[Review] Slayyyter @ 170 Russell, Melbourne 27/04/2023
Review By Nikki Eenink
Apparently, the city is The Place to Be on a Thursday night. As we arrive to 170 Russell to see queer hyperpop icon Slayyyter, we are cut off by police tape and huge crowds. Eventually we find our way into the venue, walking single file with a group of people dressed for a night of dancing, kicking-on to clubs and cute Instagram photos. Everyone is looking on point tonight. Walking into 170 Russel is a trip; a long, dark stairwell descends into the basement, illuminated by glowing purple lights, guiding us down to Prophecy Girl’s opening set. We follow like fish to luminescent coral.
I am nothing if not an Ethel Cain stan. Her album, Preacher’s Daughter is moody, cathartic and emotional – not exactly clubbing material. As my feet touch the ground, free from their stairwell-induced-trance, through the pumping bass and hyper-pop sensibilities, I realise Prophecy Girl has mixed Cain’s successful single – Crush, into an extravaganza of good vibes. It dawns on me that this is going to be a night for anyone, of any musical persuasion, to relish in and enjoy. Prophecy Girl is a Melbourne-based DJ and artist who defines themselves as “Naarm based vampire slayer”. They are certainly dressed for the occasion. Red hair pulled into spikes, metal-looking sleeves leave a bare chest exposed, and leather pants and boots are something out of ‘The Matrix’ trilogy. Prophecy Girl recently opened for other Queer heavy-hitters; Charli XCX and Daine. They are clearly cementing themselves as a hyper-pop icon, just in time for their national headline tour. Through the smoke and deep-blue lights, Prophecy Girl brings out another sad-girl classic, Ethel Cain’s horrifically sad track, House in Nebraska. But this mix isn’t sad. It’s a delight. The crowd is jumping and singing along as if the track had always been made for dancing. Prophecy Girl is a legend, a master of genre-bending. Playing through a playlist to send any Tumblr-era teen down a tunnel of nostalgia – remixing everything from Lana Del Rey to Paramore, my heart is so happy, the vibes are high, the anticipation grows ever-stronger for the night’s headliner.
Our headliner for the night is Slayyyter, the alias of Missouri-born pop sensation Catherine Grace Garner. She’s known for her fashion, raunchy raps and undeniable bangers, and tonight she is not disappointing. She struts on stage as the lights change from blue to red, wearing a corset and striped pants – like sexy, confident and fashion-forward Beetlejuice (this is a compliment of the highest degree). Immediately we are taken into Slayyyter’s world. The only way I can explain it is like taking MDMA. Everything is fast, sparkly, outrageously fun and captivating. 170 Russel is suddenly packed, a sea of bodies sticking together from the sweat, throwing their arms up and dancing with reckless abandon.
About halfway through the set, Slayyyter takes a water break to talk to us and slow things down a little. She has some advice, “Something I’ve learned in life as a star, is you don’t have time for boys or love or those things. All you have time for is to work or to party. Do you guys know how to party? Well I’m going to show you how we party in Hollywood.” Then we are thrown into I Love Hollywood! In the final chorus, she changes some of the lyrics for us;
I love Hollywood / I love Melbourne more though
This is her second tour in Australia and, in her own words, “That makes me feel fucking famous. I love all of you.” And she is showered with gifts on stage; A hello-kitty keychain, a bracelet – whatever token of affection her devoted fans had picked out for her.
Every song from Touch My Body to Mine is going off, and people are going hard. The dancing is infectious, your body has to move, not dettered by spilled Amyl or the undeniable smell of weed. Debauchery is encouraged here. After all, is this not the time to party? Throatzilla is a crowd favourite, the ridiculous lyrics and vein-pumping bass (courtesy of Garner’s DJ – Owen Jackson) bringing out the best in us.
The absolute highlight of the night for me was the closing song, Daddy as Fuck. The energy was dropping while we waited, anxiously, for an encore. But as soon as Garner feels that, she barks that we have to give this everything we have, before launching into a rockier, grittier, heavier mix of Daddy as Fuck. People start going crazy, suddenly packed with fresh energy, as if the set had just started.
I left Slayyyter drenched in sweat,ears ringing, but beaming ear-to-ear and desperate for more.
