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October

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Gig ReviewsReviews
October 16, 2023
Nikki Eenink

[Review] Peach Pit @ Northcote Theatre 11/10/2023

For me, no band, ever, has better captured the feeling of nostalgia, of warm summer days, of platonic love and the happy-go-lucky experience of solo travel quite like Vancouver indie-rock powerhouse, Peach Pit.

During the depths of COVID lockdowns, I’d seen them play a “live” show through zoom. But I’d given up hope they’d ever travel down under. But then, on some glorious weekday – they announced their tour. Instantly, I scarfed up tickets. Since then, it’s been an exhilarating wait, that honestly made me a bit nauseous with excitement. Clearly, I wasn’t the only one. Their first show sold out so quickly, even with a venue upgrade. And their second show was essentially sold out as well, with a mere straggler of tickets left. We were certainly showing the 5-piece our appreciation.

The energy at Northcote Theatre was absolutely infectious. There was a buzz in the air that made the hairs on my arm stand up straight. Australian up-and-comers Eliza and The Delusionals played an ultra-short, ultra-punchy set. Ripping through some excellent tracks from their new album; Now and Then, as well as their superb collection of singles. We were in the mood and absolutely ready to rumble.

The next hour and a half have made writing a review nearly impossible. It’s rare you see a perfect set. But there is no better word for it than, perfect. Neil Smith on lead vocals and rhythm guitar, Chris Vanderkooy on lead guitars, bassist Peter Wilton and drummer Mikey Pascuzzi have come such a long way, even in three years. They are not the same band now as the band I watched, cooped up in my room, playing thousands of kilometres away. The addition of multi-instrumentalist Dougal Bain McClean (some people have all the luck), has undeniably helped push them into new heights of “chewed bubble-gum pop” perfection.

As the stage turns red, and spotlights flicker over the crowd, I see Smith’s bouncing mane of hair before anything else. Quickly, he’s followed by Vanderkooy, The Moustached Maestro as I affectionately call him. The rest of the band appears onstage, and we are faced with 5 dudes, in t-shirts and jeans. Not too baggy, not too tight. They’re Just Some Guys. But don’t let looks fool you. These averages Joe’s are about to do something crazy to my brain chemistry.

For context, Peach Pit have a melancholic take on surf pop. Their songs are heavy with slow, soulful vocals and driving lead guitar breaks. So, I was a little shocked when the fellas launch into a cover of Slayer’s Raining Blood. Smith steps up to the microphone and in his best metal voice growls for us to “get the fuck up motherfuckers”. He is a whirling dervish of curly hair and devil-hands as the instrumental cover rages. Suddenly, it stops, and we are taken into Being So Normal. There are perhaps no two songs less compatible. But god does it work. Instantly, I’m taken somewhere else. “Show ‘em Chris!” Neil moves over to let his high school friend work his magic on that fretboard.

The volume of songs Peach Pit have in their repertoire, is unbelievable. For a band less than a decade old, the setlist is 22 songs long, and there isn’t a weak link amongst them. Having released their third album, From 2 to 3, last year, I was expecting that to be the track list for the evening. I was wrong. “Because this is our first time here, we’re going to be playing lots of older stuff! For all of you who’ve bought our merch and waited so patiently. Thanks, so much guys! We love you!”

The next hour is a blur. From driving drums and twinkling guitars of 17-year-old Nikki’s favourite song, aptly named Seventeen, to the shredding guitars of Psychics in LA – this set has it all. Old fans, new fans, stragglers off the street – everyone is jumping around, waving their hands in the air, transported to another plane of musical ecstasy. Go with your friends! That was when Smith says “This song is for when your best friend really pisses you off” you can share a look and laugh through the opening notes of Vicky. Go with your heartbroken friend, so you can scream the permanently-stuck-in-my-head hook of Shampoo Bottles. Go with your stoner friends so you can sway to the stoned lullaby that is Tommy’s Party arm-in-arm. Remember the better times. Be like the two guys in front of me, hugging and looking into each other’s eyes.

I’m so glad you’re alive!

I’m glad I’m alive too!

Fuck yeah, dudes. It’s hard not to be with Peach Pit as your soundtrack.

