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[Review] Take That @ Rod Laver Arena, Melbourne 6/11/2024

The evening at Rod Laver Arena was a spectacle of lights, music, and sheer entertainment.

The audience’s anticipation could be felt as Sophie Ellis-Bextor, dressed like a dazzling disco ball, took the stage with her masked supporting band. The night started on a high note with her hit Crying at the Discotheque setting the tone for what would be an unforgettable performance.

Sophie’s charismatic personality shone through right from the beginning. After her opening number, she connected with the audience on a personal level, sharing a facetime call with her son Ray. She usually walked him to school in London, a routine she clearly cherished. This brief interlude added a layer of intimacy to the performance, making the audience feel like they were part of her world.

With the band now unveiled from their collection of animal masks, the energy only escalated. Sophie launched into another hit Music Gets the Best of Me, her vibrant persona fully engaging the crowd. Her infectious energy was palpable, and she effortlessly got the audience involved, encouraging them to sing along to Get Over You. The arena was alive with voices joining in, creating a sense of community and shared joy.

The musical journey continued with a seamless transition into a disco mashup. Classics like Lady (Hear Me Tonight),If This Ain’t Love, Can’t Fight This Feeling, and ABBA’s Gimme! Gimme! Gimme! (A Man After Midnight) had the crowd out of their seats. The arena turned into a massive dance floor, with fans singing, clapping, and disco-dancing the night away. The nostalgia and the lively beats transported everyone back to the golden era of disco.

Next on the setlist was a new song, Freedom of the Night. The performance was a visual treat, complete with an artistic ribbon display that added to the enchanting atmosphere. The audience took a brief moment to catch their breath, only to be swept up again with a cover of Madonna’s Like a Prayer. The familiar tune brought everyone back to their feet, and the energy in the room soared once more.

As the night drew closer to the main act, Sophie’s penultimate song, Heartbreak (Make Me a Dancer), a 2009 collaboration with the Freemasons, kept the momentum going. The crowd’s excitement was tangible when Sophie asked if they were ready for Take That. The arena erupted into cheers, which grew even louder when the opening chords of her biggest hit, Murder on the Dance Floor filled the venue. The band donned their animal masks once more, bringing the vibrant, bubbly, and energetic opening act to a triumphant close.

Seven years after their last performance in Australia, Take That, now a trio led by lead singer and songwriter Gary Barlow, along with original members Mark Owen and Howard Donald, returned in triumphant fashion.

Entering from the top of the stairs to their 2008 release Greatest Day, the crowd was immediately on their feet, singing along upon Gary’s cue.

With Mark and Howard banging on their bass drums, they seamlessly moved on to Giants. Howard then took the lead vocals for Everything Changes, with Gary moving to the piano and Mark on acoustic guitar, expanding the six-piece backing band.

It was Marks turn to lead as he took over main vocal duties with their 10th number 1 hit, Shine. Gary returned to the lead vocals, accompanying himself on the piano for A Million Love Songs. His powerful and appreciative tone made it evident why he has been the lead vocalist from the very start.

The trio took the audience on a historical Take That musical journey, narrating their story through a medley of hits and earlier songs. Tracks like I Found Heaven, Pray, and the Bee Gees cover How Deep Is Your Love featured original dance moves that elicited screams from fans who had grown up with those iconic routines. The hits kept coming, and the crowd was grateful for both the nostalgic thrusts and the band’s history lesson.

Songs like Patience, The Flood, and Get Ready for It filled the middle of the set before the band moved into some new music with a track called Windows. The entertaining set, which had an air of musical theatre and cabaret, thrilled a wide range of fans, many of whom likely remembered their 1995 concert.

Increasing the energy with a disco portion of the show, in their bright white shimmering outfits, These Days and This Life were some of the crowd’s favourites. However, nothing matched the roar when they went onto their most famous song and only number one hit in the US, Back for Good. The audience sang in unison, their voices filling the arena with an almost palpable sense of nostalgia and joy.

With heartfelt thanks to the band, crew, Sophie Ellis-Bextor, and the enthusiastic crowd, Take That finished off the evening with Rule the World to a phone-lit arena. The glow from thousands of screens created a starry canopy, under which the final notes of the night resonated, leaving fans with memories to cherish until the band’s next return to Australia shores however with the current record it may be awhile off yet.

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Album ReviewReviews

[Album Review] Astrofuzz – Self Titled

I know I say this in nearly all my local album reviews, but I love finding new music, and this time, I found a whole new genre. Meet Astrofuzz, a heavy, shoegaze band from Bendigo, Victoria. I love to see what the Bendigo music scene churns out, and Astrofuzz brings a raw, atmospheric, heavy edge that makes you wonder what other gems are waiting to be found.

Astrofuzz’s self-titled album is a heavy-hitting blend of distorted guitars, fuzz-drenched bass, rhythmic drumbeats, and reverb-laden vocals. I wasn’t sure how to describe it at first. It felt like an audial journey, a wave of sound you could get lost in. Before this album, I hadn’t heard of “shoegaze” as a genre, but it perfectly captures what’s going on here. That layered, wall-of-sound effect takes you deep, and once this album was on, I didn’t want to turn it off.

