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Gig ReviewsReviews
April 13, 2023
Nikki Eenink

[Review] The 1975 @ Rod Laver Arena, Melbourne 11/04/2023

Review By Nikki Eenik

I was blessed to be able to see the “Best Band in The World”; The 1975 (according to The 1975 front man Matty Healy) during their first Melbourne show at Rod Laver Arena on Tuesday night. Turns out, as revealed during the show, Matty Healy used to live in Melbourne – information very much not known. So now you know! Hometown show!

A note before I continue! If you are an epileptic, do not go and see this show, there is a lot (and I mean, a lot of strobe). Live through this review and their Spotify repertoire instead. J

If you’ve read any of my previous reviews, or if you know me in real life, you’ll know I’m something of a Sad-Girl-Pop Connoisseur. So, having Wallice, as an opener was an especially tasty treat. Wallice is the alias of Los Angeles born-and-raised singer-songwriter, Wallice Hana Watanabe. She is described on The 1975’s event-page as “indie-pop wunderkind”, and has been described in NME as a “future alt-pop hero”. Clearly, she is a hot up-and-comer, and everybody knows it. She has the cutest aesthetic I’ve ever seen at such a large stadium show. Cowgirl hats, Americana-esque patterns and cuts are all the norm for Wallice’s wardrobe. Tonight, she is donning a mini-skirt with a deep purple crop-top; complete with ruffles, puffy shoulders and starched buttons. Very Founding-Fathers-Meets-Indie-Darling-Core. I’m obsessed. As a Japanese woman, it is so clear that Watanabe embraces and celebrates her Asian heritage – because her entire backing band are also all Asian femme-presenting musicians. During her final number, smash hit 23, she shreds guitar back-to-back with her other guitarist and bassist. It’s such a wonderful celebration of feminity. Seeing girls in skirts shredding up a storm made me feel a special kind of powerful, it spoke to Little Me who had seen far-too-few women playing for huge crowds, in all their hyper-femme glory. We were treated to an almost 40-minute set, with a personal favourite, Best Friend, and Funeral – “This next song is Funeral and it’s my favourite song I’ve ever made!” Watanabe gleefully proclaimed before launching into her penultimate musical number. Consider Wallice Sad-Indie-Girl-Pop Expert Approved.

Front-man Matty Healy begins the set alone, after a video plays on all four of Rod Laver’s massive projection screens of him meandering out of the greenroom – glass of wine in hand. A single spotlight lights up the set, a stripped-down version of their concert-concept; a living room, complete with coffee table and lamp, as opposed to an entire house which can be spotted in the European and North American legs of the tour. The girl behind me begins screaming so intensely at the idea of Healy coming on stage, her friend has to hold her up. “We’ve been exploring being a man, being famous, being obnoxious”, Healy begins, leisurely reclining on the sofa. “This show, this concept, is a call for something sincere and direct”. Be My Mistake is such a beautiful opener to the set. Performed stripped down, with just an acoustic guitar, with harmonics courtesy of all those in attendance. Healy smiles listening to an entire stadium sing along with him; You do make me hard/ But she makes me weak.

Then the rest of the band comes out, and wow are they an absolutely ferocious unit. So musically tight, each providing such a crucial musical element to the show. I couldn’t imagine even being one-man down. Speaking of one man. The 1975 saxophonist, John Waugh, if you’re reading this review, call me on 04** *** ***. This man was the absolute highlight of the night for me. He was killing it, improvising and layering on top of everything from tear-jerking ballads to undeniable bops, jumping from alto saxophone, to clarinet, to tenor saxophone and back again. My jaw is still on the floor. But every member of the band is stellar, and we are treated to a new member for this tour, female guitarist Polly Money. She’s amazing, I hope she stays on for many tours to come.

As Healy winds his way through cigarettes, glasses of wine, and flasks of whiskey, the band winds their way through 6 albums worth of music in 2-hour absolute extravaganza. A feast for the senses, if you will. I was chuckling at Healy’s Morrissey-esque dancing, feeling my friend start to cry at Fallingforyou and spellbound by a never-before-heard arrangement of Paris. The band is also not afraid to play instrumental tracks like An Encounter. They’re taking us on a ride.