Private Presley has been in my top 5 favourite songs since its release. Wedged between the melancholic love-song that is Figure 8, and the summer picnic banger to end all summer picnic banger’s, Up Granville, it’s a surprise. Those early, gentle guitar notes slide over my eardrums, and I’m spellbound. Vanderkooy’s guitarwork and Smith’s pitch-perfect, dulcet vocals lull me into a dream. McClean comes out on fiddle, and the way he plays is so mournful, so beautiful, so heavenly it makes me want to scream. As we hit the climax of the song; all messy guitars, feedback, and flying hair, I realise this show is going to be one for the ages. Peach Pit is many people’s first introduction to the band, it’s slow, it’s sad, it’s iconic. Smith barely has to sing as the crowd carries us from verse to verse, chorus to chorus. A high school anthem for some, breakup song for others, and something else entirely for most – it’s an absolute showstopper.

Undeniably, and unsurprisingly, one of the highlights for the evening is Alrighty Aphrodite. The lights go orange, Smith abandons his guitar for his iconic, stoic dancing and I pick my jaw up off the floor. This song is So. Fucking. Sexy. It starts slow, with delayed guitar so it sounds like it’s wafting through fog. It’s gentle drumming feels like footsteps. The bass is present and driving. Smith’s vocals are haunting, gentle and sturdy. Exactly like the goddess for which it’s named; it’s magical, mysterious, thalassic, beautiful, and hot as hell. It infects my arms and legs, and my body is no longer mine, I follow where Peach Pit take me, and I happily resign myself to my fate.

As our penultimate finale, Chagu’s Sideturn is so high-energy, so fun, that the ache in my legs from standing is gone, and all I can think about is summertime. It’s so quintessentially Peach Pit. It reminds me of growing up in Seattle. I taste the ocean air of the Pacific Northwest; I stand under those blue skies. I want to curl up in a lawn chair with a Carlton Dry. Chris is an absolute God on the guitar. A force of nature. These guys are proof that simple, skilful musicianship can never be beaten. They dance together, hug while playing and are grinning ear to ear. They might be more stoked to be here than us.

We do a cheer for their Aussie guitar tech, Adam, and with another laugh and lick of the guitar strings, they’re off. Immediately, I’m aching for more. Luckily for me, I had bought tickets to experience the joy, the mystique and the indescribable resonance that is Peach Pit. Whatever it is, these guys have it. Go on and get a taste for yourself. But be warned, once you try some, it’ll become your favourite meal.

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InterviewsTour Interview
October 13, 2023
Casper

Interview with Richard Patrick (Filter)

Platinum-selling alternative-industrial rockers FILTER announces their first headline shows in Australia and New Zealand since 2000 as part of The Algorithm World Tour.

“Australia and New Zealand are two of the most beautiful and welcoming countries I’ve ever been to. Every time we tour, I push our reps to try and get us back there. Unfortunately, due to circumstance beyond our control like a global pandemic, it’s been way too long,” Filter main man Richard Patrick said. “Rock fans there are a very loyal and devoted bunch, and I know we will bring it when get Down Under. I really cannot wait.”

This year marks the 30th anniversary of the band’s birth. In 1993, founder and lead vocalist Patrick placed an ad in Scene Magazine in Cleveland, OH, shortly after leaving Nine Inch Nails as their touring guitarist, looking to form a band that would eventually evolve into Filter.

Patrick has spent three decades pushing the boundaries of musical expression. Filter’s debut album, Short Bus, achieved platinum status, propelled by ‘Hey Man Nice Shot.’ The success continued with Title of Record, also going platinum thanks to crossover hit ‘Take A Picture.’

This year Patrick unleashed the new Filter album The Algorithm, which has delivered a sonic revolution for fans worldwide and has been called the band’s “best record in 20 years.”

Live Patrick hasn’t lost one iota of his in-your-face, punk-meets-rock persona. He still “belts out the lyrics with pure energy and aggression” and his band always deliver an intense, in-your-face performance.

“Richard Patrick had some mega energy and was right in the middle of the crowd…I mean literally. He was crowd-surfing while singing” (Media Mikes)

 “Filter, the great industrial rock that we come to expect is back” (Rock Revolt Magazine)

 “The live energy of Filter cannot be denied” (Rock N Load Magazine)

 “Hell of a show! Great set list, and Richard's voice still burns!”

