Interview with Josh Todd (Buckcherry)
It has been a two years for Australian rock fans with no new international tour announcements but that changes now. With borders finally open and restrictions lifted Silverback Touring is saying “f**k it” and giving fans a 1,2,3 count of unashamed rock n roll with two of the hottest live bands on the planet, BUCKCHERRY and FOZZY.
BUCKCHERRY recently dropped their incredible new and possibly best yet, album Hellbound and just this past week a frantic new video and single ‘5,4,3,2,1’. Whilst FOZZY have been tearing up the U.S. Billboard charts with their latest single ‘Sane’ whilst their anthemic track ‘Judas’ continues to amass huge numbers.
Multi-Platinum selling rockers BUCKCHERRY return to Australia armed with a new album Hellbound. BUCKCHERRY staunchly uphold the commandments of rock music with an arsenal of anthems primed to explode on impact live on stage and teeming with riotous energy, sexy swagger, and primal chops intact. It’s something that the boys have done since day one, but it’s more necessary now than ever. With an array of classic such ‘Lit Up’, ‘Crazy Bit*h’, ‘Sorry’, ‘Say F*ck It’ and ‘All Night Long’, BUCKCHERRY are ready to once again party down under.
BUCKCHERRY is unique, complex, simple, passionate, explosive, original, and always a good time. BC has been my love, my pain, my passion and I’m so proud of what we have accomplished. I never knew when I started this that dedicating myself to music would be taking on so much responsibility. For a guy who never thought he was going to live past 30 this has been an incredible journey. Our ninth record Hellbound marks 22 years since our debut self-titled release and what an amazing roller coaster we have been on. From hit songs to platinum and gold records and millions of fans worldwide – all during a time period when traditional sounding hard rock bands didn’t exist – except for BUCKCHERRY. We beat the odds and built our reputation on the live shows, and our “one of a kind” approach to every opportunity. – Josh Todd
After touring the world with the likes of Metallica, Kiss, Iron Maiden, Avenged Sevenfold, Shinedown and building a loyal fanbase for the better part of twenty years, FOZZY is the epitome of what a great rock n roll band should be: catchy, groovy, hooky, sweaty and most importantly, an AWESOME F**KIN TIME! With five consecutive TOP 30 singles, FOZZY is steadily becoming one of the most successful bands on Modern Rock Radio with one of the most electric live shows.
Buckcherry Tour Dates
NOV 30
Tivoli
Brisbane
DEC 2
Max Watts
Melbourne
DEC 3
Manning Bar
Sydney
DEC 4
Lion Arts Factory
Adelaide
Ticket link here: https://www.silverbacktouring.com.au/buckcherry-fozzy-australia-2022/
The Black Crowes @ Palais Theatre, Melbourne 20/11/2022
The evening began with a last minute decision to move the the gig from the Palace foreshore into the Palais theatre. Probably due to Melbourne’s laissez faire attitude towards adhering to weather forecasts. A decision that I enthusiastically applauded and was most pleased with.
I arrived at 6:15pm as the doors were about to open and a long line had already snaked its way around the front of the venue. This crowd had waited a long time for the much overdue reunion of The Black Crowes.
Taking the stage promptly at 6:45pm was Full Flower Moon Band, a five-piece outfit hailing from sunny Brisbane. Comprising of Babyshakes Dillon (Vocals & Guitar), Christian Driscoll (Guitar), Caleb Widener (Guitar), Marli Smales (Bass & Backing Vocals) and Luke Hanson (Drums)
Right out of the gate their drummer was like hearing a bomb go off. Every hit of the skins had intentionality and ferocity yet he had a good understanding of utilising dynamics when the song required a softer touch. The bass held a consistent groove that you felt in your stomach and the three guitars made up of an SG, a Telecaster and a Stratocaster formed an unholy trio of tone. Together they weaved a rugged and lipstick stained tapestry of rhythm and melody. Crushing riffs juxtaposed with haunting vocals. Babyshakes Dillon’s vocals reminded me of Shirley Manson of Garbage. She had a swagger and filth in her delivery that said not only can I throw down with the boys but I can beat you.
