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SUGABABES Announce Australian Headline Tour for February 2023!!!!

Following the phenomenal success of their 2022 UK reunion tour and festival performances – including their hit-filled set at Glastonbury which shut down the field due to crowd demand – UK chart-toppers Sugababes have announced their February 2023 Australian headline tour presented by Secret Sounds.

The era-defying British sensations will return to Australia next February for the first time in over two decades with the original line up Mutya Buena, Keisha Buchanan and Siobhan Donaghy continuing their glorious legacy. The iconic trio will perform to Australian audiences at Enmore Theatre in Sydney on Thursday 23 February, Margaret Court Arena in Melbourne on Friday 24 February and Fortitude Music Hall in Brisbane on Monday 27 February.

Sugababes are one of the biggest-selling British girl groups of all time, with six Number One UK singles, millions of global sales and multiple multi-platinum albums. Mutya Buena, Keisha Buchanan and Siobhan Donaghy defined an era in British pop with their smooth vocals and magical harmonies offset by garage and alternative soundscapes, and became one of the most successful British girl bands of the 21st century.

Pre-sale tickets for the Australian 2023 headline tour will be available from 9am local time, Tuesday 20 December with tickets for the general public on sale from 9am local time, Wednesday 21 December.





Follow Sugababes:

Twitter / Instagram / Facebook / TikTok / YouTube

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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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My Chemical Romance Add Shows To 2023 Australian Tour

My Chemical Romance (aka MCR/My Chem) have today announced additional shows to their 2023 Australian arena tour.
These shows will be the band’s first Australian shows since their appearance at Big Day Out festival in 2012. MCR are thrilled to announce new shows at Brisbane Entertainment Centre on Monday, March 13, followed by Rod Laver Arena in Melbourne on Thursday, March 16 and Qudos Bank Arena in Sydney on Monday, March 20, in addition to the already announced, sold out dates.
Tickets for all shows go on sale at 12 pm Wednesday, December 15.
My Live Nation members can secure tickets first during the exclusive pre-sale beginning 3 pm Tuesday, December 14 until 11 am Wednesday, December 15.
For complete tour and ticket information, visit: livenation.com.au.
Formed in NJ, My Chemical Romance made their debut in 2002 with the independently released album “I Brought You My Bullets, You Brought Me Your Love”. The band signed to Reprise Records the following year and made its major-label debut with 2004’s “Three Cheers for Sweet Revenge”, now 3x certified Platinum. The album contained the Platinum hit ‘I’m Not Okay (I Promise),’ the Gold-certified ‘Helena,’ and ‘The Ghost of You.’ Rolling Stone hailed the 3x Platinum “The Black Parade” as one of the top albums of 2006. Lead single ‘Welcome to the Black Parade’ topped both Billboard’s Alternative Songs tally and the UK Official Singles chart and is now 3x Platinum. The band toured extensively behind the album – appearing as characters from “The Black Parade” – and released the live album “The Black Parade is Dead!” in 2008. “Danger Days: The True Lives of the Fabulous Killjoys” was released in 2010 and topped Billboard’s Alternative Albums and Top Rock Albums charts. It was followed by a series of singles later released as “Conventional Weapons” in 2013.
Selling out stadiums across the globe and providing the soundtrack of a generation, Live Nation is beyond excited to welcome My Chemical Romance back to Australia!

“It’s with this landmark concert that MCR ceases to be a nostalgic act, and proves its mettle as a timeless, rock & roll band for the ages.” Rolling Stone
As the crowd slowly left the venue, some fans had streaks of tears lining their faces — a fitting finale for a group that had been away for far too long.” Variety




Mon 13 Mar                Entertainment Centre           JUST ANNOUNCED Brisbane                    QLD
Tue 14 Mar                 Entertainment Centre           SOLD OUT                 Brisbane                    QLD
Thur 16 Mar               Rod Laver Arena                   JUST ANNOUNCED  Melbourne                 VIC
Fri 17 Mar                   Rod Laver Arena                   SOLD OUT                 Melbourne                 VIC
Sun 19 Mar                Qudos Bank Arena              SOLD OUT                 Sydney                       NSW
Mon 20 Mar                Qudos Bank Arena              JUST ANNOUNCED  Sydney                       NSW

