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[Review] GLAMFEST@ Bridgeway, Adelaide 27/01/2023

This was one tour that I had been anticipating for quite a while, more so than many others that have travelled through Adelaide over the last few years. As a big fan of glam rock/hair metal of the 80s and early 90s, I was surprised to see this line-up coming to town. While many bands from the US rock scene of the era went on to have huge success internationally (Guns N Roses, Poison, Bon Jovi …just to name a few), there were so many other artists who released fantastic material at the time that didn’t fare so well longer term, or commercially in Australia. This is why I would certainly call the inaugural Glamfest a niche-genre show. Four of the bands included on the line-up (Tuff, Pretty Boy Floyd, Enuff Z’Nuff, and Faster Pussycat all had debut albums that I bought back in the day and absolutely loved! Hence my excitement!

The Adelaide gig was held on a very warm 37 degree day so by the time the doors opened after 4:30pm, the line-up of punters in leather pants, bandannas and cowboy boots were very hot, sweaty, and eager to get inside to enjoy the air-conditioned darkness of the Bridgeway Hotel’s main room.

As soon as the crowd began to file in, the first band, Sydney’s Crosson opened the show. With their catchy hard rock tunes and theatrical show which included two dancing girls and front-man Jason Crosson’s LED light up guitar, they were a suitable opening act for such a gig and they did a good job of capturing the crowd’s attention as they filed in.

The second Aussie band to feature at Glamfest were next up.  Melbourne’s Sister’s Doll have played  the Bridgeway a couple of times in the past and are a popular band already with the glam rock crowds around the country. They instantly worked the stage well as they always do, getting more of a crowd up to the front of the stage as they worked their way through songs from their first two albums as well as some from their forthcoming third. It’s always a blast seeing the three Mileto brothers proudly flying the glam rock flag and living the dream on stage.

After this, came the first international band of the night, Tuff. When their debut album What Comes Around Goes Around was released way back in 1991, I gave it a glowing review in Adelaide’s biggest street-press newspaper at the time and have continued to keep the band in my hair-metal playlists ever since. As I had yet to see Tuff perform live, their inclusion in the tour was one that I was very pleased about and they did not disappoint! Front-man Stevie Rachelle proved to still be a very entertaining performer whose onstage banter between songs was awesomely comical. Their set contained quite a few songs from their aforementioned debut album, including their power ballad I Hate Kissing you Goodbye, their tribute to rock n’ roll history The All-New Generation, and one of my favourites of the set Good Guys Wear Black. Tuff went down very well with the crowd and they ended their set with the perfect song for the occasion, their 2008 track American Hair Band which pays tribute to the scene we were celebrating at this gig.

The second LA band to make it to the stage were Pretty Boy Floyd. Despite their debut album Leather Boys with Electric Toys being released closer to the days of the grunge era, towards the end of the Hollywood glam hey-day, they had an over-the-top glam look complete with huge hair and lipstick, and thankfully, they have never strayed too far from their original influences and image. PBF were due to appear in Australia a couple of years ago to celebrate the 30th anniversary of this album but due to covid, this was one of many gigs to never happen. For tonight’s Glam Fest set however, we finally got to hear this tribute to that debut album as most of the songs from the set came from it. Pretty Boy Floyd seemed to get even more of the crowd down to the front of the stage as they opened with the crowd pleasing song Electric Boys with Electric Toys before getting through other classics including Rock and Roll (Is Gonna Set the Night on Fire), 48 Hours, their big power ballad I Wanna be with You and their cover of Motley Crue’s Toast of the Town. Steve Summers proved that he was still a very entertaining and energetic front-man despite having to deal with technical stage issues throughout the set as his microphone fell out of it’s cable on multiple occasions. When their set ended with one of their later songs Saturday Nite, Steve let the crowd know that he would be heading out right away to meet everyone when he left the stage. True to his word, Steve was very gracious, spending quite a bit of time by the merch stand, signing autographs and having his photo taken with fans.

Next was Enuff Z’Nuff. When they initially released their debut self-titled album back in 1989, they weren’t happy with being lumped into the glam-metal genre by their record company as they felt they were more of a power-pop band. They definitely had the look of a brightly coloured, psychedelic, long-haired rock n’ roll band though, plus they seem to still be a popular addition to any glam-metal line-up such as Glamfest!