My favourite song that they performed was, Come and be my baby. Ironically it is the only song from their set that isn’t available online at the moment. All in all Full Flower Moon Band are a great example that the future of Aussie rock is not just alive but absolutely thriving. You just have to look and listen a little closer.
Filling the main support spot was Australian icons You Am I fronted by eccentric frontman Tim Rogers. Dressed lavishly in his trademark look of bellbottoms and a red shirt Tim oozed vintage chic as they took the stage to a hearty applause. Opening the set with Rumble they were off and running after a few small sound issues which didn’t seem to slow them down. The Waterboy, Who Put The Devil in You? and Cathy’s Clown all made an appearance keeping the fans happy.
Tim was up and about with his cheeky banter keeping the punters entertained as Mr Milk and How Much is Enough rang out. While I don’t believe it was their strongest performance there was plenty of crowd support as they finished off with their huge hit Berlin Chair. Tim ever supportive of the local music industry inviting people to go out and sample some of the live music scene and support our musicians. So get to it people, there is so much live music to see in Melbourne you will be glad you did!
James Brown’s Get Up (I Feel Like Being a) Sex Machine played over the PA as we starred into the darkness as silhouettes moved across the stage and you could feel the anticipation in the atmosphere change. Then a single light illuminated Rich Robinson and his guitar as he began playing the intro to Twice as hard and the crowd simultaneously exploded with rock and roll as frontman. Chris Robinson’s entrance was greeted with deafening screams. Chris was dressed in a gold sparkle shirt and shiny silver shoes. But even an outfit this loud was barely able to contain the infectious energy he exuded.
The Black Crowes didn’t give a performance you’d expect of seasoned veterans, but they played with the vigour of a new band hungry to prove themselves. As I watched from the balcony I couldn’t see a single person that wasn’t on their feet, despite the Palais being a seated venue. The third song of the night was Sister Luck. You could feel the nostalgia in the air and for a brief moment all of us were transported back to 1990. Such is the magic of good music. Seeing Things showcased the band’s soul and gospel influences as Chris Robinson didn’t merely sing the lyrics but managed to engage the crowd in an unspoken dialogue. Following this was their cover of Otis Redding’s Hard to handle. The crowd exploded once more to an even higher level that literally made the floor and walls of the Palais theatre shake. As the chorus came around The Black Crowes didn’t have two back up singers in the band but a couple thousand new ones.
In the middle of performing Stare it Cold, an over enthusiastic fan climbed up on stage and charged towards the band. Two members of security rushed over to apprehend him but he grabbed one of them and threw him into the audience. The second security personnel managed to grab a hold of him while Chris Robinson pushed him away with his mic stand. As security struggled to subdue him Rich Robinson didn’t miss a beat and ran over to strike the misfit with the butt of his guitar. As the assailant was brought under control Rich grabbed the mic and yelled: “Get this mother fucker out of here.” Which was met with applause and approval from the fans. Chris then took the mic and decided to restart the song. Nonchalantly brushing off the incident and getting right back to the music.
The guitar nerd in me noticed that both Rich Robinson and lead guitarist Isaiah Mitchell were using three amplifiers each. An educated guess leads me to believe that this was to have their guitar signal panned in stereo and have one signal straight down the middle. Keyboard player Joel Robinow had a vintage Leslie speaker in his setup, something I’ve never seen a band do in a live setting. These little details show a lot about who The Black Crowes are as artists and how much care and attention they place on their sound. Something often overlooked in our modern digital age where such analog efforts are deemed too costly and unnecessary.
The set was closed with the fan favourite, Remedy. The crowd gave all they had and sang at the top of their lungs and the band graced them with a breath taking performance. At the end the lights went down but the crowd could not be quelled and for their passion they were rewarded with an encore of Rock & Roll by The Velvet Underground.
This was a a night of passion, joy and drama. Much like the things that make up life and to me the very essence of what Rock and Roll is all about. The Black Crowes embody this and show us that they are just as important and relevant today as they were when they debuted Shake Your Money Maker in 1990.
Hanson @ Forum Theatre, Melbourne 16/11/2022
It was a cold and rainy Wednesday night and The Forum Theatre was already three quarters full thirty minutes before the opening act took to the stage. There had to be something special that drew the masses out of their warm homes in the middle of the week and Hanson was it.