The album begins with Azimuth, an open, wall-of-sound introduction that showcases exactly what the band is capable of. There’s plenty of vocal effects, fuzzy bass, and a rhythmic drumline that feels both spacious and dense, pulling you into their world.

By the second track, Hex, the tempo picks up and there’s a hypnotic, droning vibe. Its ebb and flow has an almost trance-like effect, the rhythm grounding you before it breaks into new momentum. Screen Gazer ups the rock factor even more with hazier vocals and straightforward guitar riffs. There’s a slow, melodic solo here that’s backed by a big, open chord riff, creating a massive, immersive moment that hits all the right notes.

About halfway through the album, there’s Crucifix, a track that starts with an anarchic wall of sound. I’m not sure if they’re using a drum machine or real drums, but the layering of sounds is so intricate that even after a few listens, I’m still picking out new details. It might sound chaotic, but somehow it fits perfectly with the album’s overall vibe.

Howl, a track that leans into a punk aesthetic. This was probably the favourite for me, it’s short, punchy, and direct, with this crazy distortion effect on the vocals, giving it an added grungy layer, giving the album an unapologetic, raw edge. It’s brilliant!

I have now had the chance to review a few local Bendigo bands, and I’m starting to hear that bands in the scene just have a certain similarity or essential essence to them. Whether it’s something in the water or the air, I’m not sure but the Bendigo scene has this DIY underground sense that adds an edge to the music. This self-titled album was engineered, produced and mastered by the band themselves and utilising a local gem of a space named Yeehaa Studios, knowing this, you can appreciate the music and the process even more. It is 100% Astrofuzz, no outside influence, just the band trusting in their own music and journey to unleash it upon the masses.

Astrofuzz’s self-titled album takes you on an audial journey from start to finish. The heavy distortion, the introspective depth, the rhythmic drive, it’s an album that pulls you in and doesn’t let go. It’s the perfect soundtrack for getting lost, whether in thought or in life. After listening to this, I’m going down the rabbit hole of shoegaze to find what other surprises this genre has in store. Go and check this band out! Go and check out your local scene!

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[Album Review] Abramelin – Sins of the Father

Australian death metal veterans Abramelin are back, showing their commitment to quality over quantity in a massive way with their fourth album, Sins of the Father. For those of you who are unfamiliar with the name, Abramelin have been pushing the unleashing brutal death metal since the mid-90s—and even longer if you include their earlier incarnation as Archeon in 1988. For a group that’s spent over 30 years in the game, releasing only four full-length albums speaks volumes about their dedication to crafting albums that are powerful, uncompromising, and completely pulverizing.

Sins of the Father is everything you could want in a death metal release: a relentless, neck-breaking masterpiece dripping with horror-fuelled intensity. It’s got the gore-drenched lyrics, spine-chilling atmosphere, and raw aggression that make up the genre’s lifeblood, and it all comes wrapped in wickedly tight production. Every track here feels like it’s where it should be for maximum effect, and it’s clear that Abramelin haven’t lost an ounce of their fury.

The title track, Sins of the Father, was my favourite and I think one of the standouts off the album, a blackened death metal whirlwind with a riff so catchy you can’t help but headbang along. The groove-laden verse riff has an infectious bounce, and I do love when a riff has that simple double kick rock beat behind it. I can’t wait to see this song played live, and I know this one will be a crowd favourite too. This track is Abramelin at their finest, with a perfect mix of groove, aggression, and atmosphere.

One of the more humorously titled tracks I’ve ever heard of, The Gory Hole, gives a nod to the band’s dark sense of humour, balancing the brutal assault with a touch of levity. It’s clear that these guys know how to have fun even while unleashing some of the most intense music you’ll hear this year. What a title!

Abramelin’s blend of horror-infused death metal is uniquely Australian, a sound as unhinged as a psycho killer’s soundtrack as he tears through the Outback. Tracks like Conflagration of the Dreamers and Man’s Best Friend deliver massive, neck-snapping riffs that make this album truly brutal. The guitar work is unreal, with precise tremolo riffs, groove-laden passages, and complex fretwork that showcase the band’s technical prowess.

Last Rite slows things down for a moment, offering a haunting, melodic introduction that stands out as one of the more atmospheric moments on the album. But it’s not long before the track returns to a blistering pace. Deceased Estate follows with a melodic opening and an intense tapping solo, while Meet the Meat closes with an irresistibly bouncy riff that caps off this assault in style.

The album’s finale, You Feed, I Bleed, is the longest and most ambitious track, clocking in just under six minutes. It’s an epic ender, encapsulating everything Abramelin excels at: intensity, horror, and high-caliber musicianship.

In Sins of the Father, Abramelin deliver a record that is raw, powerful, and unforgivingly heavy, a true testament to the raw power of Aussie death metal.

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