Gallery By Tracie Tee
Gallery By Tracie Tee
Gallery By Tracie Tee
Look, when I found out that I was going to be seeing Phil Collins live in concert… I’ll be honest… I squealed and started dancing in my living room. If I had to compile a soundtrack to my life, this genius would be found in the list more than just a couple of times alongside the memories of my baby brother singing along with I Can’t Dance and declaring it as his favourite song, to never EVER getting tired of In The Air Tonight, even when it featured in nearly every single ad break on the TV. Surely everyone has had a moment with Mr Collins? Dancing to Sussudio and wiping tears away to Another Day In Paradise…
So here we are – Suncorp Stadium on a warm Saturday evening in Brisbane. Phil was due to step out at 8 but has kindly held off to make sure that more people can find their seats before the start of the show. For now, we are treated to background music and a slideshow on the big screen of shots of Phil from across his long and colourful career.
Before long the stadium lights go out and a single white spotlight appears on the pitch black stage – Phil steps into the light, assisted by his cane and half way across throws an arm up into the air, waving out to the crowd. He hooks his cane over the back of his chair and sits down, taking a moment to greet the fans and offer an explanation for his diminished mobility… He does so with a bit of humour which is immediately received well by the crowd and serves well as the ice-breaker – if anyone can inject a feeling of intimacy into a stadium show without having even yet broken into song, it’s Phil Collins.
Against All Odds is the first song, followed by Another Day In Paradise – I’ve just shed my first tear of the night. Phil’s voice is unwavering and still projecting as much emotion as ever.
After Can’t Turn Back The Years, Phil says we’re in for some tracks from No Jacket Required and the band bursts into Inside Out followed by Who Said I Would accompanied by some very appropriately retro neon 80’s imagery on the screens – even more of Phil’s cheeky side comes out during this performance and it’s a treat to see.
Phil takes a moment to lovingly and playfully introduce the entire backing band one by one. Last but not least, we find out that the person who has been expertly keeping the beat behind the kit is Phil’s own 17-year-old son, Nicholas Collins!
A simple starlit backdrop brings the intimacy level back as enigmatic backing vocalist Bridgette Bryant takes a seat beside Collins for a spine-tingling emotional duet, Separate Lives.
Once their duet is over, it’s time for a slightly different one – Nicholas bursts through with powerful drum beats instantly lifting the energy and so begins a drum duet with world-renowned percussionist Mr. Richie “The Octopus” Garcia (as he was introduced earlier by Phil) … This is EPIC! 17 years old?! We’re all watching in awe as this overachiever battles it out with one incredible percussionist for at least 5 mins. Phil sits just back from his primary spot, closer to the drummers, and watches intently and with approval. I’m having a bit of a moment where I’m filled with empathy for Mr. Collins; a musicians loss of ability to play their instrument is like the loss of a limb. But those insane beats take over and I know that, as a parent, that yearning must be completely overshadowed by the tremendous pride he must have in his son right at this moment.
Phil turns back to face the audience and places on his lap a slap-top Cajon. Nicholas and Ritchie grab a Cajon each from their opposite sides of the stage and meet in the middle with Phil for what is one of the most special moments I’ve ever witnessed at a show. It’s simple, but oh so powerful, and Phil shows us that he still has it!
As if that wasn’t moving enough, after Heaven, we have Nicolas moving down from the drum rise to a piano, Phil sitting close beside him. A few gorgeous exchanges of jokes between the two and it was revealed that Nicolas taught himself the piano part for You Know What I Mean and together they perform it perfectly and finish with a loving cuddle before Nicolas resumes his position behind the kit for what could be the smash hit song of the night for everyone in this sweaty stadium – unmistakably the atmosphere builds for In The Air Tonight. The bass is rumbling through my body as Phil moves to the front but this time rests his cane and stands centre stage unassisted, as though given an extra boost from this particular mega-hit.
The rest of the night is like a giant dance party with most fans up on their feet and Phil pulling hilariously cheeky facial expressions, often holding the microphone out into the crowd who honestly don’t need the further encouragement to sing-a-long to Can’t Hurry Love, Invisible Touch, Easy Lover, Sussudio… ear-wormed yet??!
Anyone who tries to tell you that their experience was hindered by Phil being restricted to a chair for a large portion of the evening, mustn’t have allowed themselves to be fully embraced by the music and the passion that was quite literally radiating off that stage. Mr. Collins, thank you so much for tonight, and for your many contributions to the soundtrack of my life. You are a living legend and still well worth seeing live!