The opening act was John Calvin Abney. A solo singer songwriter from Tulsa, Oklahoma. He played a combination of country and folk music with a bit of the blues in it.
The venue was surprisingly full at this point and most of the crowd were supportive and involved throughout his set. The first thing that stood out to me was John’s fantastic harmonica skills. I’ve never heard solos executed so well on a harmonica. As a solo performer he sounded very full as his acoustic guitar laid down the rhythms and his harmonica took the place of the lead melodies.
His slower songs had a nice story telling element to them and invoked images of floating down the Mississippi on a lazy Sunday afternoon.
Hanson took to the stage shortly after 9pm. The Forum Theatre was packed at this point. You could feel the anticipation of the crowd and knew that these were hardcore fans of the band. They opened the show with Waiting for this from their 2010 album Shout it out. The crowd exploded with screams and dancing soon as they took to the stage and this level of enthusiasm continued throughout the set.
They followed this up with Don’t Let Me Down from their new album, Red Green Blue. The new material has a slightly stronger rock edge to it and you can hear how the brothers have matured as musicians and songwriters.
I had wrongly expected most of the crowd to have come just to hear the hits like MMMBop and I Will Come To You.
Boy was I wrong. The crowd knew the words and sang along to almost every single song from Hanson’s huge 25 song set (even including a Bass solo and Drum solo), spanning their 27 year career.
Often times being even louder than the band. Despite that the sound on the night was fantastic. The sound engineer ensured the mix from the band was incredibly balanced and every musician was clearly heard.
From the beginning of their career Hanson were unfairly lumped in with the boy bands of that era and many people have a preconceived notion of who and what they are as artist. However, what I witnessed on the night was not a formulaic pop band but a band of highly skilled musicians who understand how to write and perform to serve a song.
This is a new Hanson that has left their boyish image behind and is honestly a bad ass rock band.
Flume @ Riverstage, Brisbane 16/11/2022
It’s always easy to get excited about a gig at Brisbane’s Riverstage. The grassed, natural amphitheatre means even shorties like me don’t have to worry too much about staking out a good vantage spot, and let’s face it, it’s basically hallowed ground. The stage has previously played host to everyone from Midnight Oils to Florence + the Machine, from Beastie Boys and The Chemical Brothers to The Prodigy. Such company should not intimidate Harley Streten, aka Flume, though. The insanely popular Australian artist has previously toured festivals the world-over including Coachella and Lollapalooza, and has amassed countless awards both here and abroad. For the all-ages Brisbane leg of his Palaces tour, Flume brings with him Channel Tres, Toro y Moi and MAY-A. Such a great line-up sees Brisbanites flock to the city as the sun goes down in what feels like a return to post COVID attendance figures.
When we arrive the roadies are busy moving an ‘arc-de-Triomphe’ frame of sorts, part of Flume’s otherwise minimalist stage set from the far left to the centre, then back again. Is it broken we wonder? Why is it not staying centre stage behind Flume’s two stations? Later we learn it is indeed working and even pulls apart and lights up, all with a little help from the roadies (don’t forget our all-important roadies btw. See SupportAct). Suddenly the crowd goes insane with a sound that would make any think Flume himself had come on early, but nope. It’s Channel Tres looking extra, complete with sequined tank, elbow length gloves, sneakers and shades. The artist clearly has a very healthy following here in Brisbane, perhaps a testament not only to his talent but to Triple J’s major radio play starting in 2018. If the crowd needed any other reason to boogie – they didn’t – Channel Tres is accompanied by three energetic street dancers. Their choreographed moves complement the deep vocals and otherwise understated fat beats well. We’re treated to tracks including Top Down, Sexy Black Timberlake, 6am and Jet Black while something about the beats in Controller take me back to Beverly Hill Cop soundtrack days and Axel-F – ha ha weird! There is standing room only at the base of the Riverstage now and people are clearly ready to party. Further up the hill you can see that Flume maintains a varied fanbase with punters aged everywhere from their teens (well 6 months really- there was a baby with BIG earphones next to us) to their 50s.