[Review] Stryper @ 170 Russell, Melbourne 05/03/2023
The yellow and black attack are back after last gracing out shores in 2018, they have made their return and the fans couldn’t be happier, the unending line snaking up and around 170 Russell in Melbourne a testament to the numbers waiting to get in. As I made my way down the stairs it was clear there was a b-line for merch knowing it sold out last time Stryper were in town. So after a quick stop there I got my spot up close to the stage so I didn’t miss a minute of the action.
Opening the nights proceeding were Crosson, delivering a set almost reminiscent of a theatre show, complete with dancers, costume changes and a few rocking tunes in-between. They have been around for quite a while so it must be working for them, and they had the crowd starting to warm up by the end of their set. Followed closely by Sydney’s Panik who gave a flat-out thrash set, for a threesome these guys packed a punch and had 170 rocking with big riffs and high kicks. They left the punters well and truly ready and left me well impressed.
The heavy metal tunes were pumping from the speakers, the fans were singing along getting their voices warmed up, could any compete with Michael Sweet? definitely not, but we all like to think we could. The Marshall amps were stacked across the stage ready to be put to the test with Robert’s kit perched on top in his trademark sideways style. The lights dimmed the tension palpable, we have been waiting out the last few years to have Stryper back in Australia, and we were more than ready to rock out with them.
After touring as a trio last time due to Oz’s ill health I am happy to report that all four members were here and looking sharp. As they took the stage the fans erupted, it was clear they had brought their singing voices and weren’t afraid to use them. In God We Trust got the party started followed by Revalation and More Than A Man. Constantly engaging with the crowd Michael Sweet exuded happiness to be touring again and to be back in Australia. After having his own health issues of late we were delighted to have him here as well. While the set list wasn’t as extensive as Stryper’s last visit there was lots to love as Surrender and Calling On You rang out. Free was up next, the boys smashing out the songs with gusto,
Oz and Michael shredding skills both exemplary, as always the solos were hit to perfection showing the room just how it is done. The booming drum intro to Sorry from the ripping album God Damn Evil had everyone up and about, and while it was apparent Robert had been having a few technical issues with his kit he didn’t let this stop him hitting the gritty depths of the wicked groove. The hits keep coming with All For One, Always There For You and the amazing Divider which was explosive in its delivery and had the fans singing along.
The Valley ripped the venue a new one, it was loud, and it was heavy, just how we like them, then followed by the one we all wanted to hear Yahweh! Styper bibles were at the ready, randomly thrown out to the crowd over the course of the evening. While one grazed my hand, sadly I didn’t get the coveted keepsake, maybe next time, as Michael promised they would keeping coming back for as long as we would have them. Perry Richardson was magnificent, dazzling us all night, his smile as wide as the stage, loving every minute. The fans loved right back as Soldiers Under Command rang out, the punters losing their minds as this epic song played and 170 sang along in loud voices keeping them primed for To Hell With The Devil a classic Stryper hit and one we all happy made the cut.
As the night drew to its conclusion, we were hopeful for just one more song and through the higher powers our prayers were answered with the boys returning for Sing-Along Song. This took the crowd to celestial heights, we were drained nothing left in the tank but we screamed out hearts out as they boys came to the forefront giving them the applause they so deserved. Robert threw not drumsticks but his stack of bibles to the hungry crowd, and still they remained elusive to me. Next time I will have my bible catching hand on point! Final waves and thanks were given, and we were left to recover from a night of hot sweaty, godly rock, that can only be described as angelic.
Stryper were the preachers, and we were their congregation, spellbound by their words, captivated by their songs, we were disciples schooled in the church of heavy metal, and didn’t we love it!
[Gallery] nothing, nowhere. @ 170 Russell, Melbourne 12/02/2023
nothing, nowhere.
Lontalis
[Review] Pip Millett @ 170 Russell, Melbourne 18/01/2023
Swung RnB drums, groovy bass, sweet keys, tender vocals, a passionate crowd. The energy at Pip Millett’s debut Naarm/Melbourne show on Wednesday night could only be described as warm, as her opener Shanae stated a few songs into her set. The vibe was sensual, slow, groovy and passionate, a perfect mood for a smaller intimate venue such as 170 Russell, the old nightclub venue in the heart of the city.
Opening for the Manchester singer was Sydney singer Shanae. A short yet tight 20-minute set brought the crowd right where it needed to be, with slow-burns Illusions, Come On Over and key single Locking Eyes. Backed up with a smooth jazz electric piano, Shanae and her musical partner played sweet minimal, yet funky arrangements of their tracks which normally featured more hip-hop and electronic instrumentation, giving us the stripped back pseudo unplugged experience. Although she is small, Shanae is an artist to keep your ears and eyes on as she makes her way through the Aussie scene. My favourite track played was Some Type Of Way, simple for the pure passion in the vocal performance.
