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Gig ReviewsReviews

[Review] Aminé @ Forum Theatre, Melbourne 06/01/2023

On the 6th of January the beloved Forum Theatre welcomed in thousands of excited faces, eagerly awaiting for Aminé to hit the stage. Advancing into the foyer like an army of loyal troops, it was clear that Aminé fanbase was strong- united in their love for his intoxicating presence, and quirky persona. There was, however, one fan who was quite new to the scene, and uncertain of what to expect. This fan was me. I knew of Aminé, and of course was familiar with Caroline, the song that catapulted him to commercial recognition. However, it is safe to say, that my musical pallet surrounding alternative hip hop and rap was…rather dry. So, as I entered the Forum and took my spot amongst the buzzing crowd, I hoped and prayed that I might leave the show a little quenched.

And boy did I.

Starting off the night, Dj Classic warmed up the crowd with a classic game of call and response. Within a few minutes, strangers were acting like best mates, and it was clear that this pre show entertainment was there to lay the ground rules for the night: go wild, dance, but do it all as one. Following Dj Classic, B Wise took to the stage. I was majorly impressed with his ability to take the audience’s growing energy, and send it into the stratosphere. With songs like Who?! and Won’t Stop, B Wise demonstrated his slick lyrics and insatiable beats with incredible prowess; all the while maintaining a sense of gratitude and connection with his audience. With his concerted effort to look directly at his crowd, and his constant reminder to befriend and look after one another, B Wise felt like an artist at the top of his game, as well as a close and trusted friend. My favourite moment was when he took a moment to acknowledge his Nigerian roots before performing Ezzina, a song that oozed funk, heart, and soul. Side note: I still can’t get that guitar riff out of my head!

By this point in the night, the crowd of newly formed friends were as prepped as they could be for Aminé‘s entrance. So, when that moment came, and aminé danced his way onto the stage, the wild cheers was exactly what I was expecting. Kick starting his set with Mad Funny Freestyle, Aminé’s kooky lyrics and hilarious wordplay were accompanied by spectacular visuals that were as creative and dynamic as his rapping. Between Aminé‘s commitment to jumping around the stage, and the backdrop of neon coloured lights that featured garish yellows and hot pinks, it felt like we were witnessing the inside of Aminé‘s brain: an explosion of absurdity and playfulness. From start to finish, the Forum stage transported itself into a visual exploration of Aminé‘s creative genius; one where we got to witness his bouncy melodies, giddy synth, and hyper pop influence come to life.

 

It’s one thing to bop along to Charmander in the car. It’s another thing to experience it in a sold out venue, where it’s infectious energy and fast paced flow had me feeling so carefree that I almost felt weightless. What I also loved about Aminé‘s was the variety in his performance. Just when you thought the night might become one dizzying mosh, he’d bring us back down to earth with performances like shine that highlighted his slower melodies and more delicate, vulnerable vocals. I was particularly impressed with his falsetto in Shine and the smooth, glitzy guitar in the background. Aminé‘s musical confidence really showed itself through his ability to hook the crowd. Whether it was through a sugar rush state of energy, or a more reflective, down to earth moment, the crowd was there to drink in every moment and savor every minute. Finishing off the night with a consecutive performance of Spice girl, Caroline, and Reel It In, these three crowd pleaser songs provided a climactic high point that left the audience in a state of total appreciation and bliss. I left the Forum feeling more connected to hip hop and rap than ever before, and I have Aminé and his generous fans to thank for that. All in all, it was certainly a night well spent, and I cannot wait to see what craziness Aminé conjures up next. 

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[Review] The Crystal Method @ 170 Russell, Melbourne 16/12/2022

Returning to 170 Russell was like a rush of nostalgia for me. Memories of old gigs and dirty club nights on a Saturday. Nostalgia was certainly the key for this evening’s entertainment, as both The Crystal Method and his support act Black Cab dealt in it as their main theme.

