Gallery Contributed by Tracie Tee
Gallery Contributed by Tracie Tee
Supporting Smash Mouth in Brisbane was the electrifying Aussie ska-punk band, Area 7. They rocked the venue as it was filling almost entirely to capacity, conversing honestly and humbly with the audience between covers and originals that were riddled with bobbing brass solos and punchy vocals. Start Making Sense and Nobody Likes A Bogan, both from their 2000 and 2001 records respectively, were two particular highlights of the night, but the crowd got really into it during their cover of The Angel’s classic, Am I Ever Gonna See Your Face Again, perfectly setting us up and getting us keen for the main event of the night. And alas, by the time Area 7 left the stage, we were ready, in the best way possible, for Smash Mouth.
Most would believe that in 2018, Smash Mouth has found itself in a peculiar and unfounded position. Seemingly unforgivingly placed in the one hit wonder basket thanks to their millennial anthem All-Star, one which also happens to be the song most associated with the Shrek franchise, not only has the band tried everything over the years to dispel rumours of it being their first and/or only chart-topper (trolling twitter users who even so much as link the track with the film), but they’ve also actively celebrated that fact, basking in the limelight that the association has warranted. Bought back in full effect by the 90’s nostalgic meme culture (most notably the tongue-in-cheek Jon Sudano covers), people seemingly began to appreciate the song more and it catapulted back into the heads of the 90’s kids, though it came at the cost of it largely being perceived as a meme in itself (aka, a song to shout at the top of your lungs, but not necessarily a benchmark of a successful band with many great, serious and reflective songs worthy of our attention).
Because of this, it wasn’t until I arrived at the Eatons Hill Hotel on the outskirts of Brisbane that I realised just how many Smash Mouth songs I actually knew, just how many of them I could chant along to, and just how good they were. And I know I wasn’t alone.
Taking the stage at 9:30 pm wearing sunglasses and a simple tee shirt and jeans combo, lead singer Steve Hardwell nodded at us all before the band pummelled through the ? And The Mysterians cover, Can’t Get Enough Of You Baby, before continuing with Pacific Coast Party, two songs we all knew the band sang but forgot thanks to All Star. A cover of War’s Why Can’t We Be Friends, followed by another forgotten hit, Then The Morning Comes swiftly followed, earning more surprised widened eyes from a portion of the audience, the same portion that, as if they’d listened to it on their way to the concert, began to sing almost every word.
This was a common theme throughout the night and Harwell was very aware of that, openly acknowledging halfway into the set that he understands that most people are here for the top 3 songs in the bands’ repertoire, before urging those people to “try to have fun until we get there.” The energy was high as drummer Randy Cooke and guitarist Greg Camp played their roles to perfection, blasting through the first of said three songs Walking on the Sun, their 1997 single that holds the distinction of actually putting the band on the map. Michael Klooster was king of the keys and Paul DeLisle slapped the bass to perfection, rounding out this ‘All Star’ band.
During Stoned and Road Man, Harwell invited all ‘his ladies’ up on stage and twenty or so woman, young and old happily obliged, dancing with, taking selfies with and snapchatting the band as they acknowledged and appeased the women on stage, confusing a lot of the rest of us in the process. Throughout this, someone in the crowd heckled, in which the lead singer unabashedly exclaimed that he should “Shut the f%@k up. I speak, you listen.” For a lot of the audience, it was surprising to hear those words coming out of the mouth of someone we all associate with our favourite childhood film, but in a big way it’s completely our fault. On a general basis, as a generation of sentimental appreciation, we couldn’t see the band for the songs they’d worked so hard to perfect spanning two whole decades, instead of associating them only with a few songs that we were re-familiarised with because of internet memes.
After that moment, a majority of the audience took their rose-tinted All Star glasses off and jammed along with the band as they energetically roared through the undeniably catchy Always Gets Her Way, So Insane and a headbanging cover of the Kinks classic You Really Got Me. The energy from the room was at its highest, people finally fully being in the moment with the band and the band paying them back with an equal amount of energy. They then left the stage, and that’s when the audience erupted, putting the glasses back on.