Live Nation pre-sale begins 3 pm Tuesday, December 14 until 11 am Wednesday, December 15.
For complete tour and ticket information, visit livenation.com.au


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Grace Petrie Announces Australian Tour

UK’s Grace Petrie makes a return to Australia this January, bringing her polemical folk anthems, acerbic lyricism and open-hearted performance style to venues all over the eastern part of the country.

Since the release of her 2018 album ‘Queer as Folk’, Petrie has been launched into the mainstream spotlight as one of the subversives to watch in the folk world. Petrie draws comparisons to Billy Bragg for her delivery and is fast becoming a recognised voice for feminism, the queer community, and anyone else who doesn’t want to take any more crap.

Petrie’s first appearances in Australia in 2020 saw sold out shows and this first headline tour since then promises to take her to the next level with Australian audiences looking to be challenged, looking for a good laugh, and wanting to leave a show with a fire in their belly.

Says Grace of her upcoming Australian tour,

“I first came to Oz in February 2020 and fell in love with the country and especially the fantastic audiences, and immediately started scheming to return as soon as possible. Unfortunately, the pandemic had other ideas, so it’s been three years since my last Australian headline tour, which feels like way too long! Since then, I’ve released my new album Connectivity which topped the UK download chart, so I’m excited to get to share some new tunes with Aussie friends, and Woodford Folk Festival is legendary, so I’m thrilled to be appearing there. From there we’re on the road for three weeks and hitting up some of my favourite cities – I can’t wait to get back to some favourites like Sydney, Melbourne and Canberra but also really excited to do some new places this time, including my first trip to Tassie! I couldn’t be happier to be finally coming back.”

Petrie’s latest album ‘Connectivity’ was built from the reflections of what humanity means in a world struggling against division and destruction. Glued to one place for the first time during the pandemic, this is a record made firmly out of Petrie’s comfort zone: slowly, intricately, and over many close-up, painstaking months. The result is the most honest collection of songs she has ever shared. It is about storms and the rebuilding that follows them, and about how to find a way to carry on the fight for a better tomorrow when every day you are told you’ve already lost. It is Petrie’s most personal – and yet most universal – album to date.

‘Connectivity’ reached 37 in the main UK album chart, and topped the UK download chart week of release without a record label and as a completely independent release, and is available wherever good music is streamed.