Healy proclaims, “There’s quite a lot of people here, isn’t there?” And he’s met with screams of joy. after being the perfect cocktail of pleased and shocked. In response he yells back “We are the best looking band from Manchester!” (No one tell Liam Gallagher) While this fact is completely not-provable by science, it is absolutely provable that there are some hardcore fans in the building tonight. The camera, when not focussed on the band – distorted video, black-and-white avante garde meets 70’s psychedelic lag makes it seem like there are trails following each of the musicians, is completely obsessed with this one fan. Front-and-centre, pushed against the barricade, sweaty, screaming every word, wearing one of the best pieces of merch currently on the market – a shirt that reads, Your Girlfriend’s Favourite Band. While I’m nowhere at her level, and was simply a casual listener, I fell in love with songs like I Always Wanna Die (Sometimes) and was possessed by groove to boogie along as much as my chair would allow.

Something I am though, is a Tumblr Teen. So when, at the end of the show, Healy slurs into the mic, “Does anyone remember 2013?” I know what’s coming. I feel my brain chemistry change. I am 14 years old again, editing my Tumblr html code, after a hard day of being sad and sweaty in Year 9 or whatever. “It feels like ya never left” And he’s right, as much as I try to delete the photos of my Facebook, the side-fringe-having-heavy-eyeliner-wearing teenage girl is alive and well under my front-fringe and septum piercing. The band finishes with Sex, and that teenage girl comes to the front. The Tumblr Girls are singing this time, some of the band’s later fans not understanding the vice grip The 1975’s 2013 self-titled album had on us, culturally. But I understand. We understand. What a cathartic moment.

And then, it ends. No encore, no nothing. Done. The end is marked only by Healy, “Give it up for the World’s Greatest Band, The 1975. We love you!” Walking out in a swarm of former early-Internet teens, new tiktok fans and goths. I am bleary-eyed from too much light exposure, but feel a side-fringe sized weight lifted from my shoulders.

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Album InterviewsInterviews
April 13, 2023
STM

Interview with KEL (Q & A)

A lush and luminous journey draped in bittersweet warmth, the debut single Paradise from emerging Sydney singer-songwriter Kel is a feast for the senses and the soul. Accompanied by a self-directed music video also out today, Paradise marks a sublime introduction into Kel’s musical world, with the track set to launch tonight live in action at The Great Club (Marrickville) in Sydney.

An emotive, rock-inspired ballad, inspired equally by the soulful flavours of Finneas and Conan Gray and even Taylor Swift, Paradise was written and arranged entirely by Kel, with production courtesy of the legendary John Castle, whose previous work includes Vance Joy’s Riptide as well as work with Megan Washington, Angus & Julia Stone, and Cub Sport. Swelling between a softly euphoric ballad and a driving, dreamy anthem, Paradise also tugs at the heartstrings via Kel’s emphatic narrative surrounding lost love, as he elaborates, “Paradise is a song about a break-up. It’s a metaphor about losing something special about a place you might’ve shared with someone else, and how places and feelings change sometimes. It was inspired by a trip with my friends to a beach on the South Coast NSW. I wanted to write a song that felt like that place”.  

With Kel impressively conjuring his debut track with John Castle remotely via phone calls and Zoom sessions, Paradise was then mastered at Studios 301 in Sydney by Steve Smart. But the track’s accompanying music video was ultimately a DIY and family affair, with Kel making the poignant music video for his first sonic release during a family holiday. “The music video was made by myself and some family on a holiday,” shares Kel. “As a current film student, I was keen to direct and film my own video. When I was writing the song, the opening lyrics stuck out to me. Sunrise and long hikes. So, I knew I wanted the main visuals to be central around a beach. The song is about a favourite place that doesn’t belong to you anymore. I’ve found that often we connect certain places with people, and when that connection’s lost, the place is not the same”.