The current line-up of Enuff Z’Nuff features founding member and bassist Chip Z’Nuff on lead vocals and bass, covering the absence of original vocalist Donnie Vie. Despite Chip not being the original vocalist on the classic recordings, it was amazing how similar his vocals sounded to the original releases. They opened their set with a cover of The Beatles Magical Mystery Tour due to the band releasing a Beatles/Paul McCartney tribute album in 2021. Tonight’s set included another two songs from this album, but the songs that appeared to be the most popular with the crowd were Enuff Z’Nuff’s early original songs including their hit ballad Fly High Michelle and their closing song New Thing (causing members of Pretty Boy Floyd to jump back up onstage to help with backing vocals).

The band featured on the line-up that seemed the most out of place to me initially was Eclipse. I was the least familiar with them compared to the other bands, plus they were the only international band not from the US, but from Sweden. Also, they didn’t seem to fit the glam metal mould as much as the other bands, being more melodic hard rock/AOR. Leading up to the tour, I did notice that there was quite a bit of support for Eclipse on social media so I was certainly excited to see their live show.

From their opening track Roses on Your Grave, they had the crowd on-board and showed that they had a very energetic and rocking set, particularly the way front-man Erik Mårtensson and bassist Victor Crusner used the large Bridgeway stage and interacted with each other and the crowd. By this point in the day, my ears had started ringing already and I was considering moving further from the stage for an ear-break but Eclipse were too entertaining not to remain where I was near the front. I just hoped that my ear-plugs could withhold the day!

Set highlights for me included their songs The Downfall of Eden and the set closer Viva La Victoria, which seemed to come around too quickly.

Right after Eclipse had vacated the stage, I was definitely in need of visiting the beer garden for an ear break. Not only had every band been REALLY loud, but with a DJ playing between the sets, there was no chance to reset or have a conversation break with any of the people I knew at the gig.

After this short rest, it was time to re-enter the main room for the set from Wednesday 13. A few minutes into this set, it was apparent that a lot of the punters were here for this. Wednesday 13 had everyone down the front of the stage and seemed to get the best crowd response of the day. Of course the band were all in typical horror glam/punk style with their ghoulish make up and a set list of songs that always make for a fantastic Halloween party playlist. The set contained classic Wednesday 13 songs including I walked with a Zombie and I Want you…Dead, new songs including the very catchy Good Day to be a Bad Guy, and some popular songs from Wednesday 13’s previous band Murderdolls  including Nowhere and the set-closer I Love to Say Fuck, which had everyone singing along at full voice, featuring Wednesday 13 brandishing an umbrella with a giant middle finger emblazoned on it!

To finish off the day’s festivities, at close to midnight, Faster Pussycat hit the stage! This was the band featured in the line-up that I have been the biggest fan of for the longest time. In fact, my own band Trash City initially started as a FP tribute as we managed to include 8 songs from their debut album in our own set list! Their set started with the heavy groove of Where There’s a Whip There’s a Way from their second album Wake me When it’s Over. From there, the band worked their way through songs from various points in their career including Cathouse, Don’t Change that Song and Bathroom Wall from their self-titled debut, a cover of INXSDon’t Change and their latest single Like a Ghost. Some technical issues unfortunately caused the band to have to stop the set on a couple of occasions and front-man Taime Downe was certainly showing his frustration at he seemed to be having trouble hearing the mix from the stage at times. Thankfully this didn’t stop the band from powering through to the end of the set. Before they were done, their hit ballad House of Pain went down very well with the room as did their set-closer Babylon, also from their first album. Despite Taime being the last remaining original member of the band, the current line-up has been together for longer than the originals ever were and played the songs perfectly. Drummer Chad Stewart kept the groove perfectly with bassist Danny Nordahl, while guitarists Sam Koltun and Australia’s own Ronnie Simmons owned the stage and weaved together seamlessly.

At the end of Faster Pussycat’s set, as everyone filed out of the venue, there was a lot of talk between everyone about how great this event’s line-up was, and it seemed that a lot of people were hoping this could become an annual event, bringing a collection of relatively obscure glam metal acts to the country who may not be able to tour here on their own.