Opening the show was Melbourne’s own Black Cab, a three-piece electronica group with classic roots. With clear inspiration from New Order, the band dealt a constant vibe for their entire set. The drummer played almost entirely 16th notes for the whole show, an incredibly bold move for a live band. That kind of rhythmic consistency is generally limited to raves and prog shows. In this case, it held a strong backbeat and pace for a crowd of mostly 50-somethings to bop along to. Layering on synth pads, arpeggios and effects, the band built a danceable sound with a bright palette. About 10 minutes into the set, the singer began to add a layer of ambient vocals, adding to an already solid sound.

With every song gradually evolving into the next, it was a surprise when their set ended, as it felt like one fantastic long dance hit drawing me further and further in.

Once the main act began, there was almost no stopping him. What was once a duo, is now one man (Scott Kirkland), and The Crystal Method lives on through him. Taking us back to the 90s, to the height of the Big Beat movement, the show was a non-stop rave-ride through the soundscape that defined the genre and the era. The sound featured sampled guitars, huge drums, massive basslines and all contrasted fantastically with insane visuals. These featured spacey sci-fi worlds, cityscapes and even concert footage from stadium shows of yesteryear. It felt like a journey to another time, and I was invited along for the ride.

Half-way through the set, Kirkland took to the microphone to pay tribute to fellow big beat icon, Keith Flint, of The Prodigy fame, who unfortunately passed away in early 2019. He played their mega hit Firestarter, which then blew the lid off an already insane crowd.

Finishing off the show with the hits of Busy Child, Name of the Game and more was the obvious choice, but still sunk in deep with the audience of diehard fans. The real skill was in creating an almost two-hour set of constant big beat bangers, remixes and classics to bring the house down on a night of nostalgia, rave and pure ecstasy.

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[Review] The Killers @ Rod Laver Arena, Melbourne 13/12/2022

It wasn’t quite the summers night we were expecting but the fans turned out in force united by their love of music. The wait had been long, four very long years in fact, but the time had arrived, and The Killers were playing in Melbourne for the first of two capacity shows at Rod Laver Arena on their Imploding The Mirage tour. Hot off the back of their open-air show at Mt Duneed Estate Geelong which wrapped up to rave reviews, I was keen to see what all the fuss was about. Plenty had turned out early to nab a prime position, myself included, and I was thankful I did, as the crowd started packing in swiftly behind me.

Opening the coveted support slot was Alex Cameron who was looking the goods in his three-piece suit and definitely gave off the Brian Ferry vibes. Strutting through a 45 minute set he kept the fans entertained with lots of cheeky banter, endlessly reminding us of this sax player and business partner Roy Molloy and his backing vocalist/keyboard player Jess Parsons. He was shown plenty of appreciation from the ever-expanding crowd as he belted out songs such as Miami Memory and Sarah Jo. A terrific addition that had RLA singing along was a cheeky cover of Island’s In The Stream which was very well received. Having co-wrote quite a few tracks with The Killers he was quite comfortable on stage and had plenty of fans up front singing along to his songs.

Feeling well warmed up it was time to move on to the main event, the one we were all waiting for, Las Vegas rockers The Killers! The anticipation was building and the energy quite frenetic as the lights dropped to squeals of delight and the band filled the stage. Bursting out bringing the stage to life was vocalist Brandon Flowers was straight to it with My Own Soul’s Warning followed closely by Interlude. The stage was awash with lights, projections on the giant screens and confetti cannons turning Rod Laver into quite the spectacle as we were coated in the colourful offerings as they descended in slow motion. When You Were Young got the floor bouncing and showed just how tight The Killers are as a live band, Brandon making use of every corner of the stage as he delivered the mega hit with gusto. There was no time for chat between songs, packing in as much as they could in their allotted time, Jenny Was A Friend of Mine, Smile Like You Mean It and Shot At The Night flying out in rapid fire.

