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Australian Tour

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Gig ReviewsReviews
November 27, 2023
Nikki Eenink

[Review] Joji @ Rod Laver Arena, Melbourne 20.11.2023

No one loves an artist the way Joji fans love him. On Monday night, Rod Laver Arena is a swarm of people in pink morph suits, their Nike best and excited chatter. It’s a school night, but still the kids are out. Ready for a night of high-energy debauchery and soul-sucking ballads.

Joji, or George Miller, started his career on Youtube, way back in 2008. Making videos under the pseudonym, Filthy Frank, Miller’s videos were confronting dark-comedy that took the internet by storm. During his time as Filthy Frank, he started releasing music, including an album called Pink Season. His musician alter-ego at the time, was a weird little guy in a pink morph-suit, aptly names Pink Guy. And then, suddenly, Miller retired from YouTube and his music. The edge lord king had fallen. Three-ish years later, he was back with the absolute gut-punch that is BALLADS 1. Joji was his new identity, and he had shed that strange exterior, for the squishy insides of a heart-broken twenty-something, spoken over the driving heartbeat of an R+B track.

The Pandemonium tour is an homage to the Duality of Miller. A set divided up into three sections, it lets him croon, lets him misbehave and lets him drive us wild. Joined by US Rapper SavageRealm as both his support and “mix-master”, as well as a four-piece band who look straight out of a Weezer cover band, Miller is about to blow the roof of this arena. The stage looks beautiful. Five or six boxes rise out of the ground, bordered by LED lights. Each one of them is a projection screen. So is the floor. So is the back wall. Everywhere is awash with light and swirling imagery. It’s breathtaking.

To open up the night, we are hit with some of Joji’s more up-tempo songs. I can barely hear Miller sing over the top of the beautiful choir of voices pouring out of General Admission and the stands. From Sanctuary through to Yeah Right and Daylight, the crowd knows every word. They’re putting on a show of their own, desperate to put all their energy to good use. It’s like we’re playing a game of energy-tennis with Joji, and each side is hitting a grand-slam (I don’t know tennis metaphors). Moving towards the crowd, Miller smiles down at GA. “You. I know a pretty boy when I see one.” And in we go to Pretty Boy. The soy-boy anthem, it’s a personal favourite of the night. It’s funny, it’s catchy it’s a little sexy – it’s a nod to Miller’s days as Frank. It also represents one of the many energy shifts of the night. He pulls out a merch gun and starts firing it into the crowd. At only 5’8, he is getting some serious air on those shirts. What a pro. The night is gearing up to be something high-energy, and unlike anything I’ve seen before.

Miller understands the unholy grip artists saying the name of the city they’re in on their audience. I think during every song, and every interlude, Miller screams a guttural scream of “Melbouuuurneeeeee!!!!” and everyone goes ballistic. Every time. The first time, and the fiftieth time, are both set to make Rod Laver Arena’s sunroof fly open. I peer down and spot a couple on facetime with a middle-aged man in high-vis, he looks blank-faced but on the verge of tears. There’s a young couple in front of me, she’s looking at him, and he’s glued to Joji. There is something about the masculine experience Joji captures, and you really see that at his live shows.

In the middle of his set, Joji and his merry band return, as the absolute insanity that is Yebi Labs. My jaw is on the floor. What the fuck is going on? Blow up balls, pool straws and confetti are thrown onto the crowd. The lights have turned towards us and are moving through the air, covering us in strobe, green beams of lights and yellow dots. Yebi Labs is like… Hardstyle?? Covers of rap tracks. I don’t know my electronic music well enough to describe it, but trust that it’s deeply unhinged, unexpected and an absolute vibe. Once I’m done being shocked, I really lean into it. The camera is swirling around GA, and looking at all those beaming grins, dinner-plate pupils and friends moving around like they’re at the best festival none of us have ever heard of. Yebi Labs close out with a ridiculously fun version of a song that makes me want to stick my head under water and scream; a Joji original, Glimpse of Us. And on that note, they’re finished. To prove how amped up we’re feeling, the second they leave the stage, people groan and scream and beg so loud I feel it all the way up in the stands through my feet.

As they saunter back onstage, suddenly the tech crew have got a game of Super Smash Bros on the back projection. People shove a controller into Joji’s hands, and the hands of his keyboardist. “I always whoop your ass, man. Better to play without me.” SavageRealm brags, casually. Joji mournfully and earnestly agrees. As the game starts, I’m rooting for him. Of course. I love an underdog. And in a shocking turn of events, from only two wins out of their many tours, Miller clinches it. We go crazy, and Miller leans into his Australian roots to reward us with the ultimate symbol of love; the shooey. He slurps down a full can of beer in his shoe, more than anyone asked for. When it’s done, he just stands there, real quiet. “Oh…. Oh man…. Give me a second….” And looks wavey on his podium.