Silverback Touring have certainly been doing a great job of bringing a range of bands to the country that we haven’t had the chance to see here before. I would absolutely be one of the people who would love to see this particular event become an annual event. I can think of a lot of bands from this genre that I would love to see in Australia in the future!

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[Review] Marc Rebillet @ Forum Theatre, Melbourne 25/01/2023

When I walked into the Forum Theatre last night, the first thing I noticed was the choice of clothing. Every second person was wearing bathrobes! I’d been well aware of Marc Rebillet and his brand of humour through his online presence, but nothing could’ve prepared me for the pure silliness in store for me at Marc’s debut Melbourne show. Delayed several times due to the troubles of the last few years, Marc has been waiting a long time to make his first appearance down under and, now that he finally has, he’s commenced his three sold out shows with a brilliant opening night.

Blowing up on YouTube, Instagram and TikTok, Marc Rebillet is a musician who specialise in improvisational beatmaking with a comedy angle, ala Reggie Watts, with a distinct Millennial twist. Many of his songs are goofy celebrations or warnings, such as VACCINATED ATTITUDE and YOUR NEW MORNING ALARM

Opening up for Marc was the brilliant Cry Club, a queer pop-punk duo from Wollongong. They dedicated their first song People Like Me to queer rage everywhere, and tore into a set of passionate, dancy rock music.

I was surprised and happy to hear them sneak into a cover of Olivia Rodrigo’s smash-hit Good For You, which was a killer sing-along. The also paid tribute to the goth gods of old, with the track Robert Smith, dedicated to The Cure’s fantastic front man, taking the opportunity, of course, to slander his fallen-from-grace peer Morrissey.

After Cry Club’s short but sweet warmup, the first sight we got of Marc was his face bouncing around the screen behind the stage, like a DVD screensaver from the early 2000s. This immediately set the tone for the whole show, as the crowd would cheer and holler every time the face got close to a corner, only to cry in disappointment when it wasn’t perfect corner. This continued for some time, until we finally achieved nostalgic perfection with a clean hit to the corner, and the screen faded to black. Then the show began.

Marc Rebillet took to the stage. Not to play a song, but to take a moment to bask in the crowd. He immediately began engaging with us, asking if we were ready, jumping into the crowd to get responses on the microphone, hyping us up with his boisterous personality. Then he jumped behind the laptop, and we were treated to possibly the funniest visualiser I have ever seen at a concert.

Marc’s computer screen was displayed on screen, with him entering his lewd but hilarious password, and us being treated to goofy folder names including “definitely not porn” and “beets”, but opening up the tour visuals, only to blow our minds. Cats playing piano, suggestive videos of fruit, turtles fornicating, the whole deal. Marc clearly had one feeling on the mind: horny. And the crowd was right there with him.

Jumping into beat making, Marc layered snares, hats, and percussion for many bars, teasing us before finally punching us in the face with a kickass bass, accompanied by pyrotechnics, pushing the crowd into an immediate up-tempo tech house groove. Mixing one beat into the next, with random stops to say something out of pocket and hilarious, Marc sat perfectly between techno DJ and the kid with too many sugary treats in their lunchbox, the energy built in those first few minutes managed to power a crowd of crazed fans for a full hour and forty minutes.

Mid set, a bra was thrown on stage. Typical display for a rockstar, but being his silly self, Marc was of course obliged to wear it for almost the whole rest of the show. Nothing stumps Marc Rebillet. Taking a moment to speak to a fan in the crowd, the fan responded that Marc was much smaller in person. Such a comment wouldn’t be great on most men’s egos, but this man will use anything for inspiration, so a beat is made using the statement as a key lyric. Nothing stumps Marc Rebillet.

In case it wasn’t already clear, near the end of the show Marc told us that there were no setlists, no plans, and that it was all made up on the spot. Authenticity doesn’t come much closer in live music than this. Ending the show with the hits GIRLS CLUB and FLAMINGO, Marc secured several thousand fans loyalty to the cult of Rebillet, and proved to me that he was more than a meme and in fact a deeply talented, and stupidly hilarious artist.

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Discover the latest addition to Australia’s indie rock scene: Daydream festival.