Review & Gallery Contributed by Elizabeth Sharpe
As people from all age groups and walks of life began swarming into the Brisbane Entertainment Centre on the 15th January, singer-songwriter Gretta Ray stepped on stage with nothing more than her guitar for her very first arena performance. From the get-go, she was nervous, humble and very grateful. While announcing one of her biggest hits Radio Silence, she got 2 loud ‘WOO!’s from eager audience members, to which she giggled, her head down. “Thank you so much. That’s not something I was expecting.” To give you an indication as to how good the song – and her voice – was, by the end of the very same song, you can bet that a lot more than just two people erupted in applause.
Up next was Michael Kiwanuka, and he didn’t spare a single moment here. After the insanely catchy One More Night followed by a few more standouts, he prepared us for some pure soul music with his hit Black Man In A White World, reminding all of us, if we ever needed reminding, that soul music is still alive and it is very, very well.
After the two fantastic warm-ups, the lights went out and as to be expected, the 13,500-strong went crazy. The rousing applause led into 42, the first of 6 new songs from their most recently released record, Delta. It was obvious from the first note that Mumford & Sons don’t do things in halves, as five other musicians joined the four of them on stage throughout the whole set to round out their full-fledged, stadium-folk-turned-indie-rock sound to perfection. And if that doesn’t prove the point, within the first song while Ben Lovett was handling rhythm on the keyboard, Winston Marshall handling the electric guitar and Ted Dwane grooving on bass, leading man Marcus Mumford not only sung, but also pounded on his very own separate set of drums that were placed on the centre walkway.
By the time Lover Of The Light, the fourth song in their set began, you wouldn’t have even noticed if you weren’t looking close enough that Mumford was again seated at the drum kit, going crazy and still singing impeccably, his voice not wavering or reacting once. Come to the chorus of Believe, the pyrotechnics had started and from this point on, the crowd was officially entranced and immersed – stomping, mass-clapping and singing along. After all, the dynamic had completely changed. This wasn’t intended to be a nice, sway-along folk-rock concert featuring a few heavier songs from the latter half of their audio resume – This was intended to be a full-blown spectacle.
In between songs, a quip about the Aussie cricket team drew laughter and applause as Mumford joked about the sandpaper debacle by stating that they weren’t much better – they were miming their songs all night. On that side note, let me just say that with the quality of his voice whilst he was maniacally drumming, I half believed him.
Moving onto the edge of the walkway, Ghosts That We Knew cast the spotlight almost solely on vocals and violin, quietly bringing the collective heart rate down and allowing the lighters and the iPhone cameras to sway and shine, in what always is a spectacle of man-made feel-good fireflies. Once our feels were officially at peak, Mumford took the opportunity to gently speak about the early touring days of Mumford & Sons, and how their first Aussie appearance was at Laneway, almost ten years to the day. “You guys have always been so good to us. We’ll always be back as long as you’ll have us back.”
Roll Away Your Stone, an obvious fan-favourite from Sigh No More, set the place crazy and as if to further amp everyone up, Mumford proceeded to do something I’ve personally never seen any musician do in a stadium; he walked through the crowd right up to the top of the stands at the other side of the arena, followed by all the way back, much to the delight of the hundreds who got up close and personal with the lead singer. New hit Picture You slowed it right down again for us. The mood turned somewhat ominous as spotlights of purple and orange gently glided across the sea of the standing, all while a heartbeat-esque bass pedal softly pounded under a spoken word piece. This is Mumford & Sons we’re talking about, so obviously, all of this abruptly became a full-on multi-instrumental frenzy to climax a song that ended up including everything from Marcus again on drums to a thirty-second-flurry of wild fireworks, before abrupt and complete darkness and silence.
But somehow, less ended up being more. They began the close to half-an-hour, six-song encore with four of them standing around a single microphone. Timshel and Cold Arms, the two songs they played in said position, revealed the talents and emotion of the whole unit without any bells and whistles, without any elaborate instrumental backing and without any assistance from the audience. We were seeing them at their most vulnerable as a band, and it was in my opinion, the night’s clear highlight.
For as quiet as those two songs had the audience, you should have heard the applause ten minutes later when they flipped that completely on its head and began strumming I Will Wait. It was the obvious hit and it completely showed. They finished their set with the new album’s Indie Rock crowd pleaser Delta (featuring the classic confetti cannon on climax) and proceeded to receive the biggest applause from any audience that I’ve heard at any concert. To put that into perspective, I’ve seen Def Leppard, Muse, Walk The Moon, Green Day and The Hives, to name only a few. And I thought The Hives’ faithful were loud! It seems the crowd was rightfully giving the band a clear answer to Mumford’s earlier statement… We’ll always have them back in Brisbane.
Review Contributed by Sam Sciacca
Gallery By Elizabeth Sharpe
Gallery by Tracie Tee
Gallery by Elizabeth Sharpe
United by their appearance on Download 2019, two of thrash metal’s Big Four SLAYER and ANTHRAX are joined by the Polish dark lords BEHEMOTH for two nights of absolute mayhem as they hit the unsuspecting folk of Brisbane at The Riverstage, and Adelaide’s AEC Arena this March.