Once the shooey trauma has left him, we get the Third Act of his tour. My personal favourite, this final third is packed to the brim with Joji’s saddest and most heartbroken ballads, his crème de le crème if you ask me. Opening with Die For You, I am absolutely sucked onto the stage. I can’t tear my eyes away from him. His voice is so good it sounds like the recording. On Die For You, his vocals are perfect. They’re buttery and soft, yet decidedly assured. In another life, he could’ve been a crooner, but for now, he’s paving out his own genre. Winding his way through this final act, he leaves after Gimme Love, which of course has everyone out of their seats. Even those of us not in GA are standing and moving and letting it all out.

I hate encores, but Miller is self-aware. As he comes back, voice dripping with sarcasm, he leans into the mic; “I think I forgot a few songs. My bad.” Slow Dancing in The Dark is a showstopper. Handing the mic over to us for the chorus, it’s stunning to see nearly 15,000 people scream those lyrics at the top of their lungs. The backing track goes quiet as we yell, and the arena air bounces around our voices, like a choir in a church. Goosebumps.

Glimpse of Us is such a gut-punch of a song. But Miller has decided that he’s been a little too earnest with that last tear-jerker, and first major hit, so he’s going to be a little silly to finish off. The lyrics normally go:

A Glimpse of us

Tonight, they go more like:

A Glimpse (Of WHAT Melbourne?!) Of uuuuuuussssssss

Even as he add-libs, the camera is floating through the crowd again. Men in bear hats, minion costumes and morph-suits stare up at the stage, tears brimming. Phones are mostly down as an audience is spellbound, and people embrace. Joji can’t disguise the power of his music. And we are all the better for it.

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Gig ReviewsReviews
November 21, 2023
Renee Morrison

[Review] The Original Wailers @ The Triffid Brisbane, 16/11/2023

What a strange life it must have been for members of Bob Marley’s band The Wailers.  Thrust into international stardom from their humble beginnings in Trench town, Kingston, the reggae royalty are said to have sold in excess of 40 million albums. And whilst few could understand the kind of shadow Bob Marley– legend, prophet and poet -must cast, if the band members touring today feel daunted by that, they certainly don’t show it. Al Anderson, one of the last people to speak with Marley before his passing, brought new members Chet (Lead Vocals / Guitar), Omar (Bass Guitar), Paapa (Drums), and Adrian (keyboard) with him to Australian shores this month and I was fortunate enough to get along to their Brisbane show.

Almost immediately, during their opener, I Shot The Sheriff, The Wailers let punters know that they’re not out to duplicate those old times, nor to try to replace Bob. Wise choice. The sound is fuller than one might expect of a reggae set, and though later in the night Chet allows himself to channel some of Bob’s canonical tone and articulation, in the first few songs he sings purposefully with a higher pitch, again letting us know this is about respect, not replication.  His use of ululation early on though also signals that he’s here for a good time. Stir it up comes next and dreadlocked Chet is heartened by the near capacity crowd echoing every lyric. He tells us “the singalong continues”. I was so glad to see Brisbane come out actually – it had been a scorcher of a day. 34 degrees at some point  and I, like many I suspect, couldn’t remember if Triffid’s old airline hangar was airconditioned.  It is … but the warmth of the night emanated regardless. A warmth that comes from Bob’s enduring message of peace and love, one love in fact; a message the world feels like it needs right now. Indeed, at one point Chet stresses that they’re all about love – still , not just romantic love, but brotherly love, neighbourly love, love for your family and friends.  He asks us to come together and share that love “grab the person next to you and tell them you love them” he implores.  We do. 

Could You Be Loved conveniently follows. Here, each of the guitarists is let stray a little and I start to really notice their uncharacteristic use of overdrive pedals. Though the echoey effect – a near constant throughout the set- is quite different to Marley’s own guitar tone that was fatter, chunky even, it somehow works. During Three Little Birds the band again suggests the crowd “sounds wonderful”.  My girlfriend laughs and says she’s not sure but… at a gig like this, it’s hard not to believe at least that, every little thing is gonna be alright.  In some ways, I wish Adrian’s keyboard was foregrounded more in this and some later tunes and the absence of some reggae staples like the single strumming and stripped back tone are noticeable.  But when Is this Love starts, any at all doubts and fears fall by the wayside and the message of the music is tangible in the room; smellable even.  Like many songs, this one is extended to allow individual members, this time American born Al Anderson, to showcase their skills.  It’s easy to see why Bob Marley, and later Peter Tosh, picked Al so many years ago. His skill as a lead guitarist are unquestionable and he uses the spotlight in this song to veer off track, taking us on a mind-altering journey, more psychedelic rock than reggae. Though next year, Al tells us, will mark 50 years of playing with or for Bob, he is far from a ‘has been’.  The lead guitarist, has also worked with the likes of Ben Harper and Lauren Hill and has received multiple Grammy nominations, including one in 2013. 