‘ENCORE, ENCORE, ENCORE.’
And encore, they got. The band returned, nodding their heads as if to say ‘It’s time. Are you ready?’ They then proceeded to tear the house down with their classic rendition of I’m A Believer, before, without a second thought, rightly ending the night with All Star, the mosh jumping and screaming the chorus in unison while the cheap-seaters did exactly the same.
All in all, it was an interesting concert experience. There was a bit of confusion and apathy sprinkled into the 16-song set, but everyone who attended got what they came for, as well as a lot more. It was surprising to a lot of concert-goers just how many songs we knew like the back of our hand, and amongst the many highs and few lows of the set, it was ultimately fulfilling hearing what we all came to hear, with a lot more forgotten nostalgia and newfound appreciation stacked on top.
Review Contributed by Sam Sciacca
Gallery Contributed by Elizabeth Sharpe
It has been two years since Steven Wilson had played in Australia. On this occasion playing for the first time in the luxurious Palais Theatre in Melbourne. I arrived early to the venue as I was fortunate enough to get my hands on a VIP ticket that granted me access to the Q&A session with the man himself.
During the session, Steven talked to the present fans about how grateful he feels to have grown up listening to his parents’ record collection which influenced him in the early stages of his life. He identifies himself as an artist that wants to have control over the content that is delivered to his audience rather than being an entertainer that creates the music trying to please people. He confessed that he can not stand to be on tour for more than six or seven weeks at a time and how proud he feels about the fact that every single one of his albums are different.
The theatre rapidly filled up and the lights went out at 8 pm sharp. Before the musicians came to stage, the audience was exposed to the short film Truth consisting of a sequence of images paired with words that appeared to have a joint meaning: hate, difference, family, love, happiness, religion, fact, news, compassion, fake, information, sincere, security and other words appeared to make us feel comfortable as they seemed to be complementary to each other. A plot twist was then added, the same images were displayed but this time the words associated to them now seem to be polar opposites. As an example, a Scientology temple is both “science” and “fiction”. The sequence looped again and again and the meaning of the photos made us reflect on how our judgment is affected by our own social conditioning.
The time had finally come. A bare feet Steven and his band came to the stage and the first notes of Nowhere Now opened the concert. A sole spotlight fixed on him made him stand out in the middle of a blue background.
Pariah, sung as a duet with Nineth Tayeb on the latest To the Bone album is next. In this live version of the song, she is not present in the theatre, but we were still delighted with her warm voice and a video of her singing on the big screen until her image disappeared into a colourful explosion that merged with the purple lights on the stage.
Steven then took the microphone to say hello to the crowd and anticipated that towards the end of the show we are more than welcome to stand up. In the meantime, we can sit back and enjoy the first half of the show even though ¨Playing in front of a sitting crowd feels like being the only people dancing in the disco¨.
Home invasion is the perfect opportunity to make Nick Beggs shine on the Chapman Stick. Regret #9 follows naturally and the crowd enjoys the first lengthy instrumental section of the evening.
Of course, many of the people that came to the concert are not only fans of Steven’s solo work, but also of the magnificent work that Porcupine Tree created over the years. The Creator Has a Masterpiece put a smile on the face of more than one.
When Steven grabbed the mic to address the audience again, he asked how many of the attendees were under the age of 23. A decent yell of the crowd was heard. In return Steven proceeded to make a very special introduction to them: “This is an electric guitar. A very particularly beautiful specimen” as he held his recently acquired Custom 1963 Fender Telecaster. A history lesson continued as he told us that legendary musicians like Jimmy Page and Bruce Springsteen have played and loved this guitar model. Steven described its sound as fantastically sexy and rock’n’roll without having to incorporate any additional processing. And he demonstrated it by playing the first chords of The Same Assylum as Before. The way he spoke about his Telecaster throughout the night made it very clear that he is very fond of it.