After a quick intermission, our headliner took the stage. Pip Millett opened the show with Think You Know Me, the intro to her 2022 album When Everything Is Better, I’ll Let You Know, Millett took us into her world, more specifically the current place in her creative journey. Choosing to open a show with a project’s opening track implies a level of continuity between the studio and live experience, which was both confirmed and contradicted by the following set.
Immediately after this opening number, Pip spoke to the audience. Her charming Northern English accent carried words of humour and modesty, as she seemed humbled and surprised that anyone, let alone a sold-out venue worth of people would come see her sing, yet there we were. Telling us “I came so fucking far to see you bitches” she launched into a medley of album tracks and hits, highlighted by the beautiful Do Well and Downright.
Her band was world class. A classy drummer, positioned side stage, punctuated the smooth RnB with a mix of acoustic and electronic instrumentation. The bass player took lead duties, carrying many of the low-end heavy tracks, with the guitar and keys players adding subtle rhythmic and spatial elements to fill out the sound. It’s always great to see an amazing RnB band showing us just how deeply in the pocket a team of musicians with killer chemistry can be. When Pip Millet took the chance to introduce her band, she teased them all saying, “Congratulations for being in my band, you’ve hit the fucking jackpot”, a sweet injection of cheeky confidence to contrast the music that mainly covered darker and sadder material. Pip is so clearly a person with much love for the people she works with, which always endears the music further to you when it comes from such a warm place.
My favourite songs of the night were Heavenly Mother, for its catchy and fun chorus, and Only Love, the closer of the new album, for it’s stripped back and minimal vibe. Pip also managed to do some of the best self-harmonisation I’ve ever seen, making her sound fuller and more emotional in deeper moments.
By the final track, the crowd had truly fallen in love. Make Me Cry, Pip’s sing-along hit made for a beautifully melancholy end, with her introducing it as the first song she released, and a song the reminds her of a long-lost time that still brings deep feelings to her heart. Her performance, her artistry, and her passion truly were a joy to see and made for a beautiful evening.
[Review] The Crystal Method @ 170 Russell, Melbourne 16/12/2022
Returning to 170 Russell was like a rush of nostalgia for me. Memories of old gigs and dirty club nights on a Saturday. Nostalgia was certainly the key for this evening’s entertainment, as both The Crystal Method and his support act Black Cab dealt in it as their main theme.
Opening the show was Melbourne’s own Black Cab, a three-piece electronica group with classic roots. With clear inspiration from New Order, the band dealt a constant vibe for their entire set. The drummer played almost entirely 16th notes for the whole show, an incredibly bold move for a live band. That kind of rhythmic consistency is generally limited to raves and prog shows. In this case, it held a strong backbeat and pace for a crowd of mostly 50-somethings to bop along to. Layering on synth pads, arpeggios and effects, the band built a danceable sound with a bright palette. About 10 minutes into the set, the singer began to add a layer of ambient vocals, adding to an already solid sound.
With every song gradually evolving into the next, it was a surprise when their set ended, as it felt like one fantastic long dance hit drawing me further and further in.
Once the main act began, there was almost no stopping him. What was once a duo, is now one man (Scott Kirkland), and The Crystal Method lives on through him. Taking us back to the 90s, to the height of the Big Beat movement, the show was a non-stop rave-ride through the soundscape that defined the genre and the era. The sound featured sampled guitars, huge drums, massive basslines and all contrasted fantastically with insane visuals. These featured spacey sci-fi worlds, cityscapes and even concert footage from stadium shows of yesteryear. It felt like a journey to another time, and I was invited along for the ride.
Half-way through the set, Kirkland took to the microphone to pay tribute to fellow big beat icon, Keith Flint, of The Prodigy fame, who unfortunately passed away in early 2019. He played their mega hit Firestarter, which then blew the lid off an already insane crowd.
Finishing off the show with the hits of Busy Child, Name of the Game and more was the obvious choice, but still sunk in deep with the audience of diehard fans. The real skill was in creating an almost two-hour set of constant big beat bangers, remixes and classics to bring the house down on a night of nostalgia, rave and pure ecstasy.