At this point, I am not sure if the daze in the room has gotten to me or if the trancey echo of the hangar has simply been misplaced.  Everything seems slower- a relaxed Jamaican pace takes over.  During Legalize It, a track recorded with Peter Tosh, it is Paapa Nyarkoh’s turn to take centre stage.  He does so with ease, reminding us, oddly that drums are utterly pivotal to reggae music, its heartbeat if it were.  The ultra relaxed Hypocrites off the Songs of Freedom album is next and helps to highlight Bob’s undeniable lyricism and genius for word play.  Anyone who knows the original track will also appreciate that this was the sound of the night – a more dub sound with amp-reliant guitar.  During No Woman, No Cry, the original Wailer himself, Al, extends the song with another brilliant guitar solo.  It’s starting to feel like they are wrapping up – they have played for an hour and certainly no one would leave disappointed. The reggae royalty leave the stage. 

But the crowd’s roar, spurred all the more by keyboardist, Adrian, coming out to psyche us up, entice the 5 piece crew to grace the stage again. Jamming begins the list of encores and ends with bassist and drummer, brothers in arms and in real life, joining for an impromptu jam themselves. Their improvisation turns jazz-like at one stage and the Brisbane crowd were certainly enjoying it, screaming their support. At this point, original Wailer Anderson reflects with us. He describes Australia and New Zealand as having always supported the band. The U.S and U.K were slower to appreciate us he explains. “We were too slow.. and they were hesitant to give up their disco”. Anderson also takes the opportunity to encourage the crowd to show their support on social media, where they’re looking forward to giving away lots of merch, Stratocasters even. Speaking of merch, we’re reminded too that fans can grab albums, t-shirt and more outside. “It’s not a hustle” he stresses, but can help them continue touring. Though he toured more during Bob’s time, a love for the stage is still visible. Anderson tells us he loves Australia and prays for our first nations people, for all people in fact. Song of the divine, released in 2022, comes next. This is a very spiritual song, Anderson has said, its laid back floating sound cannot help but relax the crowd further. The set ends with Buffalo Soldier. Though only posthumously released in 1983 after Marley’s death, it has become one of his most revered tracks. It is perhaps no coincidence that this was the only really political song of the night. With war and famine, hate and division persisting today, The Original Wailers chose instead, at least primarily, to remind us of love and light. The entire hangar shakes when the crowd join in to Buffalo Soldier’s chanted hook “woe yoy yoy, woe yoy yoy yoy”.  What a treat to have our voices rise with- at least one of- the legends Bob Marley created with. This ska, come Rastafarian reggae tribe have undoubtedly changed the music world forever.  Let us hope it is not too late for their message of love to change the world too. 

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Gig ReviewsReviews
November 10, 2023
Kym Robey

[Review] Steve Vai @Hindley St Music Hall, Adelaide 8/11/2023

As a serious music fan, I became obsessed with rock music as a kid, thanks to the likes of Kiss and Alice Cooper and their theatrical brand of rock and roll. This, in turn led to my love of Van Halen and the ‘hair bands’ that followed, so, of course I first discovered Steve Vai through his work with David Lee Roth. The way Steve’s guitar ‘talked’ in DLR’s Yankee Rose to open 1986’s Eat ‘em and Smile album, his flamboyant style and moves, his triple-necked heart shaped guitar in DLR’s Just Like Paradise video…clearly my tastes were more about the entertainment factor rather than the technical wizardry of a guitar virtuoso.

Despite me never seeking out instrumental technical music to add to my music collection, one of the first CDs I owned was Steve Vai’s Passion and Warfare. After attending an information session at a high-end hi-fi store in Adelaide many years ago, to promote the latest trend in audio (the CD), I got to choose a bonus CD with the purchase of my first player. I randomly chose that particular CD. It’s the only instrumental rock album I’ve ever owned, and I loved the way the guitar was able to take care of the melodies you would usually expect from the vocals.

Heading to Adelaide’s Hindley Street Music Hall, I had no idea what to expect from this gig and I suspected it could be challenging to write a review for such a show without being overly well-versed in all things technical. If you’re here to read a report on Steve Vai’s techniques and musical hardware, you have come to the wrong place!