As we headed towards the end of the first set, the band played Refuge and Ancestral, guitarist Alex Hutchings, Nick Beggs, and Steven Wilson all drop to the ground and play their parts kneeling down or facing to the ceiling.
A tremendous ending to the first set. In the fifteen-minute break, I could hear the punters talking about Steven’s sense of humour and their expectations for the second part of the show. As the second set started, the audience was ready and now standing up. Everyone was treated to the beautiful melody of Arriving Somewhere But Not Here. Everything should go as smooth as usual, right? Well, let’s just say that at the end of the song Mr. Wilson said: “I can see the commentary on the internet tomorrow: Steven Wilson is so unprofessional! He can’t even remember the lyrics to his own fucking song!” Honestly, it was not a big deal, on the contrary, it showed us a more human side of Steven, as he took the opportunity to make another one of his jokes:
“- I traveled 25 miles to see Steven Wilson and then, this??
– Yeah? Well, we traveled 10,000 miles to get here and haven’t slept in 72 hours!! I’m allowed to forget the lyrics!… No really, this is quite embarrassing”
If there is one song in particular that has made To the Bone so controversial, that would be Permanating. Steven is well aware of that and did not miss the opportunity to teach us another lesson. Pop music does not have to be identified as the one performed by people like Justin Bieber, when Steven wanted us to join together in communing for the magic of pop music he referred to the kind of magic created by The Beatles, Depeche Mode, and Michael Jackson. “If you brought a King Crimson or Pink Floyd T-Shirt to the concert, forget about the fact that you are not allowed to move.” The band then proceeded to play Permanating and there is absolutely no doubt that the lighting design was something extraordinary, every colour seemed to be put on the right place and time and they complemented the music perfectly. In the end, I could spot a vast majority of the guests dancing and singing to this iconic “pop song”
Following the happiest moment of the evening, some people seemed to take a short break and grabbed their seat again for a few minutes. Song of I was paired with the physical expression contemporary dancer on the screen, Lazarus was clearly one of the favourites of the evening, behind me I see a couple hugging each other as they clearly shared something special listening to this song.
As the end approached, the band performed Detonation, Heart Attack in a Layby and the instrumental Vermillioncore from the 4 1⁄2 mini-album. Sleep Together, put an end to the second set and it was pure sensory overload. A sensational performance from the band that resulted in a standing ovation. Even Less was the first of three songs that were played as part of the encore. The Sound of Muzak followed but Steven had a special request. He needed us to sing along the lyrics on his signal so he does not as ludicrous as he did in Tokyo a few days ago, where he didn’t get quite that response. The Melbournians did not disappoint as they knew the lyrics and the chorus very well.
We were finally warned that the last song will send us home feeling depressed and indeed, the emotional images and notes of The Raven that Refused to Sing left us with a melancholic taste, but we were also saddened because a great 3-hour performance had finally come to an end.
A consummate performance from Steven Wilson and his band, I left the venue captivated by his charisma and the spectacular display of music and visuals.
Review & Gallery Contributed by Jose Sanchez
Gallery By Tess
Gallery By Vanessa Jarvis
It was a sold-out show, which is certainly no surprise, Jon Stevens is one of Australia’s most loved musicians (yes, I am claiming him as an Aussie) and the fans turn out time and time again, selling out shows, pledging their allegiance to this rock music legend. As I stepped into The Palms at Crown I was surprised to see a huge early turn out for the support act of the night. Another well-known Aussie singer Nick Barker, and he brought along the Heartache State to play with him. Nick Barker is a name synonymous with pub rock at its finest and has been hitting the bars and clubs for several decades whether it be with The Reptiles or with the Heartache State you are always in for a treat. They gave us a terrific 40 minute set to get us warmed up and were well received by the swelling audience.