FILTER April 2024 Australian Tour Dates

Friday 5th April – MELBOURNE, Croxton Bandroom
Saturday 6th April – SYDNEY, Metro Theatre
Sunday 7th April – BRISBANE, The Triffid
Tuesday 9th April – ADELAIDE, The Gov
Wednesday 10th April – PERTH, Magnet House

Tickets:

Pre-sale: Wednesday 13th September, 9am Local

On Sale: Friday 15th September, 9am Local

From: https://metropolistouring.com/filter-2024/

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Gig ReviewsReviews
October 13, 2023
Nikki Eenink

[Review] Weezer @ John Cain Arena, Melbourne 06/09/2023

With PAX Aus and Weezer’s headline tour in the same week, it’s an absolutely showstopping few days in Melbourne for white guys aged 27 to 50. And showstopping perfectly describes what greeted me onstage at John Cain Arena, Friday night. Californian indie Golden-Boys Weezer need no introduction. A perfect combination of meme-culture, unbeatable musicianship and perfect pop-banger to rock-solo percentage; they really are the upper echelon for anyone who enjoys teen movies from the 90s (or was a teen in the 90s). And so, before I introduce the cheese, the steeze “The Weeze”, let me tell you about their support.

Regurgitator follow in the highly coveted Brisbane tradition of fuck-off punk rock. Their sound is somewhere between Kraftwerk and Limp Bizkit. The Smiths meets Grunge. Two entirely separate forces that shouldn’t come together, but when they do – musical nuclear fusion. The guitars are howling, the guys are bantering and we’re all completely enamoured by the Brisbane trio and their shit-eating grins. As is customary, they begin a chant immediately after their second song of; Oi! Oi! Oi! An Australian classic. A cultural must. “Are you guys ready to hear a song that goes faster than the last one?”  (Bong In My Eye – an absolute tune, of course) “Yeah this one goes so hard” One of them moans; “Uh! So hard!” And with a cackle that would make Jack and Jill run back up that hill, they throw us headfirst into Polyester Girl. After the guitars simmer a bit, ultimate Bass-dad Ben Ely asks us a question that really needs no answer; “We’re so excited. Are you excited?” We cheer, but clearly not enough. “It’s fucking Weezer, man!” Quan Yeomans, our ever-charismatic front man chimes in, “Weeeezer!” And so, of course, we cheer. And now that our excitement is excited enough, the show continues. Blubber Boy into Fat Cop into I Wanna Be A Nudist, it’s just out of control how many tracks these guys can deliver at full energy with no faults. Even when they are forced to restart on Blubber Boy, they’re still masters. The reason for the restart, is because the old adage that “White People Have No Rhythm”, was proven at John Cain that night. They get an entire crowd to clap along – no two of us had the same rhythm. The people of the Caucus Mountains were struggling to participate in the musical madness and wonder of Regurgitator. So, they get us to start. We clap, they follow; and they blow that stereotype back out of the water. After a really good bit “How many more songs do we have left? Are we out of time?” Runs it’s natural course, we are asked one final, tantalising question; “Should we do a naughty song?” But before they have time to deliver on this, Yeomans takes the mic. “My daughter should be here somewhere! She just moved to Melbourne! Where is she?” A sea of men shove their hands in the air. “You’re not her! You’re a fella!” when one of his Regurgitator brothers asks him, “Mate, are you even wearing your glasses?” And so, they give up. I hope she was there and had as good a time as the rest of us. The World of Sleaze and ! (The Song Formally Known As) take us perfectly into the World of Weeze. (These aren’t my words, I promise. Read on to find out who said that! Intrigue!)

Teal Album is one of Weezer’s more forgotten albums. A compendium of covers spanning 3 decades, it’s miss-able, but unforgettable. In what I like to consider an homage, they play us into the dimming lights, the unmistakable hush before a show, with Africa by Toto. An iconic song, an iconic cover, an iconic show is imminent.

To save you the read: I can, without a doubt, say Weezer’s Indie Rock Roadtrip is one of the best shows I’ve seen in years. Whether you’re a hardcore Weezer fan, a casual enjoyer or a Pinkerton defender – this tour has it all. These songs are so a part of the cultural zeitgeist that it’s impossible for the whole show to not feel nostalgic, treasured, and significant.

Rivers Cuomo, Patrick Wilson, Brian Bell and Scott Shriner are in an echelon all of their own. For the next two hours, we will be lovingly chauffeured through all of the bands biggest hits – and some of their smallest. With this foursome behind the wheel, you know it’s gonna be one hell of a trip.

Starting out strong with My Name Is Jonas, we are introduced to the vibe of the trip.

