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Kynan Arden

19 posts
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Gig ReviewsReviews
February 29, 2024
Kynan Arden

[Review] Slash featuring Myles Kennedy & The Consiprators @ John Cain Arena, Melbourne 27/02/2024

Every once and a while, I have the opportunity to tap back into my rock and metal roots, reliving the nostalgia of listening to Guns N’ Roses, Slash, Myles Kennedy, and even Alter Bridge. At John Cain Arena, all of them combined into one, finally after so many years getting to catch Slash, with Myles Kennedy and the Conspirators, with the star’s special bonus of The Struts and Aussie legends Rose Tattoo.

It seemed only more than fitting to have Angry Anderson and his high-spirited charm open up the Melbourne show, as Rose Tattoo has never fallen short of putting on a solid, classic Aussie rock gig, and boy does Angry come alive with his charisma and never wavering vocals. As if this opening act couldn’t get better, Angry decided to unveil a surprise for us “early people”, and brought out none other than Slash for a few tracks, and you could tell that the frontman and the boys were thrilled to perform alongside such an iconic rock n’ roll figure. The night only got better from there as The Struts arrived to warm us up further, and I was nothing short of blown away. The stage presence of the UK hailing rockers was phenomenal, that at points reminded me of The Who. Whilst the entire ensemble shined in their energy and enthusiasm, Luke Spiller is a one in a thousand frontman. One you can’t take your eyes off of the way he dances and interacts with the crowd, engaging in call and responses and hyping everybody up flawlessly.   If this is an energy The Struts can bring as a warm up act, I can only imagine how incredible a headline show would be.

If I can say anything about a show headed by Slash and Myles backed by the usual incredible ensemble, it’s that it’s exactly what you are expecting walking into it: nothing short of electric. It was a non-stop, 2 hour long stellar delivery that kept everyone moving in their seats and on their feet respectively. Slash never disappoints, for there’s a reason he’s a rock god. With the sheer presence of him and his signature Les Paul and top hat, his moves, and the fingers that never rest, flying across the fretboard like lightning. Myself, and seemingly everyone around me, never broke our gaze upon the inhuman guitarist during his many 10+ minute solos, leaving us with chills. Myles Kennedy shined as always, with an easily recognisable house that is still strong to this day and will be for the foreseeable future. His energy radiates this ‘cool’ that’s always great to watch, whilst also showing his wholesome side performing Fill My World inspired by his dog, encouraging the audience to hold up photos of their furry friends. 

Todd Kerns, an incredible yet criminally underrated performer, was another highlight. His energy on stage is unmatched, and his foul language is as musical to my ears as Slash’s guitar craft, even also surprisingly jumping on the mic for a few covers and making that thing his bitch with his powerful vocals. 

After a thunderous encore with a beautiful cover of Rocketman featuring Slash on the lap steel guitar, followed by the coolest riffs of Anastasia, the night came to a close, and I couldn’t even rest nor sleep even hours after the show, for Slash featuring Myles Kennedy and the Conspirators gave me a buzz unlike any other. My teenage rock n’ roll heart was pumping with excitement.  

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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 6, 2023
Kynan Arden

[Review] Ghost @ John Cain Arena 04/10/2023

Whether you’re a Christian, Satanist, Pagan, or devote your life to any spiritual realm, it has always been clear to me the Ghost has always reached diverse audiences around the world. The satanic aesthetic created by Papa Emeritus IV and his cult of Nameless Ghouls has always drawn my wandering eyes to fix on them, whilst also seducing my ears to their incredible sound. Seeing this group live amongst the face-painted and costume clad fans was a sight to worship.

After a slightly delayed wait with a holy voices of a cathedral choir echoing from behind the white drapes that concealed the stage, the opening acoustic licks of Imperium were almost drowned out by the screaming of the packed John Cain Arena, all before the silhouette of a certain axe-shredding ghoul appeared colossal on the white curtain as he jammed the upbeat opening riff to Kaisarion. The curtains dropped whilst the ghouls brought on an anthem for Papa himself to grace the stage, blessing us with iconic vocals that you could identify in a second.