Perhaps Flume was as excited as his fans. He comes on a little early wearing full Motocross gear, the jacket of which comes off just one song in. If any of his decade-long fans were worried about Flume only playing new works, their fears were abased immediately by first choice Holdin on. It’s hard to believe this track IS ten years old now; it stands the test of time very well. Other historical tracks we’re treated to include Never be like you, Insane, Hyperreal and Smoke & Retribution among others. Special guest, Kučka, joins Flume for the last two in this list plus some more. Her pig tails and all black attire are understated but fortunately, her voice is anything but. Despite an enviable back catalogue, Flume continues to respectfully sample others too on the night including Disclosure and WILDKATS! Meanwhile, his backing visuals continue to titillate the audience. Displays include everything from his (now infamous) fox-glove flowers from the Skin album cover to a psychedelic morphing motorcycle tire and down-right scary, if not hypnotic, satanic looking dog. During Insane, the ‘arc-de-Triomphe’ frame lights up and divides, making me wonder how on earth they travel with that thing. Flume’s equipment is divided between two benches on either side of him, making for some terrific scenes and demanding that he switch frequently between the two.
While Sydney is once again home to the DJ / record-producer having returned from a stint in Los Angeles, he makes the Brisbane crowd feel special explaining that all his family are locals, many of them joining us here tonight. Flume is indeed multi-talented, as are his sound crew who have to navigate the journey with him between crisp soprano piano notes (think Sleepless) and gritty distortion (think Get U off the latest album). Indeed, his set is quite the contradiction in some ways. Whilst no one could ever accuse the Grammy Award winning musician of failing to evolve, the moods embodied by some of his new experimental tracks are a bit confronting and a far cry from up-beat bangers like his remix of Hermitude’s HyperParadise. Just try not to dance during that one team! The crowd don’t disperse though, irrespective of the pace clearly shifting here and then there. Flume doesn’t talk much during the set but takes the time to share a moment that triggered him only earlier backstage. He pays tribute to friend, Sophie, who Flume explains was transitioning during the last Brisbane show and is now no longer with us.
Ok, so the one downside about the Riverstage is the strict (and I mean strict) lock down at 10pm. On the plus side, this means I can predict Flume’s plan to play several encores having ‘pretended’ to leave at 9:45pm. He certainly wasn’t interested in short-changing anyone and perhaps that’s why he came on early. Indeed, the set is a really decent length with Flume managing to play close to 25 tracks. This also means he gets to share the stage with other vocalists too including Toro y Moi for The Difference and May-A for Say Nothing and Never be like you. In this last one I feared for May-A actually who clearly stacks it down some stairs, but, in true professional form doesn’t miss a beat and continues to energetically dance around, all the while getting the crowd to sing along too. For a ‘school night’, people are pumped and Flume expresses his gratitude, even mentioning that it’s Wednesday several times. It feels as though he is in part applauding us and in part enticing us to continue in that spirit of revelry. Two of his three encores are courtesy of Streten having recently discovered an old laptop housing several unreleased songs, but he ends the night with Aria-Award winning Rushing Back featuring Vera Blue. Having now collaborated with everyone from Lorde to Arcade Fire and even Gorillaz front-man Damon Albarn, it is safe to say Flume is not going anywhere anytime soon. Exactly where this journey will take him and his avid fans, however, feels far less certain.
Flume plays Melbourne 24th November, Adelaide 30th and Hobart 2nd December. Get tickets HERE
Interview with Scott Kirkland (The Crystal Method)
THE CRYSTAL METHOD (USA) return to Australia for the first time since the Big Day Out in 2007! Considered to be one of “the” Electronic Dance Music pioneers.
Along with The Chemical Brothers, Fatboy Slim and The Prodigy, THE CRYSTAL METHOD are credited with being pioneers of the Big Beat genre and Electronica movement. Together they took electronic music out of warehouses and onto some of the biggest festival fields in the world!
Don’t miss THE CRYSTAL METHOD bringing the energy and excitement with a show stacked with bangers – Name of the Game, Busy Child, Trip Like I Do, Born Too Slow, Keep Hope Alive plus heaps more!
The Crystal Method Tour Dates
DEC9
Factory Theatre
Sydney
DEC10
The Triffid
Brisbane
DEC14
Lion Arts Factory
Adelaide
DEC16
170 Russell
Melbourne
DEC17
Rosemount Hotel
Perth
Ticket link here: https://metropolistouring.com/the-crystal-method-2022/