Being a fan of Noiseworks since their inception, seeing them first in 1986 I was beyond excited for tonight’s show and the crowd erupted as Jon took to the stage looking super cool decked out all in black. Opening with Welcome to The World the show was off and running and didn’t the fans love it, several ladies in the front row on their feet openly swooning for Jon. Burning Feeling was red hot, Jon’s voice raspy and sexy delivering every word with passion, moving on to Love Somebody which has The Palms rocking. From my seat in the booth I could take in the enormity of the show, not a spare seat to be seen, fans flocking to fill every last spot. Lighting and sound play a huge part of the show and both were amazing, full credit to all the crew they delivered a show of the highest standard, one that you would expect from a big arena. Jon took to the acoustic guitar belting out Simple Man to the fans, myself included relishing in hearing this awesome song. With some people still seated Jon mentioned that “we might be getting older but we aren’t fucking old” so let the music take you and if you want to get up and dance just do it.
After chatting with Jon last week about this tour and his new single Rain Down On Me I was keen as mustard to hear it live and all I can say is WOW! Jon has graciously donated this song to Rural Aid with all the proceeds going to our struggling farmers, such a generous donation and it comes as no surprise that it is currently sitting at No1 on the iTunes charts. If you haven’t purchased it already, what are you bloody waiting for! Our farmers need our help and I can’t think of a better way than buying this awesome song, get on it people. The hits keep coming, Miles & Miles and R.I.P. (Millie) was delivered beautifully, showcasing Jon’s vocal range, still hitting those high notes with ease, and such a fitting tribute to his mother. Voice of Reason had everyone up and rocking in their seats and they stayed upright as Jon and his sensational band smashed out four INXS hits, What You need, Need You Tonight, Kick and Don’t Change. This quartet of smash hits lit up The Palms everyone singing and dancing, some swaying depending on how many ‘refreshments’ they had consumed. This also saw the band showcased with solos from the members giving Jon a moment to catch his breath. Speaking of the band, they were faultless all night, but with Jon being such a compelling frontman that commands your attention I found it hard to give them the time they deserved. So kudos to the band, tight from start to finish, they are a top class act.
Take Me Back was one we knew would be on the list and it didn’t disappoint, the crowd singing back with gusto and while Jon Stevens they weren’t, they gave it a red-hot go. Jon’s undying stamina moved up a cog as he belted out Touch, the fans relishing in this huge hit. Jon’s trademark moves coming out, tucking his foot behind his leg as he leans over the crowd with the mic giving them a chance to belt out the familiar lyrics “Reach out and Touch Somebody”. As Jon and his band left the stage I was certain there were a few more in the tank and it only took a brief moment before they returned to finish out the night. Going way back to 1992 with Jesus Christ Superstar, memories flooding back as I remember watching Jon perform this in the stage show all those years ago. It was the unexpected gem of the night and led into the mega-hit which put Jon and Noiseworks on the map No Lies.
Finishing out the night with a little bit of spice, Hot Chilli Woman was the perfect way to end what was an electrifying night of Aussie rock. Jon Stevens has stood the test of time and is just getting better and better, after the success of his latest album Starlight I am certainly looking forward to the next installment. Keep doing what you do so well and we will keep turning up time and time again. Long live Aussie rock and long live Jon Stevens!
Review Contributed by Cassandra Hale
Another Steven Wilson tour of Australia, another opportunity to bask in the glorious nature of the musical gift he bestows upon the world – bring it on!
This show was to be broken into two sets, relatively common with Steven Wilson performances, and for the opening, the audience was introduced to a series of images and associated words on the backdrop with no band members onstage, an insight into Steven’s mind one would think.
Most of these images were strong and thought-provoking, and it was apparent when the images appeared for a second time, only with words previously shown with other images that we were reminded that this world is complete with views and beliefs that bely our intelligence, or unintelligence – depending on how you view the circumstances within… nevertheless, it was interesting to hear the audience responses to the images and words, particularly when they changed to show a perceived new meaning.
The musical component began with Nowhere Now from the To The Bone album, an underrated track in my opinion from what is a stunning album, and a beautiful transition into tonight’s show.