Hailing from a musical family, Kel began playing multiple instruments and singing while in high school, going on to pen his first original compositions in year 12. After producing some videos of himself, Kel’s search began for a producer in earnest, ultimately resulting in his discovery of John Castle and falling in love with the talented producer, engineer and multi-instrumentalist’s sound and catalogue. From sending his videos to John, the two immediately began working together. While Paradise may mark the first single unleashed into the wild for Kel, the future looks bright for this talented up-and-comer currently working towards his debut EP. And if you’re lucky enough to be in Sydney tonight, you may very well catch some of Kel’s unreleased material this evening alongside his brand new single at the Paradise single launch at The Great Club (Marrickville). “You can expect a large variety of different songs,” reveals Kel of the musical treasures lying in wait for his upcoming performance tonight. “A lot of the time when I’m writing, I pull inspiration from other genres, so my live shows are a mixture of exciting and vibrant songs with a huge band, as well as some slower songs where it’s just me playing and singing with a piano. It’s a mix of ballads, rock driven sounds, and acoustic storytelling”.

Paradise is out today, Thursday April 13.

Tell us about your new single Paradise?

Paradise was a song I wrote – produced by John Castle – about the changes and breakdowns in relationships and how it can tarnish places or emotions you shared with a person. It’s definitely a story about someone moving on from you and trying to figure out where it leaves you emotionally. I had heaps of fun making it with John, especially since most of it was recorded during lockdowns and it was really fulfilling to pour everything into this song.

What’s the creative process like for you?

My creative process is a bit of everything, I’ve noticed it’s always different when I write a new song. Sometimes I have this melody or set of chords that pop into my head at some random point in the day and I have to pull out my phone to record it before I forget, or sometimes I have a story or an emotion or message that I spend a long while trying to articulate, so it’s always new. 

If you could change something about the music industry what would change?

As a songwriter myself, I feel really connected to songs I write about my own life, so I’m always really impressed when a songwriter can write a song for someone else or pass their music to another person and almost reimagine their work through another artist. So, if I had to change anything maybe it would be to give some more recognition for songwriters who sometimes can write huge hits for another artist and maybe not a lot of people would know they wrote it. 

What do you think life would be like for you if you didn’t have music/visual art as an outlet?

Probably very bland – since music has always been a way for me to communicate or to let someone in to how I’m feeling or my perspective, maybe without it I would feel at a bit of a loss about how to communicate and share myself with others.

Is there anyone you would like to collaborate with?

I would love to work with Finneas. I’ve seen him live twice but even listening to his music he has such a creative and new approach to experimental recording that is still foundationally alternative or pop coded. I think he’s very talented and ingenious with his approach to music making. 

What’s your advice to young people who want to make a career for themselves in the industry ?

Spend some time writing and making as much music as you can to work out what works and what doesn’t work for you. I found songwriting really hard when I started out as I didn’t have much of an idea where to start or what style or genre felt comfortable for me to write to.  Giving yourself some space to learn what your strengths are is something I didn’t learn until I wrote enough songs and worked out what I liked and what I didn’t.

What’s your favourite song to perform?

At my last show – I performed a lot of unreleased music along with Paradise, and I loved it because hearing those songs live inspired me so much about how they would take shape on a recorded track. However, I think I’ll go with Paradise as my favourite song to perform because it took a while to create and playing it live for a crowd is always so fulfilling.

Got any secret hobbies that we might be surprised by?

I’m also a passionate film maker! For the last couple of years, I’ve studied film through high school and am about to finish it up at University next year – but I love making films, scoring films, editing films – all of it. I think storytelling is a big part of the creative processes that I have so having music and film as two of my main interests seems fitting. 

Listen: PARADISE

Watch: PARADISE

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Gig ReviewsReviews
April 11, 2023
Lynda Buchanan Photography

[Review] Larkin Poe @ Croxton Bandroom, Melbourne 10/04/2023

Review By Lynda Buchanan

When you attend a Larkin Poe concert, you know you’re in for a wild ride. The sisters, Rebecca and Megan Lovell, are known for their electrifying performances and their ability to get the crowd on their feet. Their concert at the Croxton Bandroom in Thornbury as part of the Bluesfest Festival was no exception.