Tickets for the just-announced Brisbane and Adelaide shows go on sale at 11 am Wednesday, November 21.
My Live Nation members can be among the first to secure tickets during the pre-sale commencing at 10 am Tuesday, November 20.
For complete tour and ticketing information, visit: livenation.com.au
In January 2018, thrash titans SLAYER devastated metalheads across the globe, announcing they were calling it a day, along with a mammoth final world tour. Now, Australians are about to get their last taste of this legendary and hugely influential band. After 37 years, 12 studio releases, an abundance of Gold albums and countless shows, Slayer’s place in music history is secure as one of The Big Four (alongside Metallica, Megadeth, and Anthrax), helping define the thrash-metal genre. Even among peers of that quality, Grammy Award-winning Slayer still proudly stands alone and remains one of the most influential bands in heavy metal history. With Tom
Araya’s unmistakable vocals, Paul Bostaph’s hostile drums, Kerry King and Gary Holt’s slaughtering guitar riffs, and nasty as fuck lyrics, Slayer continues to whip its fans into anarchistic, antichrist-fuelled frenzies unmatched by any other act on the planet.
New York’s finest ANTHRAX are back in Australia for the first time since 2013. Anthrax’s latest album ‘For All Kings’ hit a career highest ARIA chart position of # 12. With over 10 million albums sold in a highly distinguished career, things don’t seem to be slowing down. The story of Anthrax is one of gritty determination in the face of outrageous odds and ‘For All Kings’ is the quintessential Anthrax record, and proof positive that you can’t keep a good band down.
Back in 1991, Adam “Nergal” Darski founded the death metal band Baphomet. Little did he know that they would evolve into the sublime beast that is the black metal band, BEHEMOTH. Over the course of the last 27 years, Behemoth has pushed the boundaries of black metal and heresy alike, and have continued to do so with their latest slab of darkness, ‘I Loved You At Your Darkest’.
WITH SPECIAL GUESTS ANTHRAX AND BEHEMOTH
THE RIVERSTAGE, BRISBANE
THURSDAY MARCH 07
AEC ARENA, ADELAIDE
WEDNESDAY MARCH 13
TICKETS ON SALE 11AM WEDNESDAY, NOVEMBER 21
Pre-sale begins 10am Tuesday, November 20
For complete tour and ticketing information, visit: livenation.com.au
‘“…nothing short of show-stopping,” is how America’s Pitchfork described a Ghost live show, and today, the band announces its return to Brisbane, performing a special one-off show consisting of two performances at The Tivoli on Wednesday, March 6, while in Australia for Download Festival 2019.
Tickets for all shows go on sale at 10am Wednesday, November 21.
My Live Nation members can secure tickets first during the exclusive pre-sale beginning 9am Tuesday, November 20 until 9am Wednesday, November 21.
For complete tour and ticket information, visit: livenation.com.au.
No one is doing what Ghost is doing. The band’s two-act live production is true rock theatre in the tradition of the great rock shows of the 70s, complete with scenery, costumes, and make up that fit seamlessly into its narrative and presentation. Ghost’s music is high-energy rock/pop that has been influenced by everything from black metal to ABBA. No wonder Tobias Forge, the mastermind behind Ghost, has been referred to as “the Andrew Lloyd Webber of rock.”
In a similar fashion to their recent Royal Albert Hall performance in London earlier this year, Brisbane fans will be treated to a two-act production featuring an elaborate church-themed stage with blackened voids and faux stained-glass windows; equal parts elegant, imposing and captivating.
Prequelle delves into the plague, the apocalypse, and dark ages – with a stage show to match. There’s no denying this one-off performance will treat Brisbane fans to a special evening with Ghost.
THE TIVOLI, BRISBANE
WEDNESDAY MARCH 6
TICKETS ON SALE 10AM WEDNESDAY, NOVEMBER 21
Pre-sale begins 9am Tuesday, November 20
For complete tour and ticketing information, visit: livenation.com.au
With a stellar line up of old and new skool R’n’B artists, it’s no surprise that RnB Fridays Live at the RNA Showgrounds, Brisbane was played to a huge sell-out crowd of over 30,000 people. The advertising prior had been quite strong on both social media and on the radio program itself. The organisers even had an auto messenger set up to give attendees live updates on the day for the event, which was clever communication.
Entering through a carpark to gain entry to the event, would have felt hidden if it weren’t for the road closures, detour signs and people everywhere. The event opened its doors at 2:30 pm that afternoon with the first artists, Next jumping into the fray at 4 pm. As you entered through, you passed the Hit 105 four wheel drive parked giving the opportunity for a selfie but also an indication you were headed in the right direction before being checked through the gate by security and grabbing wristbands. Continuing through, I was faced with the neon archway emblazed with RnB Fridays logos and multiple entries for each of the pass types. There was also a merch stall, food trucks and purple lit bars full of libations.