As there was no support act, I arrived shortly before the headliner’s two-and-a-half-hour set began. Straight away, I noticed that the crowd was predominantly male and seemed to be lacking the usual drunken rowdiness before a typical rock show. I suspected many were here to see a master at work and wanted to focus, rather than to stage-dive and sing along.  

The set started with Avalancha from Steve’s latest album Inviolate. This was a great groove-driven tune that showed off the famous Steve Vai signature sound perfectly. Joining Steve on stage was his new side-guitarist Dante Frisiello. Initially Dante appeared to be here to simply lay down some basic rhythm guitar behind Steve’s dynamic leads, but as the night went on, Dante was given more space and time to showcase his own incredible lead playing (‘Dante Unchained’ as Steve put it). On bass was Philip Bynoe. Like Dante, Philip was a solid backing for Steve’s leadwork but was also given plenty of opportunity to showcase his own incredible bass skills with solo stage time later in the set. Completing the rhythm section, and the band, was drummer Jeremy Colson, proving that every member of Steve Vai’s band is a top shelf musician. Jeremy’s double-kick drum solo during the set was as incredible as the guitar work shown throughout the show by the other members of the band.

I did notice when the band started the set that there were no mic stands to be seen. There were obviously no singing vocals to be heard tonight but I hoped to hear some interaction between Steve and the crowd. Thankfully, after a few songs Steve was handed a microphone and was able to converse with the crowd. This continued every now and again. He mentioned how long the tour had been and told everyone that when they played the Brisbane show before this one, Steve had been mixed up and greeted the Queensland crowd by saying ‘Hello Adelaide!’ (at the end of this set Steve finished the show by jokingly saying, ‘Goodnight Melbourne!’).

Following the opening number was the heavier Giant Balls of Gold which really brought the whole band in to create a bigger sound and get the crowd moving. Having said that, for most of the night I noticed a difference between this gig and a regular rock show with vocals. The crowd watched the stage intently and nodded their heads along in appreciation rather than really moving in time to the music. Nobody seemed to want to miss their view of Steve Vai’s fingers on his fretboard.

The set went on with a mix of tunes from Steve’s solo albums, all with accompanying visuals on the big screen behind the band, to compliment the audio. There were psychedelic images, dramatic images…whatever suited the song at the time. My personal favourite was the very detailed and mesmerising video of the conception of a child from the wiggling sperm, to the growing foetus, to childbirth, ending hilariously with the close-up image of a very young Steve Vai’s face. Another highlight of the use of the screen was when some of the film Crossroads was shown before Steve launched into some of his music from his appearance in the film.

Later in the set, Steve revealed his 3 neck Ibanez guitar on which he played his track Teeth of the Hydra from his latest album. This involved Steve playing twelve-string, six-string AND bass guitar, all in the one song! This is just one of the reasons to see Steve Vai live!

As the set drew to an end, there were a couple of tracks from Passion and Warfare covered. For the Love of God covered more laid back and soulful territory, while Liberty was more Epic in vibe. As Steve launched into these closing tracks, he said, ‘If you know the melodies, sing along!’ Despite this show being instrumental in nature, it was this comment that sums up Steve Vai for me. He plays the guitar as though he is singing through his instrument. Not only is it possible to sing along to his guitar melodies as though they were vocals, but watching Steve’s face and his mouth move, as he plays guitar, it’s clear that his very expressive playing is his way of singing. 

 Despite playing for over two hours, when the band left the stage they were recalled loudly for an encore, which they quickly returned for before the house lights came on and everybody filed out of the venue onto Hindley Street again.

I’m certain a lot of the crowd at this gig were aspiring guitar heroes who wanted to see one of the world’s best rock guitarists in action but even for those who weren’t, Steve Vai and his band certainly had enough charisma and talent to keep the entire room entertained for the duration of this show.

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Gig ReviewsReviews
November 9, 2023
Terri Nas

[Review] The Corrs @ Rod Laver Arena, Melbourne 6/11/2023



For those that have known me for a very long time, know that I am a huge fan of The Corrs. HUGE. Even borderline obsessive when I went through a stage of wanting to be them! So, when the opportunity arose for me to finally see my childhood idols in the flesh for the very first time, you bet I was counting down the days until their arrival. The Irish pop group have been touring Australia & New Zealand, and Melbourne was the last stop on their Australian leg of the tour before heading over the ditch to visit our Kiwi cousins.

Headed to Rod Laver on a beautiful balmy 28-degree night, I was met with fellow revellers of all ages that were hyped by a combination of the magnificent weather and anticipation of the night ahead.