First up to entertain the packed bandroom was the indigenous singer/songwriter, Benny Walker, hailing from regional Victoria, he effortlessly warmed up the crowd alongside his band mates on drums and keys, with his own brand of blues rock that did not disappoint.

Next up, the sisters the crowd had been waiting for started off with a bang as Larkin Poe took the stage and launched into Strike Gold, a fiery and infectious track that showcases the sisters’ incredible musical talent and songwriting skills. The song opens with a pulsing drumbeat and Rebecca’s soaring vocals, immediately drawing the listener in.

Lyrically, Strike Gold is a celebration of the sisters’ journey as musicians, and their determination to continue creating music despite any obstacles they may face. The line “ain’t nobody gonna stop us now” is a testament to their resilience and their refusal to give up on their dreams.

Summertime Sunset, She’s a Self-Made Man & Southern Comfort from their latest album release Blood Harmony features their signature blues-rock sound with gritty guitar riffs and dynamic vocals which seemed to leave the crowd begging for more.

Watching Larkin Poe perform Link Wray’s Rumble was an exhilarating experience, as the Lovell sisters brought their unique blend of blues and rock to this classic track. As they launched into the iconic riff, the audience erupted in cheers and applause, and it was clear that these sisters had the power to bring any crowd to it’s feet. But what really stood out was the sheer fun these girls were having on stage.  Overall, the sister’s rendition of Rumble was a testament to their incredible musicianship and their ability to breathe new life into classic tracks. They know how to rock, and they do it with an infectious energy and sense of joy that is impossible not to be swept up in.

After a quick shout-out to Benny Walker for getting the crowd warmed up, Rebecca spilled the beans on their track Holy Ghost Fire. Apparently, it was co-written with one of their favourite songwriters, Tyler Bryant, lead vocalist and guitarist of Tyler Bryant and the Shakedown. It’s always nice to have a little help from your friends, especially when they know how to bring the heat like Tyler does.

Larkin Poe‘s performance of Back Down South was a wild and energetic affair. The band’s Southern blues-rock sound was in full force, with Rebecca’s powerful vocals and Megan’s nimble guitar work setting the stage for, what was fast becoming, an unforgettable show. As they launched into the song’s infectious chorus, the crowd couldn’t help but sing and clap along, caught up in the song’s irresistible energy. The band’s chemistry was profound, with the sisters locking in tight on the song’s intricate guitar lines and vocal harmonies.

Bleach Blonde Bottle Blues from Larkin Poe’s 2018 album Venom & Faith, was a highlight of their set, showcasing the band’s bluesy swagger and tight musicianship. The song’s driving rhythm and catchy hooks had the crowd on their feet from the first note, with Rebecca’s gritty vocals and Megan’s scorching guitar solos stealing the show. As the song ended, the crowd erupted into cheers and applause. It was a reminder of the enduring appeal of classic rock and roll, and a testament to the band’s talent and musicianship.

Larkin Poe’s impromptu performance of Mad as a Hatter was a testament to the band’s musical prowess and spontaneity. An audience member’s request was met with enthusiastic applause, and the sisters wasted no time in launching into the song’s infectious groove. This song, originally written about their grandfather when the sisters were 15, carries quite the powerful statement from a band that refuses to shy away from difficult topics, and is a testament to their incredible musicianship and passion for their craft. Mad as a Hatter was like a shot of musical adrenaline straight to the veins – exhilarating, intense, and just a little bit mad.

As the concert drew to a close, Larkin Poe kept the energy high with a rowdy performance of another song from their new album, Boltcutters & The Family Name. The crowd sang along at the top of their lungs while Rebecca shredded on her guitar with reckless abandon. As the song came to a close, the audience erupted into cheers and applause, clearly moved by the electrifying performance.

And just when everyone thought the concert was over, Larkin Poe returned to the stage for an encore. The performance of Deep Stays Down was a poignant and emotional way to close out their show. As the sisters took to the stage for their final song of the night, sans guitars, the audience was spellbound by the raw emotion and vulnerability that the Lovell sisters poured into their vocal performance before adorning their instruments for the final time that night.