Picture this:

A cartoon, semi-idealistic version of America. We are Jonas, some kid living in the outer stretches of Los Angeles, completely lost in the world of our headphones. We jump in the car with some of our friends and start our long winding road North, and East. Turning the radio, The Good Life comes on. Out the window, we can see signs for American restaurants, but it’s all fantasy. “Jamie’s In The Box” “Bran Bell” “Up N Down Burger”. And the biggest fantasy of all, Weezer is on tour. Except that’s now. That’s us! This is fantastical. Immediately, we are on this trip with them through all these things that are impossible, fantastical, but oh-so real. Pinch me.

I will never understand what it is about hearing a singer mention the town their singing in that makes crowds go feral. But they go feral. Finishing Beverly Hills with “Living in Melbourne, Australia” set the crowd off. It’s like front-man Cuomos threw us gold pieces, we were loving it.

As In The Garage comes to a close, and 11,000 people sing-shout ‘No one hears me/ No one hears me’ Cumos speaks over us. “Have you guys heard? We’re opening for KISS tomorrow!” There’s some light applause. “HEY! WE’RE OPENING FOR KISS” and he hits a mean chord on his guitar. We respond with what Rivers decrees as a worthy level of cheer for the 1970s Rock-Gods. And, in their honour, they play a punky, high-energy, guitar-forward cover of Strutter. The way lead Guitarist Brian Bell moves his hands along the guitar is spellbinding. The fretboard is an extension of his arm, the sounds leave his hands and sit in the room in perfect harmony with all the other noise. It’s impossible to tell where that skilful ends and the hot-air of GA begins. Oh, and Bell whips out the double-necked electric in true KISS spirit – what an homage.

As a Green Album girlie until the bitter end, I swear I nearly popped a blood vessel when they launched into Photograph. This is the first full-band performance of the criminally underrated release since 2015. And it’s even better live. The insane visuals, Cuomos off-kilter vocals, and the pounding drums provided by Patrick Wilson bring this track to life. I feel like I’m in IMAX, but for sound.

Undone (The Sweater Song) is one of THE Weezer tracks. Starting out of nowhere, the melancholic, drifting, delayed opening notes are barely heard under the guttural screams of excitement for one of Blue Album’s most coveted. This song isn’t short, but it flies by. The foursome never seem to tire. They can just keep playing, perfectly, never easing up on themselves (or us). The energy never drops even for a moment. Cuomos and bassist Scott Shriner jump along the stage, one leg stretched in front of them, as Bell shreds the ultimate shred. Cuomos arms are a blur of strumming, he is absolutely caning his pale-green strat – but the pain is so worth the reward. The crowd is all hands, clapping predictably out of time, and people dance-shoving. As the music swells to its predicted finale – Cuomos puts his guitar to his mouth and starts playing with his teeth. Once he’s decided to give his enamel a break and the song finishes, he plants a big, loving kiss on the green body of The Little Guitar That Could.

Next up is an absolute highlight of the show. Rivers takes to the stage, alone. Armed only with an acoustic guitar, he starts to tell us a story of young love and heartbreak. The story goes something like this;

“I really liked this girl. She called me all the time, came to Christmases with my family- the whole thing. I thought she liked me too. One day, after we hung out she said she’s call me tomorrow. But she didn’t call. I waited by the phone the after that, too. And the next. By day 14 I realised she wasn’t going to call. So, on day 19 – I wrote this song.”

I didn’t recognise Waiting on You at first. Done just with an acoustic guitar, it sounded almost like a parody. Like Kill Me Please, from The Wedding Singer. It sounded like the very stereotype of sad 90’s Rock you’d expect. Where’s Matt Groening? Is this a Simpsons sketch?

Why? Haven’t you called me?

Did you forget me?

The Arena is alight with phone torches as Cuomos laments to us, fully aware of the comedy.

Mine, is the loneliest of numbers

Now, is the loneliest of times

You’re 19 days late

But still I sit and wait

The other three Weezer members come onstage and gather around the microphone. Barbershop quartet-style, they finish the lament. The house erupts with applause.

The next song is also a romantic lament of sorts. A ballad for Geffen Records Receptionist, Susanne hits even harder acoustic. Still gathered around the mic, it’s easy to see why Weezer disarmed and wooed this woman. They’re humble, talented, dressed in vans and baggy pants (Primo Skater Chic) at 55. Listen, Susanne, we get it,.Cuomos is beating out ‘Izzy, Slash and Axel Rose’ for her affections. This 5’6, hyperactive man is Geffen’s biggest Lover-Boy. As soon as they play, they transform. Roadies strap electric guitars onto Brian Bell, and we are treated to a wonderous ending of acoustic strums and electric licks. Suddenly they’re young again, somewhere else, and ultra-handsome.