It wasn’t long before Steven began his trademark banter with the audience, to which he freely admits he does a lot of. For me I love that kind of stuff, I mean we’re at these shows for entertainment in whatever form that presents itself, and yeah there are plenty of typical examples at shows where some talk can be too much, well not with this guy because Steven has that British edge to his storytelling, an honesty, humor and merit to what he is conveying and for me it is truly compelling – don’t stop doing that Steven.
So on we go, one beautiful reproduction of his solo songs after another, Pariah, Home Invasion, The Same Asylum As Before, all with his trademark stroll amongst the stage and interacting with fellow band members, and then moving back toward the front of the stage to constantly connect with the audience.
The inclusion of British guitarist Alex Hutchings to the tour has been magically transitioned, that guy is effortless and moves with a grace that just flows magnificently with what he is playing, he really does move with the song structures and it adds so much feel to what are already beautiful and powerful songs.
As is pretty much always the case the audience was treated to various Porcupine Tree songs, during the first set we heard and saw The Creator Has A Mastertape from the In Absentia album which is killer – the drum beat through this song ripped through the theatre and the dual guitars of Steven and Alex was so damn powerful.
Before the first set ended Steven shared a joke with the audience which he obviously enjoyed, basically he asked the audience to raise their hand if they are twenty-five years of age or younger – when some did, he told them that he was going to explain what an electric guitar was – brilliant! He went on to speak so honestly about what that instrument has meant to him, and that in many ways it can be a forgotten artform in part of today’s musical genres.
The first set ended with Ancestral from the Hand. Cannot. Erase album, beautifully winding down the early proceedings and allowing the punters to gather their collective thoughts by grabbing a drink and catch their breath because the magic was only half complete!
It was great to be able to listen to the audience talk to one another during the brief interval and speak so candidly and vividly about the night thus far, many with loud voices speaking so passionately and some even air guitaring when referencing certain songs and lead breaks – that’s what this all about folks!
The second set began with another Porcupine Tree song, Arriving Somewhere But Not Here from the Deadwing album and immediately it was as if the performance did not stop for an interval, smooth transition!
Most of the audience were standing now, for Steven announced right at the beginning of the show that he would prefer that because in his words, the second set would be a little more powerful, the audience did not need a reminder, up they got!
The second song of this set was both exhilarating and strange because it was the groove offering of Permanating from the To The Bone album. I say strange because I honestly did not expect the band to play such a groovy disco-inspired song live, exhilarating because it created a vibe within the theatre which took most by surprise, perhaps all, and an awkwardness which everyone seemed willing to display – why awkward you ask?
Steven, whilst introducing the song explained that he is well aware of the fact that he has alienated some of his lifelong fans by writing such a song, however he wanted to pay homage and respect to real pop music culture, to artists that have historically produced what an older generation would call real pop music, and not necessarily what it has become in modern times.
Steven went on (amusingly) to suggest to the audience that it would be totally okay to feel the need to dance during the song, and if you have no clue, then ask your partner and they should be able to show you how? I have to say that it worked, not for me though… it was one of those moments where caution is completely thrown to the wind and the result is that many would have finished that song feeling as though they have just stepped well beyond their comfort zone, and they feel bloody fantastic about it!
Next up was Song Of I from the To The Bone album, featuring an absolutely stunning collaboration with Sophie Hunger. Sophie appeared digitally on the screen behind the band and that was something to behold, adding a really beautiful dimension to the song – this is a song laden with slow pop beats and a wonderful harmony between Steven and Sophie, and clearly a shift in musical direction as Steven has explained in certain interviews previously, in my opinion, a true mark of an artist who is keen to push boundaries and explore new avenues. I don’t believe that the audience was expecting that, however, they certainly did appreciate it.
At this point I thought to myself, yeah, powerful during the second set doesn’t necessarily mean all heavy guitar riffs, powerful music arrives in many forms and levels.
