectious with a singalong.

Then, introduced by a bass solo from the youngest brother and newest recruit Sage, ‘Strike’ had a different feel with more of a groove: it also featured a mid-song breakdown in which drummer Bryce’s green laser gloves made for a spectacular sight and what sounded like snatches of ‘Won’t Get Fooled Again’ and ‘Love Gun’. Eventually they tore into a proper cover of the latter: Kiss are an obvious influence and they carried the song off superbly, not least in Bryce’s ‘rat-a-tat’ drumming.

‘Change’ was more melodic and again featured those impressive harmonies, while in contrast the older ‘Dollhouse’ showed a rawer, more aggressive approach. Playing a 90 minute set straight through without the pretence of encores, ‘Prisoner’ had a bit of a power pop feel to it, as indeed did many of their songs and a superb solo from Austin whose lead guitar work had been impressive all night, always crisp and concise but with a great tone to it.

There was one fitting finale in a brilliant, feel good anthem ‘Good Day To Be Alive’, the crowd singing along to a song that more experience bands would have killed to have written. It may have taken me a while, but I ended up very impressed and they have a winning manner to them. You can add me to that growing fan club.

Review and Photos by Andy Nathan

Featured Artist: JOSH TAERK

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Power Plays w/c 25 May 2026

BABY JANE Midnight Highway (Sped Up) (indie)
ASTRAL ROCKS The Flame In Me (Astral Rocks Prodns.)
INDIGO SYNDICATE dwn4smr (indie)
THE SKBS The Prying Eye (indie)
AGAINST THE CURRENT Dead Man Walking (indie)
ICONIC Tears Keep On Falling (Frontiers)

Featured Albums w/c 25 May 2026

09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)

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