We are showing them our appreciation. “Good on ya, Melbourne!” Some guy behind me, slurring and raspy screams back, “On ya, Rivers!”

“How is it? Chilling with The Weez at John Cain Arena.” The Weez. Said with such a tongue-in-cheek earnestness I can’t help but laugh. He’s an icom. The Master of The Shitpost.

Only In Dreams starts with River on acoustic for the first verse. Suddenly, they are all strapped with electrics again. And in a literal jump onstage – the tempo picks up. The visuals behind them are a waving red and purple. They are caning the shit out of their guitar strings. Shriner is a machine on bass. This song is so bass-heavy, and he has no issues being up to the task. Filling the room with warm, open, delicately layered bass with ease.

Of course, Island in The Sun gets a play. It’s so nostalgic, and wonderful. Everyone is out of their seats, swaying together, putting their arms up, singing. It’s like the final shot of a movie, where everything’s worked out. We’ve gotten into college, got the girl of our dreams and are watching fireworks on the beach. No notes, a perfect 10.

Growing up in Seattle, Washington. I am hard-wired to recognise Mount Rainier. And there it is. On the projection screen. We are driving through the cascades on this road-trip to the home of Grunge, of 90’s melancholia, of general antics and too-much noise. All My Favourite Songs gets Cuomos on keys. And he slaps them happily as we sing along. Lyrics that are so relevant, so painful. This 2021 release from Weezer shows that the band isn’t just a group of fossils peaking 30 years ago.

Cuomos openly hates Say it Aint So, so I was not expecting it to be played. But then that opening lick plays. And the sound that left my body was inhuman. He might hate it, but the song is one of the all-time greats. A Banger to End All Bangers. God-Tier. To save himself singing the chorus, he just stands – arms and legs spread, a starfish under 5 spotlights, as the pre-chorus lick goes and 11,000 of us, in perfect, ecstatic harmony scream:

“Say it aint so! Your drug is a heart breaker.

Say it aint so! My love is a life taker.”

My personal favourite part of the song, the bridge, is magical. The lights turn red and then purple and blue, and swirl around the foursome.

“This bottle of Stevens, awakens ancient feelings”

They start to slam on their strings and build until it’s all noise and 3 simultaneous solos that wind and weave and become alive together. It’s like nothing I’ve ever seen before. These songs I thought I knew, are so much more vivid in Weezer’s guiding hand.

“Are you guys enjoying the road trip?” Cuomos asks us. Does he even need to ask? He grins at the amount of noise we make in response. “It’s not a road trip ‘til dad takes a photo”. And he pulls out a polaroid. Referring to himself as Dad makes him even more likeable. If such a thing is possible. He snaps pics of all sides of the room and takes us into the end of the show.

Hash Pipe is such a phenomenal way to finish their main set. It’s aggressive, fast and punchy. The visuals of bats eyes, faded, bloodshot and spinning is such a great homage to the King’s of Stoner-Core. For the Guitar Hero friend next to me, it was a pretty huge closer.

Thank You and Good Night has our foursome standing on steps at the back of the stage, shredding together. I hate encores, but my fingers and toes are crossed for more.

And more is what we get.

The Waste Land is muddy, grungey and layered. They walk onstage and add to its layers one by one until we are carried on an almighty wave of perfect sound. Black Sabbath are pissing their pants a little with this one.

Surf Wax America is so quintessentially Weezer. It’s jumpy, fun and best shared at a barbeque. Blue Album remains one of the best in any genre, because of its versatility. This is not the same band they were just one song ago. But I am loving it. We all sing off-key, delighted and carefree.

A testament to the absolute mountain of songs Weezer has in their arsenal, is a major hit I had completely forgotten about in the fun and the fervour. Buddy Holly. Everyone’s favourite Spike Jonze music video. A staple in the Weezer canon. It’s amazing for one of a band’s major hits to have escaped my mind because I was so enraptured by everything they had going on. These guys could play one chord and I’d be spellbound. Another Blue Album staple, we are quick to show our adoration. The video in the background is of people roller-skating around. And while we can’t roller-skate, we can dance. And dance we do. With fun little licks, delightful harmonies and a beat that’s impossible not to move to – this song really has it all.