A quintessential Ghost performance is always nothing short of a jaw-dropping spectacle, from the set design of a cathedral depicting at first holy imagery on stained class to later depict hellish imagery towards the climax of the show, all the way down to the light-work that perfectly complimented the backdrop of each individual track, an example being the appropriate deep red as the opening of Year One chanted the many names of our favourite horned red man: 

“BELIAL. BEHEMOTH. BEELZEBUB. ASMODEUS. SATANAS. LUCIFER”

But despite each nameless ghoul getting moments to shine throughout the show, it’s obvious who the prominent character was, as Papa Emeritus had all of our eyes completely glued to him from start to finish. As highlighted previously, his vocal style and genius lyricism has cultivated its own powerful authenticity and has been become iconic within the music community let alone the rock/metal genres, reaching its height especially in the slower yet still hard tracks like Cirice and Call Me Little Sunshine. His swift costume changes were also a sight to behold, as each short interval between each track had him emerging with something new, including a steampunk top-hat, shadow-casting bat wings, his of course iconic elegant and gothic Pope outfit, all the way down to his shining red and blue “after show jackets”.

The humour and banter between the band members never failed to make me chuckle, from Papa’s charismatic humour between songs or the playful scolding of either of the soloing guitarists. We even received a cameo from a longtime Ghost character, Papa Nihil, emerging disorderly from a glass box to performing an earth shattering saxophone solo during Miasma, right before Papa uses this to segway into the next track in which “Nihil sings”, this track being the iconic Mary On A Cross, and it matters not whether you were a ghost fan before this track circled the world, or became a fresh listener of the band after the track’s popularity across TikTok, there’s no doubt every soul in the arena belted every single lyric, myself included. 

As the climax approached, Papa gave a little speech in appreciation of the community and support all before announcing the final song for the night, Respite on the Spitefields, before Ghost departed the stage….all for a short while before Papa re-emerged in response to the call-out of the audience, bantering over being told about us “expecting a classic rock show with an encore”. The charismatic frontman agreed to the crowd’s demand for three more songs (not too fond of a front row “crazy lady’s” suggestion of five songs), before the lights revealed the remaining ghouls in the darkness kicking off the encore with the ever risqué Kiss the Go-Goat. The remaining two songs required our strengthened necks for head banging and dancing shoes, for the lights radiated and glimmered with a colourful disco palate for the upbeat Dance Macabre, transitioning ever so smoothly alongside a final thanks from Papa Emeritus into the enigmatic yet powerful Square Hammer, in which the volume of the opening riff had to compete with the screams of the crowd one final time. 

As Ghost finally departed from the stage and instructing us to “fuck off” as well, I was positively buzzing for the rest of the night, as I had been apart of a mass ritual that I will not forget anytime soon, a ritual which should be experienced at least once in a lifetime…

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Gig ReviewsReviews
June 13, 2023
Kynan Arden

[Review] BABYMETAL @ Margaret Court Arena, Melborune 11/06/2023

Review By Kynan Arden

What do you get when you blend Japanese kawaii culture with brutally heavy metal?

Many people would think that’s out of the question, but that is of course absurd as these two areas manifest the oh so adorable power trio along with their monstrous mask-clad backing band: Babymetal. I was lucky enough to head down and witness the incredible stamp on Melbourne shores, joining fellow LGBTQIA+ metalheads whose numbers and energy would make old Maggie Court herself explode.

Warming us up prior to to the metal babies was the angelic vocals and filthy breakdowns of the amazing Reliqa. Having not being aware of those group prior to the show, I was, to put it lightly, blown away by the sheer energy that the group brought as well a deliciously hot dose of power metal ballads. Monique Pym’s vocals were powerful, backed by the vocalist thrashing herself across the stage joined by the equally hyperactive band mates. As well as the beautiful vocal performance, the instrumental arrangement gave the rest of the power to the music. The guitar shredded and wailed, the bass was lower than hell, and the drums were as always stellar. This Aussie group certainly should remain on the radar. 

Credit: Cam Brown Visuals

After a lengthy intermission, the lights dimmed as the tall monitor played a colourful animation detailing the birth of Babymetal in the most creative way, all before the trio marched into position and chanted the alphabet making up their name for the opening track, BABYMETAL DEATH. The energy of the metal triforce was immediately known, and I could not tell who was having the most fun between us and the girls. Knowing full well it is a staple for the group, watching the incredibly fun and creative choreography to such earth shattering, behemoth death metal accompanying them. The interactions between the trio and the crowd whilst keeping true to the layout of the performance showed their love and passion for the craft that they have been showing worldwide.

Credit: Cam Brown Visuals

Su-metal, Moametal, and Momometal, the talented trio, showcased flawlessly synchronized dance routines that mesmerized the eyes of the audience, creating a captivating visual spectacle brimming with infectious energy. From the very first note, they had the crowd under their spell, transforming them into willing captives, eagerly embracing every second of the performance. The audience became putty in their hands, singing along with pure adoration, and their passion for the music was so profound that they generated more circle pits in a single show than I had ever witnessed before. The band's sheer talent and stage presence were a force to be reckoned with, leaving an indelible mark on all who had the privilege of witnessing their extraordinary performance.