Adelaide sister act Germein were the first of the three support acts of the evening to hit the stage. The trio entertained with their fun and heartfelt pop songs, and their inner beauty and humble nature, along with their musical talent, really made them shine on stage. Next on the bill was American-born singer-songwriter, Toni Childs. Toni came out on stage to a quiet reception from the audience, but then proceeded to completely blow everyone out of the water with her distinct sound and powerhouse vocals singing one of her biggest hits, I’ve Got To Go Now. Despite the years gone by and her age, not only does she look amazing, but her pipes are still absolutely incredible and they never faltered once. Toni sang a few of her other older hits including Stop Your Fussin’ and Don’t Walk Away, which had the audience well and truly eating out of her hand. As she ventured into some of her newer material, the audience were thoroughly enjoying themselves, and even more so when she came down into the crowd for her final song. Toni ventured through the audience shaking hands as she delivered her final song which was full of hope, encouragement, and reminding people that they are beautiful, intelligent and worthy.    

Australian sweetheart Natalie Imbruglia was the last support act of the night to warm up the punters – and that is exactly what she did. Natalie kicked off with some older hits Wishing I Was There, Wrong Impression & Shiver, before leading into a small catalogue of her newer stuff. The crowd were loving every minute of her amazing vocals and high-energy set, but you knew everyone was waiting to hear THE song. When the opening bars of Torn started, the crowd erupted and sang along to every word of the 90’s hit. Natalie then finished off with my personal favourite Big Mistake, and it was at this point in the night that I realised I had actually entered a time machine and was now well and truly planted back in 1997.    

It was now that my heart rate started to increase, and my excitement was making me nauseous because I knew it was time for my favourite Irish band to hit the stage. Now when I say that I used to be obsessed with The Corrs, I’m not lying. Growing up, my musical weapon of choice of was the flute(these skills are easily transferable to a tin whistle), and my best friend who loved The Corrs equally as much was a violinist. So, we would spend our weekends covering their songs and doing our own arrangements, and when we weren’t doing that, we were watching their live DVD’s over and over again for inspiration. You get the tragic picture now?    

The houselights go down and we’re met with vision on the screens of The Corrs walking down a long corridor, as the goosebumps on my skin are nearly busting right through the surface. Pre-recorded celtic instrumental music accompanies the footage and keeps building up and up into a crescendo. Once the music hits that peak, an almost tribal-like drumbeat kicks in and that’s when The Corrs’ drummer Caroline appears in the singular spotlight on an otherwise dark stage, beating those drums as if her life depends on it. The beat stops abruptly, and the electric guitar intro to Only When I Sleep kicks in and that is when we get our first glimpse of the Corr siblings. By this stage, the tears have well and truly started flowing and all I can think is “Thank god it’s dark in here so no one can see me being a blubbering idiot”.  

With Andrea’s beautiful soaring vocals in this opening number, I knew then that this was going to be an incredible show and that the band haven’t lost a single thing. Give Me A Reason & Summer Sunshine got the crowd bopping along, and everyone was in their absolute element. With a now dark stage, the spotlight was on violinist Sharon, who started playing the iconic instrumental Erin Shore. The crowd went mental not only for her stunning playing, but for the fact that they knew this was the introduction for The Corrs early smash hit, Forgiven Not Forgotten. Jim’s keyboard hit us with that iconic piano riff, and it was on. I’ve probably heard and even sung this song approximately 406,282 times in my life, but hearing it live in the flesh was like hearing it for the first time and loving it all over again. This was also the first song of the night where Caroline’s bodhrán made its appearance, and I’m always completely in awe watching her play it.   

Next on the list was the unrequited love track,What Can I Do. Andrea joked that singing this always worked in getting the guy, however Sharon hilariously retorted that in doing so meant “you usually got the wrong dude at the end.” It’s no secret that The Corrs have covered Fleetwood Mac tracks in the past, and even collaborated with Mick Fleetwood. So, it was only fitting that they covered Fleetwood’s Little Lies, in tribute to the late Christine McVie. After Don’t Say You Love Me, we were treated to their stunningly beautiful cover of Jimi’s Hendrix’s tune Little Wing. Despite also being a die-hard Fleetwood Mac fan, I would have to say that this is probably my most favourite song that they have ever covered. With the poetic lyrics and their Celtic touch, the song really is a moving and emotional journey. It was time for Andrea to take a quick break from the stage, leaving Sharon & Caroline on lead vocals to sing the Jimmy MacCarthy song, No Frontiers. Their rendition of this has always been a favourite of mine, and it has to be said that you can be the most talented vocalist in the world with the ability for killer harmonies, but nothing beats the smooth butter-like sound of siblings harmonising together(It’s also scientific fact!). This song is a stripped-back prime example of this, where both Sharon & Caroline’s voice blend so well that they sound like one.   