Grace Petrie Tour Dates

Tuesday 27th December – Saturday 1st January 2023

The Woodford Folk Festival – Woodford, QLD

Various performances

Tickets and info: www.woodfordfolkfestival.com

Tuesday, 3rd January 2023

Brunswick Picture House – Brunswick Heads, NSW

Doors: 6:30 pm

Tickets: bit.ly/gracepetrie-BPH-3jan23

Wednesday, 4th January 2023

The Outpost Bar – Fortitude Valley, QLD

Doors: 7:00 pm

Tickets: bit.ly/gracepetrie-outpost-4jan23

Thursday, 5th January 2023

Mo’s Desert Clubhouse – Burleigh Heads, QLD

Doors: 7:00 pm

Tickets: bit.ly/gracepetrie-mos-5jan23

Saturday, 7th January 2023

The Factory Theatre – Marrickville, NSW

Doors: 7:30 pm

Tickets: bit.ly/gracepetrie-Factory-7jan23

Sunday, 8th January 2023

The Baroque Room – Katoomba, NSW

Doors: 5:00 pm

Tickets: bit.ly/gracepetrie-baroque-8jan23

Tuesday, 10th January 2023

Smith’s Alternative – Canberra, ACT

Doors: 7:00 pm

Tickets: bit.ly/gracepetrie-smiths-10jan23

Thursday, 12th January 2023

Trinity Sessions – Clarence Park, SA

Doors: 7:30 pm

Tickets: bit.ly/gracepetrie-trinity-12jan23

Tuesday, 17th January 2023

Palais Theatre – Franklin, TAS

Doors: 7:00 pm

Tickets: bit.ly/gracepetrie-palais-17jan23

Wednesday, 18th January 2023

The Barn at Rosny Farm – Rosny Park, TAS

Doors: 7:00 pm

Tickets: bit.ly/gracepetrie-thebarn-18jan23

Thursday, 19th January 2023

Northcote Social Club – Northcote, VIC

Doors: 8:00 pm

Tickets: bit.ly/gracepetrie-northcote-19jan23

Friday, 20th January 2023

The Barwon Club Hotel – Geelong, VIC

Doors: 8:00 pm Tickets: bit.ly/gracepetrie-barwon-20jan23

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[Review] King Gizzard & the Lizard Wizard @ Palais Foreshore, Melbourne 10/12/2022

There is something about outdoor gigs that really makes a live show shine to the max. May it be the atmosphere, the fresh air, the beautiful St Kilda scenery, or the inviting lack of condensation within crowds of people. These outdoor venues are certainly popular and drawing in the crowds time and time again. And what better way to enjoy such an event than with the legendary King Gizzard and the Lizard Wizard.

Upon entering the Palace Foreshore venue, the vibe of the crowd was exactly as I envisioned; the smoke in which you can’t differentiate between the smoke machine or vaping teenagers and the sight of breskies passed around between patrons and fans alike. Civic swiftly opened the event with a very electric demonstration of local Melbourne Punk, with a very fitting visual look of the band members especially one of the guitarists with an axe hanging at his knees and a cigarette out his mouth. You could tell the crowd got pumped up with this energy awaiting the main event, fuelled by a local ferocity of youth wanting to express emotion through music that fit.

As the foreshore packed tightly together, punk band Civic was followed ever so closely by Stella Donnelly, and what can I say, the wholesome indie vibe of her performance really brought us together collectively, resonating with our youthful feeling of liberation and happiness through music. We looked through her apologetic complaints about her hairstyle (which visually trumped this self-feedback as the sun made her kissed-by-fire locks shine as bright as her musical capabilities) and gazed ever so admirably at a different but graceful alternative set of tunes. This support really stood out and I will be paying close attention to her musical journey, as I’m even at the moment enjoying her track Lungs, which was a personal highlight.

We crammed together awaiting the main act for the night, and even with an ever so casual entrance to a roar of applause and screams, the boys of King Gizz after a long year of touring were ready to perform a monstrous set on their home soil….and oh boy did they deliver.

The first half of their set perfectly set up among us with Crumbling Castle, The  Fourth Colour, and Planet B, all explosive tracks that created chaotic mosh pits that even I found myself in, and my enthusiasm heightened as I returned to my colleagues dripping in sweat with a dangling untucked shirt. Every individual member of the legendary local band perfectly demonstrated their technologically heightened music skills, from robotic, wavy synths, to Michael Cavanagh’s mind-blowing drum fills and solos, and the ever so entertained theatrics of the lead singers and guitarists, flipping their guitars around behind their backs wowing all of us.

The rest of the set felt incredibly ethereal and psychedelic, as the group performed veteran length versions of most of their hits filled with guitar/synth solos and the unbreakable groove between bass and drums that kept our feet tapping tirelessly. Even while admittedly unfamiliar with a lot of these live tracks, I found myself belting the chorus of Iron Lung, a song they described as “being about vaping”, along with newcomers and fans alike. Even people who had not experience the magic of King Gizzard were absolutely drawn to this funky, prog experience. I found myself in various trances, completely losing myself in this positively manipulative style of music, as my appreciation and love for these local boys grew exponentially.

I left the foreshore among the crowds of patrons absolutely stunned, as even I, who had a general understanding of their vibe, did not expect the magical experience King Gizzard and the Lizard Wizard gave me, and I will ‘Fore-SHORE’ (hah, see what I did there) be catching more and more of their live sets in the coming years.

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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.


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.


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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