Another Porcupine Tree song followed, and this one was ultimately the one that united the audience in singing along the most, the wonderful Lazarus from the Transience album. It was a real deep and loud chorus of the band and audience with this one, clearly a favourite.
The show continued to gather pace, both physically and emotionally through various types of musical direction. We heard Detonation, Vermillioncore and Sleep Together, just to rattle off a few, and then ultimately the venue curfew demanded a finish, and we received that in the form of The Sound Of Muzak which brought a resounding ovation and roar – and so the band exited the stage.
The lights stayed down so the encore was on, and it came in the form of Song Of Unborn, again from the To The Bone album. One could see why Steven would leave this one for last, for it is a real message about life and all of its trappings and events, how we weave our way through the maze and try to find meaning to all that confronts us – but it is also a positive message and reminder to do what we can with this beautiful gift, the gift of life – use it and make do Steven says, and then don’t be afraid to die.
What a breathtaking way to end such a magnificent show, another masterful display from a band that delivers an epic performance time and time again – no shortcuts here, just real musicianship and songwriting, along with some wry British humour, my favourite kind!
Review & Gallery Contributed by Roger Brooks.
Gallery By Elizabeth Sharpe
Swanston Street Melbourne, outside Max Watts House Of Music as early comers and VIP’s queue for the return of our favourite adopted sons it is vastly evident that Melbourne holds a unique fondness for Fozzy and the brilliant line up, one and all. Half a block north, right there in Bourke Street, the noise of a vehicle crashing and screams of terror ring out as a vehicle bursts into flames. A male exits the burning vehicle and in all too familiar cowardly act of terror on an unwitting public, one is left deceased and two injured before the rants of madness, and screams of horror are silenced by a single shot from one of the brave members of the Victoria Police. Hero Police and members of the public, one armed only with a shopping trolley, stepped right up into harm’s way in an attempt to stop the madness and without a shadow of a doubt, prevented further loss of life with their actions. With a blade wielded aloft, stabbing repeatedly in an attempt to create as much harm as possible and no possibility of peaceful resolution, Police protected themselves and ultimately the public with one decisive action. With thoughts of an exciting concert blurred by unfolding horror and smoke still rising into the air, sirens, emergency responders, helicopters hovering above and a scene of inherent madness secured, we learn that people are lost at the hands of cowardly terror attack yet again. But we, along with the lads from Fozzy are left to think of the families left behind and offer somber reflection, but we will not be swayed from our resolve. A little delayed to ensure safety and efficiency, all fans and our beloved band is unswayed by the terrible events. Our VIP’s are ushered in by a beckoning Chris Jericho on the stage and comforted by the fact that no hatred driven attacks of cowardly madness are going to stop us in our tracks. Fozzy pump out Judas and all words of reflection and encouragement from Chris provide a fitting feeling of special comradery between the select few and the band returning after a five-year absence from Aussie stages. A meeting with the talented band members confirms that these genuine and magnificent people with be providing their very best for Chris Jericho’s Birthday Bash. There was no doubt that we would be receiving their finest all along, but I take some comfort in deciding that the events outside, provided an additional resolve and a special performance was in store as a sign of defiance that these hate fuelled lunatics will never, ever stop us in our track and tonight our bond is one of brilliant music.
Peeking outside at a long line of eager early comers confirms that terrorists can go fuck themselves….we will not be stopped. We are here for Fozzy and undaunted by the horror, Fozzy is here for us…lets party hearty and celebrate life.
With tremendous performances from both Torrential Thrill and the fantastic Dangerous Curves warming both the crowd and the room, ready for Fozzy, a huge cheer greets their return after five long years.
A recent string of shows, touring and fantastic floating party ships have Fozzy firing on all cylinders. Slapping us silly with the title track from their most recent and thoroughly brilliant album, the crowd is assured an awesome night.