At this point, they’ve proven they’re an unbeatable unit with unbelievable, untranscribable skill. But it’s fucking ridiculous they played for 2 hours with no mistakes. Oh, what I’d give to bottle those 2 hours and live there.

Buddy Holly packs a punch, and so they leave us stunned, thrilled, desperate for another forgotten-hit. I’m in a daze, and this was 2 days ago. You could not ask for a better night.

If  Weezer have 1 fan it’s me if they have no fans I’m dead. I love you Weezer. And you would too. Buy tickets next time, I promise you’ll leave happier, bouncier and beachier.  And maybe just a little bit stoned.

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Gig ReviewsReviews
October 12, 2023
Kynan Arden

[Review] The Les Darcy Show @ The MC Showroom, Melbourne 11/10/2023

Review By Kynan Arden

The MC Showroom at the first breath of Melbourne’s Fringe Festival invited me to a rather fresh spectacle differing from the usual with The Les Darcy Show, a short but gut punching (pun intended?) theatre picture telling the story of the titular Australian hero,  a triumphant middleweight champion boxer who only just took Australia and America by storm before his untimely demise at the age of 21, brought to you by original writings by Jack Hibbered in 1974 and presented Brandon Armstrong, making his directorial debut.

 

Throughout the story among some fictionalised elements, we look at summary of Darcy’s life from his relatively peaceful yet at times troubling life with a cautious, protective mother and a supportive yet barbarous father, to his triumphs in the boxing world that led him to his travels to America with a slimy promoter. As well as David Doig’s fierce portrayal of the legendary boxer, our ensemble of actors with beautiful ranges bring the characters surrounding Darcy to life, with Yvonne Martin as Margaret Darcy, Sebastian as Ned Darcy/Hawkins, Luke Slade as Tex/Kearns, and Ella Le Fournour as Winnie O’Sullivan/Father Coady. Each performance allowed us as audience to be fully immersed in the rough Australian-Irish pre/mid-war era, and the direction as a whole made what is in hindsight such a linear straight forward story an emotional, fun, and somber experience.

 

The stage setting created as well an immersive yet also symbolic backdrop to the story, as we have only one major set piece needed in Les Darcy’s tale: the boxing ring, as the theme of boxing really is the be all and end all of the tale itself. It not only highlights the wins, losses, fear and vigour of the sport itself, with each major match narrated in detail by both commanding words and stunning choreography, but it also provides a looming shadow over not only the life of Les Darcy, but the loved ones around him, and the ring further implementing itself as a death bed for the protagonist as while no lethal left or right sock took his life, but instead a sickness that ultimately crossed the finish line against his constant pursuit for greatness. 

 

If your weekend plans are lacking, then why not bring yourself to the MC Showroom to witness the legendary tale of Les Darcy constructed by an incredibly talented and passionate team both on and off the stage, and witness an incredible retelling of a true story about forgotten Australian History. 

 

The Les Darcy Show is running at the MC Showroom from 11th October to 15th October

You can get your tickets here

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Gig ReviewsReviews
October 12, 2023
Jessie Fitzpatrick

[Review] Waterparks @ Forum Theatre, Melbourne 8/10/2023

Review By Jessie Fitzpatrick

Last Sunday, the line to the Forum snaked all the way into Hosier Lane and beyond, with no end in sight. Passers-by stared at the colourfully-dressed crowd and the endless line, as I saw first-hand the demand that Australian fans have for genre-blending pop/rock trio Waterparks.

The packed crowd was ecstatic, as support-act Lights (Canadian electro-pop/rock artist Valerie Poxleitner) opened in a sweeping, cinematic fashion with rock number Salt and Vinegar. Lights captured the audience immediately, with strong vocals and melodies that managed to feel both nostalgic and fresh (a talent shared with the headliner, Waterparks). Throughout her set, Lights seamlessly moved from electro pop, to rock, to alt pop. The following number, Siberia, was a distinctly early 2010s indie pop song – but her performance felt timeless, as she added in a new line to the lyric “we'll leave Canada for Siberia” – “or Australia”.

Lights excelled at bringing the audience along for a journey. She transitioned from guitar, to keys, and back to singing while dancing non-stop, moving straight into Dead End, which again captured a different side of her vocals. Even when a looped track of her voice played in the background of the song, her live vocals sounded phenomenal. An audience member handed her a flower, and she put it in her pocket, the red petals falling around the stage as she danced. After hyping up the crowd, Lights shifted to a sadder song, Beside Myself. People got out their phone lights and began to sway slowly, but the pace of the song gradually increased – leading Lights to comment that “people here have way better time than North America”. Her set ended in a crescendo of sound, and left the audience on a high, full of anticipation for the headline act.