By the time I had gotten there, Trey Songz had started his set at 7:15 pm. There were crowds everywhere all over the grounds of the oval to full seating in all the stands. Trey shouted out to Australia and confessed his love for Australian girls. The set included tracks such as Neighbours Know My Name, I Need a Girl, Slow Motion and party anthem Bottom’s Up. Many in the crowd formed their own little dance crews showing off moves to each other. Women screaming in delight as Trey stripped off his singlet and teasingly wiped his chest and stomach as he sang. His voice also doing favours with the ladies, smooth and soulful. After he completed his set, the intermission was hardly dead silence.
Between artists, the festival’s emcee, Fatboy Scoop would entertain the crowd with competitions, social media reminders and epic singalong countdowns played by DJ Horizon featuring hits like Eminem’s Lose Yourself (8 Mile), 50 Cent’s In Da Club and Missy Elliot’s Get Ur Freak On. The stage itself had full-blown production values and seriously huge screens, which played all sorts of graphics and videos and played the music videos to accompany the singalongs. Once the Top Ten countdown was completed, those sassy ladies Salt’n’Pepa hit the stage, proclaiming it was time to “party old skool!”
Salt’n’Pepa had a fantastic dance crew and their DJ, Spinderella accompanying their set with the original music videos playing along on the massive screens with smoke streams across the stage, doing their wicked rhyming thang, with Shake Your Thang. They thanked the audience for all their support for the past 32 years and asked the audience who were “70s babies? 80s babies? (woo me!) 90s babies? Cute little 2000s babies who were brought here by their mom?” They also saluted the 60s babies for how they roll, before breaking into R U Ready and into the megahit, Let’s Talk About Sex. The audience dancing, rhyming along while girls were sitting on their guys’ shoulders waving hands around.
They then dedicated their next song, Whatta Man to Australian men. Then headed into their finale busting their iconic moves and slipping on their equally iconic bomber jackets for Shoop and Push It, bringing their set to a booming conclusion!
Fatboy Scoop taking back the audience’s attention for the artist’s changeover with DJ Horizon mixing up and dishing out more popular R’n’B tracks, attendees showing off their dance moves to each other on the ground. Meanwhile, on the main stage, visual checks were in the works in preparation for the night’s final headline act, Usher and Lil Jon.
Then it went to blackout. Screens lit up with Usher adorned with cyberpunk inspired graphics and helicopter audio, before making his dramatic entrance on the DJ section of the main stage in silhouette. All was silent for a moment, save for the audience screaming his name. Dance troupe on stage, spotlight on Usher revealing a black cyberpunk inspired outfit with aviator sunnies reminiscent of his hero, Michael Jackson.
Pulling his signature smooth moves, Usher broke into his opening number with lasers flashing from stage across the clear night sky. Lil Jon showed up not long after, making his appearance in a New York basketball singlet rapping along. Bad Girl followed up with a female dancer in the spotlight, spotting a black leotard dancing with Usher. Back To Sleep (Remix) saw Usher strip off his jacket with the ladies screaming for more. The song featured a skit with three female dancers dancing with him throughout the song and at the end, leaving him “upset” that they’re not the only ones dancing with him. Lil Jon joking afterward with Usher saying, “You got to pick one” with Usher replying, “True. But I want them all!” Audience erupting in a mix of laughter and screams. Performing the next track, Usher once again strips his singlet to reveal… another singlet. Now there’s a troll for the thirsty ladies!
Hands were bouncing for Confessions and Usher left the stage for a quick break while Lil Jon revved up the crowd with his aggressive mad dash of rap melody including Alive, Get Low and Gasolina (Remix). Usher returning on stage with a costume change of white with an umbrella and a bowler hat complete with feather. Continuing on with the theatrics, Usher approached a clear white lit briefcase on a table, building suspense. Unfortunately not quite working in his favour, as what he expected to be in the briefcase clearly not. Usher laughing while a stagehand rushes to the scene to pop in the surprise, saying to the audience to, “reset. Forget that happened!” Too funny to not forget, sorry and a true good testament to you as a performer- you took this so well in your stride where others might not have.
As for the surprise reveal- the classic U logo on the silver chain was in the briefcase! Usher slipping on the bling with Lil Jon busting into In Da Club. Flamethrowers lighting up the front of the stage as Usher continued delivering signature hits such as Oh My Gosh and Caught Up with Lil Jon’s party anthem Shots delivering the final blows to a killer set!
Review Contributed by Sarah Minazzo