The new songs from Judas along with back-catalog fan favourites ring out in celebration of this phenomenally magnificent band and the mid-set crowd interaction prove that Melbourne is thrilled to see the return of Fozzy and the band are equally happy to be back. After all, our fair city is the only place that always offers a hearty “Fozzy, Fozzy, Fozzy…Oi, Oi, Oi” and tonight some “…Happy Birthday dear Chris…” to top off the sense of family.
Every track a wild celebration, offerings of birthday Tim Tams and Kiss hats, penis cakes and even a glimpse of the One Man Army’s ample pecs in celebration, all led to a night of brilliant music and united celebration. Each band member was more awesome and animated than I have ever seen before and their polished performance was driven in equal measure by raw and magnificent skill, the pinnacle of brilliance from practiced performance and a special bond of defiance to earlier events outside in the world. But here in our world under one united roof, we celebrate all that’s Fozzy in Aussie and enjoy this magnificent group at the peak of their brilliant careers. But that apex is only an illusion as the bands’ brilliant show reveals that they are on a journey which will offer more magnificence to come. Their live show tonight demonstrates how a truly brilliant album like Judas can propel an already great band into unprecedented celebration and launch them to new heights of creative brilliance. All spent from a sensational show, we are left to ponder what possibly can come next from a band who are truly poised ready to launch into the glory years. One by one, people of the world are becoming acutely aware of how truly sensational Fozzy really are and for now we are blessed to enjoy their presence in such intimate and close quarters. Who else could turn ABBA’s SOS into a hard rock favourite?
Tonight Fozzy remind us of why we love their music so much as were are drawn into the magic, distracted from the realities of the modern world and given a refuge of oneness in a musical celebration. As we emerge back into that world, our hearts are filled with fresh determination at the hands of the great Fozzy, and their music a metal and hard rock path for our angst and outrage at those who would seek to keep us from Fozzy. Thank you Chris, Rich, Randy, Frank, and Billy. For so many reasons, this was such a special night and indicative of who you are, what you stand united with us for and precisely what you mean to us assembled, one and all.
Fozzy is still yet to appear at Sydney tonight, then Adelaide and Brisbane. You can still get your tickets here
VIP packages are available from the FOZZY website here
Review Contributed by Casper
As they prepare to take the stage in Melbourne tonight for the final show of their sold-out national tour, we are stoked to welcome Sydney five-piece, Polaris to the Download 2019 line up!
Jumping out of the gates ahead of the full second line up announcement, due to drop at 8.30am,Wednesday November 14th!
Here is a message from Polaris:
TICKETS TO DOWNLOAD
Max tickets per transaction – 10
Payment methods – VISA and MasterCard
GA $189 + BFs (including Optus Presale)
RIP VIEWING PLATFORM EXPERIENCE: MELBOURNE – $379 + BFs
Take your Download 2019 experience up a few notches. Forget VIP, you can RIP!
RIP FESTIVAL BAR EXPERIENCE: SYDNEY – $299 + BFs
Take your Download 2019 experience up a few notches. Forget VIP, you can RIP!
DOUBLE DOWN(LOAD) TICKET: $360 + BFs
Want more Ozzy? Need more Slayer? Then why not double down on your Download experience with the Double Down(load) ticket.
With a Double Down(load) ticket you won’t have to miss a thing with discounted general admission entry to both Download Sydney on Saturday 9 March 2019 AND Download Melbourne on Monday 11 March 2019 (Labour Day Public Holiday). It’s a long weekend after all, so why not make the most of Download 2019!
SLAYER | JUDAS PRIEST | ALICE IN CHAINS
GHOST | RISE AGAINST | THE AMITY AFFLICTION | ANTHRAX
HALESTORM | BEHEMOTH | ME FIRST AND THE GIMME GIMMES
I PREVAIL | CONVERGE | FRENZAL RHOMB | LUCA BRASI
CODE ORANGE | ANDY BLACK | THE FEVER 333
WAR ON WOMEN | HIGH TENSION | OUTRIGHT
RUINS | ALIEN WEAPONRY
PLUS LOADS MORE TO BE ANNOUNCED!