It was then time to get up and have a jig around to the instrumental Joy of Life, before being led into one of their newer tracks about immigrating called, Ellis Island. We were back into another instrumental number with Haste To The Wedding, and it is seriously impossible not to move around and feel happy when listening to these pieces. Radio was next which then led into another of my favourite’s (and also my bestie’s favourite too), Queen of Hollywood. It’s such a beautiful and sad song and the lyrics get me every single time. We were then treated to another Fleetwood cover of Dreams, and despite being a sucker for the original, I just adore this arrangement and their little Irish spin they put on it to make it sound even more incredible. My gut was telling me that we were nearing the end of the show, but I was hopeful for an encore as they fired up with So Young. This got the whole crowd up and dancing and there was just so much love and happiness in the room. The band struck while the iron was hot and kept the crowd up dancing and singing along with, I Never Loved You Anyway.   

We went through the motions of a fake goodbye before we welcomed them back for an encore. No Corrs gig would ever be complete without hearing Runaway, so that was the first song waiting for us in the encore. However, the crowd took it upon themselves to give Andrea a break and provide the lead vocals for this track, and every single person in the place was singing along. Everyone was left Breathless for the next track, before they rounded out their encore with the iconic instrumental piece Toss The Feathers. It was a sad farewell as The Corrs wished us goodnight and left the stage, and I was left wondering what I was going to do with my life now that the show was over.  

If I had to sum up this show in one word? Flawless. In every sense of the word. The Corrs are an incredible talent, and time has certainly not aged them or their music. This gig was an absolute dream come true for the chubby little 12-year-old girl who loved playing the flute and listening to The Corrs on repeat, and for the now 34-year-old body and mind in which she now resides. A truly magical night all round with a huge array of talent. You’ll be sad that you missed it!   

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InterviewsTour Interview
October 20, 2023
Casper

Interview with Tony “Nail” Vincent (Devilskin)

Get ready to rock and roll at LAGERFEST 2023, the ultimate fusion of heavy metal and Oktoberfest revelry! Presented by Kegstand Productions, Music Management Inc., and Wall of Sound, this extraordinary music festival is set to take Australia by storm. Prepare yourself for a mind-blowing experience as we bring you world-class bands, delicious beers, and an electrifying community atmosphere like never before.

The lineup is nothing short of legendary, featuring THE HALO EFFECT, a powerhouse composed of past members of In Flames and Dark Tranquillity. This will be their first-ever performance in Australia and New Zealand, making it an absolute must-see event! Their raw yet melodic performance will leave you breathless and craving for more. Joining them are BEYOND THE BLACK, the German symphonic metal shooting stars who have taken the world by storm with their chart-topping albums and awe-inspiring live performances. And let's not forget DEVILSKIN, hailing from New Zealand, and featuring the incredible vocal prowess of Jennie Skulander, whose unerring gift for melody will captivate you from the first note.

But that's just the beginning of the epic lineup! Prepare to be blown away by LAGERSTEIN, the Australian party pirates who have taken their unique and fun stage show to an astounding 22 countries. With a reputation for delivering an explosively energetic and debaucherous live performance, this will be the 6th time they host LAGERSTEIN, and it promises to be the wildest and most unforgettable yet!

Mark your calendars for the following dates:

11/11/2023 – Auckland – The Powerstation

12/11/2023 – Christchurch – The Ngaio Marsh Theatre

15/11/2023 – Brisbane – The Triffid

16/11/2023 – Sydney – the Manning Bar

18/11/2023 – Adelaide – Froth & Fury Festival

19/11/2023 – Melbourne – The Northcote Theatre

Tickets from: https://www.lagerfest.net/

Secure your spot now and be a part of the Lagerfest legacy! Tickets are available exclusively at www.lagerfest.net. And remember, this year's festival will also feature a thrilling competition where fans can compete for 'The Lagerfest Cup.' So don't miss out on the metal mayhem and epic party vibes—grab your tickets today and let the countdown to Lagerfest 2023 begin!

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InterviewsTour Interview
October 13, 2023
Casper

Interview with Richard Patrick (Filter)

Platinum-selling alternative-industrial rockers FILTER announces their first headline shows in Australia and New Zealand since 2000 as part of The Algorithm World Tour.

“Australia and New Zealand are two of the most beautiful and welcoming countries I’ve ever been to. Every time we tour, I push our reps to try and get us back there. Unfortunately, due to circumstance beyond our control like a global pandemic, it’s been way too long,” Filter main man Richard Patrick said. “Rock fans there are a very loyal and devoted bunch, and I know we will bring it when get Down Under. I really cannot wait.”