As the final notes of Deep Stays Down rang out through the venue, the audience was left with a sense of release, as if the song had touched something deep within them. It was a fitting end to a night of powerful and passionate music, and a reminder of the incredible talent and artistry that Larkin Poe brings to every performance. It’s a testament to the power of music to connect with our deepest emotions and experiences, and a reminder of the incredible talent and passion of these two remarkable artists.

All in all, Larkin Poe’s concert at the Croxton was a night to remember. The sisters’ talent, humour, and stage presence were a winning combination that left the crowd eager to take in every song that came their way with most of the room leaving their phones in their pockets and just experiencing the night, you can’t help but leave wanting more. If you have the chance to see Larkin Poe live, don’t miss it – just be sure to wear your dancing shoes and stretch out those guitar-playing muscles.

For now, I will leave you with Rebecca’s parting words to the adoring punters. “Never let them take the fight out of you. Whatever that fight is in your heart, keep it strong”

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Gig ReviewsReviews
April 11, 2023
Cassandra Hale

[Review] Udo Dirkschneider @ Croxton Bandroom, Melbourne 08/04/2023

Review By Cassandra Hale

Seventy-One years in the making and finally the man, the myth, the legend Udo Dirkschneider touched down in Australia to unleash the best of Accept. The black t-shirt brigade turned out early to line the footpath outside the Croxton Bandroom ready to rock with their metal hero after years of waiting. The demographic was of the older generation, and I fitted into that slot somewhat perfectly. The excitement was bubbling down the line as we waited for doors, and being a very brisk Melbourne night, it was welcome relief to get inside and nab pole position front and centre on the barrier.

Opening the nights proceeding were thrash five piece Nothing Sacred, a name well known in the scene, these guys have been plugging away for 30 years and their experience showed. They powered through a rapid fire thirty-minute set delivering some tasty tunes and wicked riffs. Singer Chris Stark has a most powerful set of pipes and I was left in awe just watching. With punters up and about early they have a massive audience and the vibes were nothing but positive. Ending the set with Deathwish we were more than warmed up.

Melbourne’s Elm Street were up next, and they certainly blew my hair back, the gravely vocals of Ben Batres set the tone for the neck snapping set. A well-oiled machine, their stage time was seamless and had heads nodding in approval from the opening song. Can I say if there was a drumming Olympics Tomislav Perkovic was taking home gold, fast, furious and freaking insane, his use of the kit was next level. Elm Street were engaging, exciting and kept the thrash lover’s levels peaking. Metal Is The Way and Elm St’s Children were standouts for me, and if you are yet to listen to these guys I suggest you do so without delay!

The bandroom was turning in to a sauna as the latecomers filled any available space, the hoards were pushing up close behind me and anticipation was at bursting point. I was starting the rethink my barrier position, but I decided it was go hard or go home, so I planted my feet and got ready for the onslaught. Sven Dirkschneider entered the stage and took his place behind his impressive kit, arms raised in the air saluting us as the rest of the band launched onto the stage to massive applause, but nothing compared to the ROAR as Udo graced us with his presence. Opening with Starlight and Living For Tonight the show was off and running like clockwork. Udo impressive from his first note, his voice still amazingly fresh, he has lost none of his sharpness and was still hitting the high notes with ease. He did say when we chatted recently that he was thankful that he still was able to sing so well for his age, and I can confirm with a resounding yes, he certainly can!

There were so many highlights to this show, every song on the setlist was a winner, and with such a massive array of songs to choose from I think they knocked it out of the park with their selection. Midnight Mover, Breaker, London Leathberboys and Neon Nights had everyone up and about chanting for Udo singing the well-known lyrics back with gusto. A standout for me was Princess of The Dawn, the crowd taking over with whoa whoa’s happy to share the spotlight. Udo’s enjoyment was paramount, he was loving every minute and it radiated from him tenfold. Guitarists Dee Dammers and Audrey Smirnoff were sensational, their solo interludes were pure perfection, their shredding skills exemplary. Let’s talk bass guitar, Peter Baltes has recently been reunited with Udo and boy what a duo they make. Also hailing from Accept the songs were second nature and he played them with precision, his stage presence was awe inspiring and I was so glad to see him in the flesh. There are drummers and then there is Sven Dirkschneider. His raised drum kit a throne and he played it like a king, he was a slayer of the skins and his timing was that of the finest Swiss timepiece. I can not reiterate the calibre of Udo’s band. They are one tight united front and it shows with the delivery of every song.