Waterparks began their set in a flurry of energy, as lead singer and rhythm guitarist Awsten Knight arrived on stage in what appeared to be a Bunnings hat over his bright pink hair (foreshadowing a night of jokes about Australian accents and culture from the Houston-originated band), accompanied by lead guitarist Geoff Wigington, and drummer Otto Wood. Each band member’s energetic stage presence was immediately infectious, as the band launched into Rare, singing “I save my metaphors for rainy days……cause we're not seventeen, but you're my teenage dream”. The cleverness and self-awareness behind these lyrics highlighted a strong knowledge of their pop-punk and pop rock predecessors and influences. Otto paused his steady drumming to highlight a slow guitar riff from Geoff, and I felt the floor move as the crowd jumped in response to Geoff spinning in a circle on stage alongside Awsten, creating an electrifying atmosphere.

Waterparks (or in particular, Awsten) were one of the chattiest acts I had seen in a long time. Awsten reminisced about a previous concert in Australia where the band performed for about 100 people in a tiny attic (“now we get to play in air-conditioned venues!”), before they transitioned into fan-favourite, Stupid for you. Stupid for you is a song of a juvenile love, undercut with adult tones. With lyrics such as “you're a symphony, I'm just a sour note”, I felt like it belonged in an early 2000s high school comedy in the best way, maybe in the prom scene. When Awsten sang the chorus, the sound of the audience harmonising complimented his voice perfectly, and he joked “you guys sound great – have you been practising?”. It had been 6 years since Waterparks’ last visit to Australia (“I’ll take a boo for that…we had a tour planned for 2020, something happened but I forgot what” Awsten joked). The Melbourne show was their 4th show in a row without a day off, and although the band was upfront about being tired, you couldn’t notice – their energy remained unwavering, as Brainwashed showed off Awsten‘s vocal range, combining mellower instrumentals with verses that leaned towards being a rap.

 Waterparks continued to showcase their musical versatility, as they debuted their new song Sneaking Out of Heaven, “before America or Canada have heard it”. This felt particularly special for the adoring Melbourne audience. Sneaking Out of Heaven started strong and packed a punch. The snappy track seamlessly integrated into their discography – this is a new release to watch out for. This was followed by more of the band’s camaraderie on display, as they played Two Best Friends – an autobiographical song about the band’s friendship, as the three bandmates rocked out together to the sound of a steady bass drum.

Their performance of Magnetic took on a more intense turn, with the fast-paced vocals melding with the heaviness of the drums. Awsten’s deliberate movements and stage presence was captivating, as the sci-fi sound effects on the backing track added an eerie ambiance to the song.

“Do you want to hear a song I used to practise in the mirror at my parent’s house in Houston?”, Awsten asked the audience, as he launched into Royal. In another pivot from some of Waterparks’ more light hearted pop-punk tracks, this song commanded a focused energy. Awsten then conspiratorially told the crowd that “the percussion layer in the song is us [the bandmates] kissing Otto’s stomach – you can hear it if you listen to the song with headphones”.

Awsten seemed chuffed as he told the audience about the band's song Telephone being featured in an episode of the TV series, Heartstopper, as he coyly sang the hopeful lyrics. The set then pivoted to a short burst of acoustic numbers – 21 Questions showcased a different genre and mood , and called attention to Awsten’s guitar expertise. In Dizzy, Awsten haunted the stage alone, as he sang the lyrics “I don’t hear from my friends anymore”. Lucky People saw the crowd illuminating the venue with their phone lights. These solo performances were a poignant interlude amid many fast-paced numbers. Then, Geoff and Otto returned to the stage with cheers from the crowd, and the band jumped into the self-referential REAL SUPER DARK. Awsten pretended to stumble around the stage, as the lighting became dream-like. Waterparks certainly knew how to capture a mood.

The crowd had been waiting for the band to play their highest-streamed song, I Miss Having Sex But at Least I Don't Wanna Die Anymore, and Waterparks delivered. They sounded even better live, with the band in perfect alignment. The concert concluded on a high note, leaving the audience elated and relishing in the humour and musical magic of Waterparks.

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