This year marks the 30th anniversary of the band’s birth. In 1993, founder and lead vocalist Patrick placed an ad in Scene Magazine in Cleveland, OH, shortly after leaving Nine Inch Nails as their touring guitarist, looking to form a band that would eventually evolve into Filter.

Patrick has spent three decades pushing the boundaries of musical expression. Filter’s debut album, Short Bus, achieved platinum status, propelled by ‘Hey Man Nice Shot.’ The success continued with Title of Record, also going platinum thanks to crossover hit ‘Take A Picture.’

This year Patrick unleashed the new Filter album The Algorithm, which has delivered a sonic revolution for fans worldwide and has been called the band’s “best record in 20 years.”

Live Patrick hasn’t lost one iota of his in-your-face, punk-meets-rock persona. He still “belts out the lyrics with pure energy and aggression” and his band always deliver an intense, in-your-face performance.

“Richard Patrick had some mega energy and was right in the middle of the crowd…I mean literally. He was crowd-surfing while singing” (Media Mikes)

 “Filter, the great industrial rock that we come to expect is back” (Rock Revolt Magazine)

 “The live energy of Filter cannot be denied” (Rock N Load Magazine)

 “Hell of a show! Great set list, and Richard's voice still burns!”

FILTER April 2024 Australian Tour Dates

Friday 5th April – MELBOURNE, Croxton Bandroom
Saturday 6th April – SYDNEY, Metro Theatre
Sunday 7th April – BRISBANE, The Triffid
Tuesday 9th April – ADELAIDE, The Gov
Wednesday 10th April – PERTH, Magnet House

Tickets:

Pre-sale: Wednesday 13th September, 9am Local

On Sale: Friday 15th September, 9am Local

From: https://metropolistouring.com/filter-2024/

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September 19, 2023
STM

THE DARKNESS Announce Extra Dates for PERMISSION TO LAND Australian Tour

Fresh off the electrifying announcement of their “Let There Be Rock” live show spectacle in Sydney, Melbourne, and Brisbane last week, multi-platinum UK rock royalty The Darkness are extending the highly anticipated 20th Anniversary celebration of their classic debut album, ‘Permission To Land’ announcing additional tour dates across Australia playing shows in Adelaide, Fremantle, Canberra, and crossing the pond with dates also added in Auckland & Wellington this coming January/February.

Delivering iconic songs such as “I Believe in A Thing Called Love” and “Love Is Only A Feeling”, the band’s album, ‘Permission to Land’ will be performed live, in its entirety, for fans plus a string of album B-sides and rarities.

Irrepressible frontman Justin Hawkins reflects on the anniversary of their debut album with fondness; “When Permission to Land landed twenty short years ago, we were bathed in shock and awe. As if by magic, rock wasn’t dead! Fun wasn’t banned! And spandex was almost acceptable again… Well, guess what? Twenty years on, the same rules apply. So please squeeze yourselves into those inappropriate leggings, back-comb your mullet, splash on a big handful of attitude, and come celebrate with us! We promise everything and we deliver, every time. Bring on the next twenty!”

Igniting the mainstream rock scene in the early 2000s with their trademark falsetto, spandex, guitar riffs and theatrical live shows, the band’s album topped the UK charts almost overnight, surpassing 5x Platinum and selling over 1.5 million copies in the UK alone. It’s no wonder the album swept The Darkness into a whirlwind of global success, sharing the stages alongside rock icons such as Queen, Guns ’n Roses, Black Sabbath, Def Leppard, and the immortal, KISS. 

Joining the band on these added shows will be Melbourne pop-punk duo Cry Club for the Australian dates, and pop-rockers, Volts in New Zealand.

Prepare to have the sounds, fashion and extravagance of classic hard-rock resurrected before your eyes with a touch of The Darkness’ trademark British flamboyance. Fans can expect a bucket list rock show experience when “Permission to Land” comes down under.

Tickets On Sale: Thursday 21 September 2023, 11AM [AEST] via

www.thedarknesslive.com and www.sbmpresents.com

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September 12, 2023
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THE DARKNESS Unleashes a LET THERE BE ROCK” Spectacle Downunder

Get ready and prepare to rock! Multi-platinum UK rock royalty The Darkness are returning to Australia in February 2024 to perform three very special “Let There Be Rock” events in Sydney, Brisbane, and Melbourne celebrating the band’s 20th anniversary of Permission to Land.

The classic debut album which delivered iconic songs such as “I Believe in A Thing Called Love” and “Love Is Only A Feeling” will be performed live, in its entirety, for fans plus a string of album B-sides and rarities.