A mash up of Restless and Wild and Son of a Bitch followed by Midnight Highway had The Croxton at boiling point, I was still standing strong but I could feel the punters behind me winding up the cogs and I knew that my days were numbered. Screaming For A Lovebite and I’m A Rebel upped the ante, fists punching the air charged by alcohol, driven by the songs of their youth, we wanted more and as the band departed the stage it was time for the chants to start. After thunderous applause and calls for more the band return to deliver an onslaught of three of the finest Accept songs, Metal Heart, Fast as a Shark and of course, Balls To The Wall. I could feel the surge behind me, punters driven on adrenaline and enough alcohol to forget their age. The charge was imminent, and I ducked as boots came over the top, none quite making it over the barrier, but damn they tried. The frenzy these three songs brought was beyond insanity, the singing voices of the punters enough to raise the roof, the Croxton a veritable melting pot and I absolutely loved every bloody minute.

With waves goodbye and throwing of his black leather gloves to the crowd Udo was gone and it was time to survey the damage. As I de-pretzelled myself and made way to the long line to grab some merch the smiles went for miles on the faces of every person I could see. With this tour being such a success, we can only hope that Udo won’t leave it too long to return. The hoards will be waiting our ‘metal hearts’ pumping German music at its heaviest, ready to do it all again.

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Gig ReviewsReviews
April 8, 2023
Josh Mak

[Review] Jason Bonham’s Led Zeppelin Evening @ Palais Theatre, Melbourne 7/04/2023

Review By Josh Mak

There are influential giants in the world of Classical music that have shaped what we have come to know as western civilisation. Mozart, Chopin, Bach etc…

Seldom do we think of Rock n’ Roll in the same regard as Classical, but it is no less relevant in its contribution to our society and culture.

Among the pioneers of the genre it would be unanimously agreed that Led Zeppelin would surely have a seat at that table of legends and Jason Bonham might very well be the last custodian of these sacred works of art.

The show began with the unmistakable charging rhythms, accompanied by the banshee howls of Immigrant Song and the hits kept coming as the band followed this with Good Times Bad Times and Over The Hills and Faraway.

Having been born too late to have seen the original line up perform live I’ve always had to be content with watching videos of Led Zeppelin’s concerts. For the first time in my life I got to see and hear The Song Remains The Same, Rain Song and No Quarter played live and that was a really magical experience .

I would like to spend some time talking about Led Zeppelin’s music and Jason Bonham’s role in carrying the torch not just as a fan but also as a son of what many would consider, Rock n’ Roll’s greatest drummer – John “Bonzo” Bonham.

Led Zeppelin’s music is akin to a mighty river; sometimes a raging rapid; sometimes a gentle brook. Always flowing forward and unstoppable.

Jason Bonham, together with singer James Dylan, guitarist Jimmy Sakurai, and bassist Dorian Heartsong deliver a very faithful and respectful performance of Led Zeppelin’s material. Meticulous care has been taken to not only play the songs right but also in the authenticity in the tone of their individual instruments.

Jason promised to take us on a journey back to the old ways and for awhile we would forget where we were and simply enjoy being in the moment.

I witnessed a band not just playing in sync with each other and being in the pocket but constantly communicating through their instruments with one another and with the audience. Truly a rare thing to behold in our modern era where almost no aspect of art has been corrupted in someway by the digital.

Between each song, we were enchanted as Jason Bonham told us stories of times he had spent with John Bonham and Led Zeppelin. From the grandeur of playing in stadiums to the personal memories they shared at home as a family. We were given a little peek into his world and what it was like growing up around such influential musicians.

