— developed their style at these venues in the early days of their careers.
Australian musicologist, Ian Mc Farlane, described how AC/DC took "the raw energy of Aussie pub rock, extend its basic guidelines, serve it up to a teenybop Countdown audience and still reap the benefits of the live circuit by packing out the pubs".
This would allow bands such as AC/DC, Cold Chisel, INXS, Midnight Oil, Rose Tattoo and others to take their live skills into large venues in the US and Europe with ease.
The Screaming Jets have the unenviable title of the "Kings of the Sticky Carpet" regarding the volume of gigs performed in venues (pubs) which had carpet floors that had alcohol, sweat and vomit spilt over it on a regular basis.
With the sound in many of the rooms far from ideal for live music, an emphasis on a very loud snare and kick-drum and driving bass-guitar grew.
Guitarists tended to rely on simple, repetitive riffs, rather than more complex solos or counter-melodies.
The emergence of the Australian version of the pub rock genre and the related pub circuit was the result of several interconnected factors.
From the 1950s to the 1970s, mainly because of restrictive state liquor licensing laws, only a small proportion of live pop and rock music in Australia was performed on licensed premises (mostly private clubs or discotheques); the majority of concerts were held in non-licensed venues like community, church or municipal halls.
As the pub rock phenomenon expanded, hundreds of hotels in capital cities and major towns began providing regular live music, and a thriving circuit evolved, enabling bands to tour up and down the eastern and southern coast of Australia from North Queensland to South Australia.
It could be argued that the very venues many of the bands played in (pubs), had a major influence on the evolution of their music and sound.
Changes to entertainment options have, to a large extent, ended the tradition of Australian pub rock as a viable circuit.