Igniting the mainstream rock scene like a meteor of sonic brilliance back in the early 2000s, The Darkness, known for their trademark falsetto, spandex, guitar riffs and extravagant mind-blowing live shows will be supported by one of Australia’s finest in rock, You Am I with their phenomenal “The Majesty of Tap” Spinal Tap tribute show plus Aussie gems DZ Deathrays, Cry Club, DJ’s Eleven & Denim coming along for the ride.

Following their sold out Motorheart tour across Australia and New Zealand in 2022, The Darkness couldn’t leave us waiting too long for another dose of their outrageous rock ‘n’ roll antics with irrepressible frontman Justin Hawkins reflecting on the anniversary of their debut album with fondness; “When Permission to Land landed twenty short years ago, we were bathed in shock and awe. As if by magic, rock wasn’t dead! Fun wasn’t banned! And spandex was almost acceptable again… Well, guess what? Twenty years on, the same rules apply. So please squeeze yourselves into those inappropriate leggings, back-comb your mullet, splash on a big handful of attitude, and come celebrate with us! We promise everything and we deliver, every time. Bring on the next twenty!”

The Darkness have set countless stages ablaze across the globe with millions of ecstatic fans, four mighty Top Ten albums, an astounding 400 million Spotify streams, and an awe-inspiring arsenal of five Top Ten singles along with sharing hallowed ground with legends like Queen, Guns N’ Roses, Black Sabbath, Def Leppard, and the immortal KISS. In an era where the heartbeat of rock has taken new forms, The Darkness emerged as the blazing phoenix, etching their name as one of the unquestionable rock gods of our modern chronicle.

Fans can expect the full rock show experience when “Let There Be Rock” rolls into town –

don’t miss out on getting your tickets early before these shows sell out.

Stay tuned for more tour news soon for the rest of Australia & New Zealand!

Tickets On Sale Thursday 14 September 2023, 10AM AEDT, available here.

Sign up to be notified as soon as tickets go on sale!

“LET THERE BE ROCK”

THE DARKNESS CELEBRATING 20th ANNIVERSARY ‘PERMISSION TO LAND’ ALBUM

With Special Guests

You Am I performing ‘The Majesty of Tap’, DZ Deathrays & Cry Club

+ DJ Eleven & DJ Denim

Saturday 3 February

Festival Hall, Melbourne

Wednesday 7 February

Fortitude Music Hall, Brisbane

Saturday 10 February

Hordern Pavillion, Sydney

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September 7, 2023
STM

Mudvayne & Coal Chamber Australian Tour – Feb 2024

Mudvayne have sold more than six million albums worldwide with 3 Platinum albums in Australia alone. They were honoured with the first ever MTV2 Award and were heavily featured in the pages of Rolling Stone, Revolver, Entertainment Weekly, Newsweek, Blender, Maxim, Spin, Guitar World, USA Today, and countless others media outlets where metal bands fear to tread. They were even written into a pivotal episode of The Sopranos! 

For most artists, such achievements usually mark the summation of an entire career –
if they’re lucky. For Mudvayne, that was just their first 5 years.

The Ill Noise from Illinois unleashed their Lethal Dose in 2000 via their debut album L.D. 50.
The jaw dropping video for Dig and mind bending groove of Death Blooms created legions of fans who would remain forever loyal as evidenced by the 2.5 million monthly listeners that continue to immerse themselves in Mudvayne's soundscape on Spotify. An army of 2.5 million monthly listeners on Mudvayne's Spotify have amassed an astonishing 171 million plays for Happy? from 2005's Lost and Found, a testament to the enduring power of their music.

Mudvayne's musical alchemy defies categorisation, seamlessly blending death metal, jazz, fusion, progressive rock, and world music into an audacious mix that completely sets them apart from their peers; so much so that they are unofficially credited with creating the ‘math metal’ genre.

Coal Chamber were one of the first bands to weave detuned guitars, noisy textures, white knuckle intensity, hardcore punk, and hip hop like they were always meant to be.

Bridging the gap between heavy metal power and industrial groove at an infectious tempo, their self titled debut delivered the classics, Loco, Sway, Big Truck, and Oddity and was included in Kerrang! Magazines’ 'Greatest Nu-Metal Albums of All Time’. 
Their influence is undeniable.

Chamber Music and Dark Days followed respectively with the band dominating every festival and stage they appeared on, before 2015's Rivals which did not so much press the reset button on their career as much as smashed the thing with a hammer.

After an absence of well over a decade, Mudvayne and Coal Chamber have joined forces for an EPIC Australian tour in February.
    
TOUR DATES
February 14: Fortitude Music Hall, Brisbane
February 16: Hordern Pavilion, Sydney
February 17: Festival Hall, Melbourne
February 19: Hindley Street Music Hall, Adelaide
February 21: Metro City, Perth

Register HERE for info and exclusive access to pre sale tickets

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