Human was coupled with intriguing videos on the big screen, covered with tiny boxes filled with dancing figures it was quite captivating.  Spaceman really hit the mark with Brandon easily making the transition from keyboard to launching off risers in a heartbeat. Engaging with the crowd on every level, and ripping out that stunning smile on autopilot, Somebody Told Me turned up the heat with red lights, smoke machines and lasers cutting a wicked picture across the stage, the energy was palpable in the arena as the floor moved as one collective group. Runaways gave us all a chance to catch our breath before we all welcomed a sing-a-long of “we can’t wait ‘til tomorrow” on repeat as Brandon told us to “think about it” it felt like a special moment and one I was glad to be a part of.

Another huge hit was Caution off the 2020 Imploding The Mirage album, this came complete with the whole rear of the stage igniting in sparklers projected out via baby smoke cannons, this was not just a feast for your eyes it was a whole banquet and we could not get a seat at the table quick enough.  All These Things That I’ve Done had all our voices primed and ready for ‘I’ve got soul, but I’m not a soldier’ which echoed back across Rod Laver as the masses didn’t miss an opportunity to be involved in this amazing spectacle as green and gold confetti exploded over us. With a speedy exit from the stage, it was time to start the chants and clapping to draw them back out, and it didn’t take long as they returned with The Man. With the arena on their feet, it was a glorious encore as the confetti cannons shot out million-dollar bills with Brandon’s picture showing he really is ‘The Man’ and of course I pocketed a few for prosperity’s sake. Bling (Confession of a King) from Sam’s Town was next up then the one we had all been waiting for Mr Brightside. Starting with a slower remix of the song I was left wanting but not for long as they jumped into the OG radio version and boy oh boy did Rod Laver erupt. Hands in the air, punters bouncing in unison, it was the perfect end to a spectacular live show and I now see why The Killers are one of the worlds biggest bands.

If you are yet to catch The Killers DO NOT miss this opportunity there are just a few shows left on the tour, so get out and see some live music and I guarantee the memory will make you Smile Like You Mean It for years to come!

Wed 14 Dec, 2022 Rod Laver Arena, Melbourne – Lic. All Ages

Sat 17 Dec, 2022 Hope Estate, Hunter Valley – Lic. All Ages

Mon 19 Dec, 2022 Qudos Bank Arena, Sydney – Lic. All Ages

and newly announced intimate show

Mon 19 Dec, 2022 Liberty Hall, Sydney – 18+

Tickets available: https://www.frontiertouring.com/thekillers 

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[Review] Orpheus Omega @ Stay Gold, Melbourne 9/12/2022

As the year comes to a close, I sit here and reflect on the vast number of bands I have seen and written about in the last couple of months. What an experience it has been, multiple genres and bands from all over the world.

It then seems almost poetic and fitting for me, that my final review of the year is here at Stay Gold for the Kicking, Screaming and Live Streaming show by Melbourne’s very own Orpheus Omega.

Ironstone

The first thing that you notice about the opening band, Ironstone is how young they are! However, as soon as they start playing you realise that these boys have certainly spent their youthful years dedicated to developing their skills to be proficient at the progressive metal genre.

On their song, Staring at the Sun off their EP, The Place I Cannot Find, they showcased a good use of vocal harmonies and odd meter time signatures were in abundance that surely satisfied the prog fans.

It’s encouraging to see a new generation continue to push the musical boundaries and it’s gonna be interesting to see where they lead us next.

Scaphis

Sheathed in darkness and gilded in black war paint were Scaphis. I always love it when a band goes the extra mile to put on a show with costumes and makeup. Scaphis would have undoubtedly pleased the dark lord himself.

Blast beats, black metal-tremolo picked guitar rhythms abound and a voice straight out of the deepest recesses of Hell defiled  the stage at Stay Gold.

Yet Scaphis is more than just speed and brutality. Their songs also had segments of beautiful arpeggiated guitar lines combined with melodic leads. Vocalist Spyke, has a savagery in her performance and delivery that will turn your stomach and make your blood run cold.