Jason Bonham is evidently inspired by the drumming of John Bonham and has miraculously managed to capture his essence in his playing. This is no simple task and many great drummers have failed or simply refused to try to touch such sacred material.

The pacing of the set was expertly crafted and with the final four songs the band reached a level higher than a crescendo. It is genuinely hard to put into words how amazing it was so I will simply list the songs and let you the reader experience the magic as you read each title.

Kashmir, Stairway To Heaven, Whole Lotta Love and Rock and Roll.

Jason Bonham is a formidable drummer but I think the reason that he is able to do what no other can, is because of the deep connection he has with his dad. To him, before John Bonham is a great drummer he is first and foremost his father and he can take pride in knowing that he is preserving a legacy for all musicians in the present and for those that have yet to come.

You can still catch this amazing show

April 9 – The Tivoli, Brisbane

April 11 – Hindley St Music Hall, Adelaide

Tickets available here: https://metropolistouring.com/jblze-2023/

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Album InterviewsInterviews
April 6, 2023
STM

Interview with Chavez Cartel (Q & A)

Indulge yourself in a vibrant and soulful musical experience with Gold Coast rockers Chavez Cartel's latest single, “Dead Weekend.” This dynamic track is a perfect blend of hazy guitars, moody melodics, and sultry swagger that is sure to leave you captivated.

Chavez Cartel has always been known for their exceptional musical prowess and artistic vision, and “Dead Weekend” is no exception. The band has managed to fuse different elements of rock, blues, and soul into a single track, creating a unique sound that is both refreshing and energizing.

With their signature gritty and raw vocals, Chavez Cartel's lead singer delivers a powerful performance that perfectly complements the edgy and electrifying instrumentation. The guitar riffs are catchy and infectious, and the driving rhythm section is nothing short of impressive.

“Dead Weekend” is a testament to Chavez Cartel's ability to evolve and experiment with their sound, while staying true to their roots. The track is a perfect representation of the band's dynamic and multifaceted approach to music, and a great addition to their already impressive discography.

So, whether you're in need of some musical escapism or simply looking for a new sound to explore, “Dead Weekend” is a must-listen for any rock enthusiast out there. With its infectious energy and irresistible hooks, this track is sure to leave you wanting more.

(Tell us about your new single Dead Weekend?

Dead weekend actually came about with a guitar riff idea and a half finished song being combined. We had these ideas for a while however, we could never get them sounding right…until we decided to join em together. It’s edgy, it's druggy and it builds up to a huge explosion of sound that makes a great last song on a set.

What’s the creative process like for you?

I think as a band we’re most creative in the jam room. Most of our songs have been written by jamming in between other songs and messing around with riffs and grooves. Individually, I think we all get our inspiration from different places. I personally feel most creative, or in the “creative zone”, while listening to songs, lyrics and drum grooves in the car because that’s where I can just forget about everything and get lost in the world of music.

If you could change something about the music industry what would change?

To be honest, I’d change how tough it is to actually make a living in this industry as a band. Sadly, making a living is close to impossible until you get to a certain level of fame which happens to 1 in (insert big enough number here). I’d change this because I’m sure this has put off a lot of people, myself included, from giving their all to their music, their instruments and their passion.

What do you think life would be like for you if you didn’t have music/visual art as an outlet?

This is going to be a very short answer haha but for me, without music there is no happiness, sadness, energy or any form of life. It’s where I go to to be myself and without it I would go crazy.

Is there anyone you would like to collaborate with?

Growing up I always loved Santana’s collaboration with other artist and he is an amazing musician so he’d be in my top 3 people I’d want to collaborate with given the chance.

What’s your advice to young people who want to make career for themselves in the industry ?

Go for it. Don’t let anyone tell you that this industry is not good enough or not a career in itself. If it’s what you want, do it.

What’s your favourite song to perform?

I’d have to say either ‘Coming Around’ which we released a radio edit of not too long ago, or dead weekend. It always gets the crowd going.

Got any secret hobbies that we might be surprised by?

Right after my passion for music comes my passion for food. My full time job is in the restaurant industry and man do I love to cook, eat and then eat some more.

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