Indie music enthusiasts can look forward to some great times with the arrival of Daydream, a festival that is set to tour Melbourne, Sydney, and Brisbane this Autumn. Featuring renowned alternative acts such as Modest Mouse, Slowdive, Tropical F*ck Storm, and others, this indie extravaganza is not to be missed. With a one-stage format, you won’t miss any of the heavyweight indie performances, including Modest Mouse, who will be headlining the show, marking their return to Australia after a hiatus since 2016. Other acts such as Slowdive,  Beach Fossils, Cloud Nothings, and Majak Door (not appearing in Brisbane) are also set to rock the stage with their unique sounds.

Modest Mouse, in particular, is set to perform hits from their impressive discography, including tracks from their latest album, The Golden Casket, which explores the degradation of America’s psychic landscape through the lens of smartphone screens. Slowdive, known for their ambient-rock infused gems, will also grace the stage, performing some of their classic tracks such as “When the Sun Hits” and “Sugar For The Pill,” among others. Tropical F*ck Storm, Beach Fossils, Cloud Nothings, and Majak Door will also be bringing their distinctive sounds to the festival.

Daydream promises to be a must-attend event for discerning indie music lovers, providing a solid fix of the indie-rock goodness they have been dreaming of. Don’t miss out on this incredible opportunity to catch some of the most revered alternative acts in the industry. Sign up for presale now!

Saturday 22 April
Sidney Myer Music Bowl
Melbourne, VIC

Saturday 29 April
Hordern Pavillion
Sydney, NSW

Sunday 30 April
Brisbane, QLD

Early Bird Presale:
Thursday 2 February, 9am local time
$129.90 + BF

Sign up for presale here.

General On Sale:
Friday 3 February, 9am local time
$129.90 – $149.90 + BF

Tickets available via Destroy All Lines website here.

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STATIC-X Announce Australian Tour For May With Special Guests SOiL

From the moment Wisconsin Death Trip was released to an unsuspecting world, Static-X stood above. Their industrial alt-rock hybrid “Evil Disco” shook metal from its stagnant state and redefined what can be done with heavy music. 

Each subsequent album enhanced and cemented the band’s well earned reputation.  

In 2019, founding members Tony Campos, Koichi Fukuda and Ken Jay recruited an unidentified mask wearing enigma on vocals known as Xer0 and hit the road to celebrate the band’s legacy, the anniversary of Wisconsin Death Trip and as a memorial to fallen frontman Wayne Static.

 The love, esteem and respect for the band that give so much at every live show was reflected back to them from fans, critics and peers alike.

“After witnessing the band’s set in NYC’s Sony Hall, you can leave all preconceived notions at the door. Static-X is a wild and crazy good time to be had. An impassioned and unforgettable performance.  If you have the opportunity to see Static-X, GO. Don’t hesitate, just GO!” – Music Existence

This May, Static-X return to Australia to celebrate the 20th anniversary of their highly acclaimed album Machine with a setlist that includes a slew of songs from their expansive career; from their iconic debut, Wisconsin Death Trip, through to their latest and aptly titled 
Project:Regeneration Vol 1

“We are so excited to finally get back to Australia. We plan to play most of the songs off of both Machine and Wisconsin Death Trip as well a number of nice surprises. It’s going to be one for the ages and we can’t wait to get out there and celebrate 20 years of our Machine record while we continue to remember all of the good times that we had with Wayne and to share it live and loud with all of our Aussie fans. It’s going to be awesome!” Tony Campos 

“The signature sound of that metallic, disco thumping, modern metal 1-2 punchy dance beat is well placed in almost every track on here, (Project Regeneration) really is the best of what Static-X is.”  The Rockpit

Joining Static-X for the tour are SOiL; pioneers of a sound that gave the world bands such as Godsmack, Spineshank and Mudvayne, SOiL’s influence goes deep. Frontman Ryan McCombs powerful vocals spawned a thousand imitators and they were one of leading acts to modernise rock at the turn of the century…The band will be performing their groundbreaking album. Scars, in full as well as other favourites.