Credit: Cam Brown Visuals

The energy coming from the stage was met with an equally fervent response from the crowd, as they devoured the metal performance with a voracious appetite, as if it were their last indulgence. The collective screams reverberated through the venue, while legs bounced incessantly, horns were triumphantly raised, and mosh pits spun wildly throughout the entire set. Amidst the noise, one particular standout was the band's beloved hit track from their discography, Gimme Chocolate!, which ignited the atmosphere, causing the very roof of the Margaret Court Arena to tremble. Another shining moment, quite literally, occurred when the arena transformed into a sea of illuminating lights as it seemed every phone torch was raised high upon the band's request during a softer, more introspective segment of the night.

Credit: Cam Brown Visuals

Despite the show lasting for a little over an hour, it felt like a fleeting moment, leaving me with an uncontrollable grin plastered across my face and my eyes fixated on the stage. There was never a dull moment throughout the night. Just when it seemed like the end was near, a dark intermission signalled the beginning of a two-track encore, preceded by a short motivational film clip emphasizing the significance of triumphing over darkness and heeding the words of the Metal Gods.

Credit: Cam Brown Visuals

And then came the epic finale—the Wall of Death. As METAL KINGDOM commenced, the pits opened once more, prompting excited screams from the fans as they charged headlong into one another. Babymetal returned to the stage, presenting one final mesmerizing dance number, Ijime, Dame, Zettai, holding aloft flags adorned with their iconic logo. The blessed and appreciative voice of Suzuka Nakamoto, renowned as Su-metal, resonated throughout the arena, expressing heartfelt gratitude, and thus bringing the exhilarating show to a close. Babymetal, the embodiment of the Fox God's Triforce, delivered an unforgettable and visually stunning experience that should be witnessed by all at least once in a lifetime.

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Gig ReviewsReviews
May 2, 2023
Kynan Arden

[Review] Sleep Token @ Northcote Theatre, Melbourne 30/04/2023

Review By Kynan Arden

The metal scene in recent years has evolved into many diverse sub genres and in themselves take their own unique styles, with some groups taking this on such as Bad Omens, Thornhill, Spiritbox, and Sleep Token. I had the incredible opportunity to see the latter of this bunch at Northcote Theatre, and if anybody said that you could not mix the filthiest of breakdowns with ethereal electronics that is a lie (try telling that to Pertubator. I dare you) 

After fans packed together like tuna and bartenders delivered drinks into mosh pits as if we just invented in-house hospo DoorDash, a thick smog of smoke shielded the stage and within it, Sleep Token’s mysterious, identity-ridden front man Vessel, with his tremendous vocal dynamic, opened the night with Chokehold before the remaining mask-clad members joined him as they quickly flowed into an early fan favourite, The Summoning, to which both myself and half the venue collectively lost our voices to this baby-making anthem, and salivated at the unstoppable drum solo halfway through.

With a thunderous stick-wielded behind the kit, an engaging guitarist and bassist, the highly energetic Vessel and his enthusiastic moves, and the three statue-like, robed backing vocalists, Sleep Token set the scene of a real dark and gothic tone, infused with modern day pop and electronic influences, and the whole design of the entire being clad with villainous outfits and being devoid of any form of identity really adds the theme, in some way being comparable to a melancholic performance rather than your stock metal gig. The fans were enchanted by this phenomenal performance from beginning to end, head banging, moshing, and raving alike to the group’s discography of powerful numbers. 

Sleep Token wasted no time for the entire hour and a half they performed, perfecting a flawless performance that kept you engaged every second.  From the sultry, seductive undertones of Hypnosis, to the ever so energetic yet angst teeth gritting Granite, carrying over to the oh so behemoth-like Alkaline, every first note or beat of each track sent roars and applause thundering through the theatre, and every lyric was sung loudly as long as there were any, and no amount of makeup of masks could hide the pure energy surging through the members of Sleep Token and clear enjoyment behind the anonymity. It was an experience experiencing such a diversity between heavy, dancey, and mellow/slow songs, an experience which I admire.

Additionally, the band did not spare a cheeky nature as they teased us fans multiple times exiting the stage in short minute long intervals, and truly milked the opportunity to playfully keep us waiting before the conclusive encore, constructing not one but three mosh pits during the finale, The Offering, before the group blessed us with their gratitude upon departing. However, the classic local chant, “One More Song!”, quickly erupted from within the crowd, pleading a final hoorah. To my surprise, this worked, as Vessel took position behind the keys, accompanied by the stunning backing harmonies from the three backing vocalists, and excitingly presented a live debut of their newest single, DYWTYLM. 