Melbourne’s very own sons (and daughter) of Southern Darkness.

Andy Gillion

An 80’s synth wave sample played as drummer, Frankie Demuru teased his cymbals and the crowd. Then there he was, strutting out on stage in a glittering silver jacket, the virtuoso himself, Andy Gillion.

Backed by the formidable talents of Ryan Huthnance on guitar and Chris Themelco and Leon Monaco sharing bass duties.

The set began with the blistering, In the Arcade and 1988 off Andy’s new album, Arcade Metal.

There was plenty of fun and comedy coming from the lads on stage but make no mistake, they are no joke. This is technical ability at its highest level and an absolute masterclass for any guitarist or fan of virtuosic music. Sweeping, tapping, string-skipping and every technique under the sun were executed cleanly and precisely. However, Andy always considered in his compositions to prioritise melody and had a great ear for good phrasing.

Following this we were spellbound by  Becoming the Nightmare,

Becoming the Dream, Black Lotus and Skyless from Andy’s previous album, Neverafter.

Andy tells a story with his music and takes you on a journey with his playing. From the mystical and ethereal, to the dark and chaotic, you are transported there and back again by his imagination that is so beautifully presented before your very eyes.

It is a challenge trying to compare Andy Gillion’s music to other artists as he truly has a unique voice of his own, but I will say that his playing reminds me of Michael Romeo of Symphony X and the band Illnath, two hugely influential bands in the metal scene.

Andy Gillion truly is a special talent and Melbourne is all too keen to claim him and call him our own.

Orpheus Omega

Orpheus Omega were not only the headliners of the show but they had also organised the entire event and even managed to coordinate a live stream of the whole gig. A gargantuan task to achieve, but this tells you a lot about the kind of person Chris Themelco is. Vocalist, guitarist, bassist, organiser, audio engineer, the list goes on – and Chris excels at everything he does.

All this can only be achieved with intense passion, and that passion is exactly what you see come across when Orpheus Omega take the stage.

Together with brother, Matt Themelco on Drums, Luke Ashley on Guitar, Leon Monaco on Bass and Kes Gallagher on Keyboards and backing vocals, the boys played a phenomenal set of their newest material and fan favourites from early in their career.

Some of you eagle-eyed readers would have noticed that both Chris and Leon performed double duties and played bass with Andy Gillion in the previous set. I guess this is the epitome of do what you love.

The band plays with so much chemistry between members that you’d be forgiven for thinking that they were all brothers as they harmoniously navigate their way between aggression and melody.

The call and response vocals between Chris and Kes was perfectly executed as beautiful clean lines cascaded over blood-curdling screams.

The two new tracks, Within These Walls and Edge of Forever are already crowd favourites as was evident by the voices singing along with the band.

Chris then surprised us by announcing that the 2 new songs are part of an upcoming limited edition 5 track, vinyl only EP and any band that still recognises the value of vinyl is a good egg in my book.

A few days prior to the gig the band had posted on their Facebook page telling their fans to come dressed in their best party shirts for a very special segment of the live show. Looking out across the crowd it resembled more of a Hawaiian Tiki bar than a metal gig. This was the level of dedication that the Orpheus Omega fans had.

In their final song of the night, Sealed In Fate, Chris invited everyone in a party shirt up on stage to celebrate with the band. This was a magical moment and if there was a better way to cap off the night I don’t know it. Luke Ashley and Leon Monaco stepped down from the stage and stood in the middle of a circle pit as bodies raced around them like some kind of pagan ritual. Meanwhile, I had climbed on stage myself as I watched Kes Gallagher and Matt Themelco play to a fevered pitch. I’m pretty sure the fans wouldn’t have minded the set continuing for another hour but alas, all good things must come to an end.

It is clear that Orpheus Omega draw a lot of inspiration from the Melo-death genre but they have unequivocally made it their own and in the process created something that makes me proud to say that I’m from Melbourne and that I am a fan.

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