“SOiL prove once again that they are a timeless band. An incredible performance from one of the most underrated and important acts of recent times.” – Ramzine UK

Friday 19: Northcote Theatre, Melbourne
Saturday 20: The Metro, Sydney
Sunday 21: Eatons Hill, Brisbane TICKETS ON SALE FRIDAY, JANUARY 27 

Details & Ticketing Links will be live on announcement at

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[Review] Mayhem @ Croxton Bandroom, Melbourne 21/01/2023

Even if you’re not into Mayhem or Black Metal, you would have heard stories of this band, they are one of the most notorious acts to play stages around the world. You don’t go to see Mayhem, you go to experience it. The last time I saw these guys they played De Mysteriis Dom Sathanas in it’s entirety and THAT was mind blowing! This time around, well… we will get there.

This was my first time heading to the Croxton Bandroom and it’s a pretty decent venue, just a bit smaller in capacity to Max Watts in the city but the layout is great as you can get a good view of the stage anywhere in the room. I stood to the side of the sound desk, as is tradition, cause you know, there is no better place to hear it than standing next to the people mixing it.

Kicking off tonights disorder is Melbourne’s own Werewolves. I have been wanting to see these guys live since hearing their album What a Time to be Alive back in 2021. These guys came out and gave the crowd a complete 30mins of solid machine gun precision blasts, it was incredible, they did not let down my hype or expectations at all! The room was filling up pretty quickly and I did have a bit of a laugh to myself as it was stereotypical black metal fans in the crowd, standing, arms crossed and nodding their heads in time, a couple of people were head banging and getting into but yeah, just a bit funny when people play the stereotypes, in saying that, each song was met with applause and screams of appreciation so everyone was still into it. If you can, go and catch these guys play, Dave Haley is one of the best drummers going around and watching him is always impressive. Ending on their first single of What a Time to be Alive, I Don’t Like You with “Don’t get the shits now, this is out last track” got the reaction they wanted from the crowd with more movement and involvement, Im really keen to go and see these guys play again somewhere.

Next up is Ulcerate from New Zealand. Coming off the back of blistering blasts and thrash guitars these guys had a polar opposite approach, with their Progressive Doomier style of playing, no less impressive though. Their drummer is unbelievable, his fills and playing style had me focusing more on him than anything. Ulcerate had a 45/50min set and played probably the same number of songs as Werewolves had in 30mins, they seemed pretty long and intricate. There were a couple of issues when the guitarist changed to a cleaner tone, I found that it got lost in the mix and unfortunately the room was pretty damn full at this stage so there was no chance of getting closer, what a shame that they played to a 3/4 full room. A quick thank you to the crowd was the only interaction from Ulcerate, they came out and got the crowd in the mood for the instilling anarchy coming up next.

By the end of Ulcerates set, the room is completely full, looking around, people are getting hyped and excited for what we are about to witness. As I watch the stage set up and looking up at Hellhammers drum kit is nuts, its massive! You can’t see him playing it, you just hear it. The stage goes dark, smoke fills the air, then everything goes red and the opening track of Daemon, Falsified and Hated explodes. Atilla takes the stage like a ghoul that has just come out of the grave, the guy is next level. Cloaked, painted and baring a bone cross he moves erratically and with the strobe lights, it even looks puppet or animated, eerie effect but goddamn it just adds to the experience of The One True Mayhem. They play 3 Acts through the set, first 5 or 6 tracks are newer material with the likes of Malum and Bad Blood, then they dissapper and all come back fully cloaked to give us tracks from De Mysteriis Dom Sathanas. The crowd go absolutely nuts for Freezing Moon. I could never get sick of hearing those drums live, the amount of reverb on them is crazy. The Third and final act was the Deathcrush EP, banners showing black and white pictures of the original or line up from the ep, and the band coming back out to Silvester Anfang then kicking into Deathcrush itself! This is the second time I’ve seen Mayhem, the first being De Mysteriis… in it’s entirety, now that was unreal, seeing a classic album played in full but I left being greedy and at least hoping to hear Deathcrush, finally hearing it live was just incredible and to the effect that these guys put in on stage, it definitely hit home.

No one left disappointed that night, full house, all bands played tight and incredibly well and the set had songs from all eras of the band, how could you be disappointed? As I said at the start, seeing Mayhem, one of the greats of the genre is an experience and anyone that is into Black Metal should be trying to see these guys at some stage. Clearly Australia gets it with 2 out of 4 shows sold out.

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