It’s safe to say that for their first headline tour of Australia, the underground entity that is Sleep Token certainly delivered an unforgettable live experience after shaking the metal industry worldwide with their hits. I have a sneaking suspicion this is only really still the beginning of this powerhouse of a band’s journey, and I’m beyond excited to see what’s next. 

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Gig ReviewsReviews
March 24, 2023
Kynan Arden

[Review] Amon Amarth / Trivium @ The Forum, Melbourne 23/03/2023

With Knotfest raining down upon us downunder after what seems like a quick set of months, The Forum called one last time before the anticipated festival, for all warriors, heathens and thrashers alike banded together as a ferocious unit at the behest of none other than the Viking metal heads themselves, Amon Amarth, joined by the ever so legendary Trivium, and Malevolence. Such a monstrous lineup couldn’t go unnoticed.

Hailing from the UK, Malevolence provided an energetic, enthusiastic warm up to kick off the three set gig, and despite being listed as a support under other heavy metal greats, they shined above that status. The frontman, Alex Taylor, had a coolness that radiated the entire venue that fuelled the powerful screamo vocals he amplified into his mic, and I could not resist pulling a face identical to my expression seeing a gorgeous woman in response to the bands disgustingly filthy breakdowns that could rapture the concrete below us. It was a shame that these beasts only had a 30 minute set, for their performance was a fiery highlight in itself that certainly got the crowd warmed up with veins bulging for the rest of the evening.

Donning a stunning backdrop featuring green dragons and red demons intertwined with the group’s logo, Trivium made their explosive entrance, and the music itself could have been drowned out by the collective roar of the crowd. And let me talk about the crowd for one second, for I have never in my life experienced such a wild, ferocious, and lively mob of metal heads, as the mosh and circle pits never wavered or broke, and every chiropractor in the state will be getting a run for their money with neck appointments. I was long before I was smothered and cramped among huge burley rockers carrying me closer to the barrier, and later to the other side of the stage itself.

The energy that Trivium brings to their live shows, even those on their 14th tour of Australia, is utterly insane, with the ever so charismatic Matt Heafy always being a treat to gaze upon, Corey Beaulieu’s luscious wet hair and glorious unclean backing vocals, Paulo Gregoletto’s forever plucking bass fingers, and Alex Bent’s incredible drumming precision. The Sin and The Sentence blew the venue off the roof, as did other hits such as Like a Sword Over Damocles and my personal favourite, The Heart From Your Hate. Matt Heafy never ceased exploring the stage joint from mic to mic across many lining the front, engaging with each and every section of the venue that fuelled him with overwhelming enthusiasm, causing the legend himself to claim that it was the greatest crowd they’ve experience down under, right before concluding the set with the undeniably monstrous number, Pull Harder On The Strings Of Your Martyr, a song that surely came close to destroying my vocal chords.

The glorious artwork of Trivium’s backdrop lowered to reveal yet another stunning piece, not of mystical beasts, but of a Great Heathen army, decked out along with wooden rune-riddled panels and a giant symbol of Mjolnir.  Even the mosh pit began early as the lights dimmed and blasted Iron Maiden’s Run to the Hills, before a melodic Nordic tune filled us all with more anticipation. And just like the thunder Thor blessed our Melbourne weather with that morning, the warriors Amon Amarth took up arms and explosively opened the finale set with Guardians Of Asgard. Johan Heggs ferocious, low growls as his signature vocal technique did not stray from its glory heard in records, for hearing it live provided so much power that you could almost hear Odin’s call among them. Not only this, but the guitar harmonies could in themselves rival the call of the Valkries for the precision and flawless synchronisation was a delight to every ear. 

In only an hour, the Scandinavian band of heathens managed to turn an entire mob of Melbourne Metalheads into a ferocious Viking army, who’s chants, roars, and horns in the air inflates our warrior’s hearts. In this crowd, we all thrashed and pushed each other in joyful jest and laughter.  In this crowd, women did not sit atop men’s shoulders, for it was the shieldmaiden sisters who carried the brothers. And I could not get enough of it. Even to Johan’s amusement and joy, the women out-screamed the men in a short contest, making us mere boy bruisers rather than brothers in that moment. Nevertheless, we all chanted and howled like Vikings all together. We all sat on the ground and simulated the rowing of a longship on a voyage to Put Your Back Into The Oar, with the backdrop now depicting said ship in a vicious storm. We were encouraged to Raise Our Horns and shout “Skal!” to the band as they collectively downed beer from their drinking horns before blasting into the hit tune. We especially did not let them conclude the show without the famous tale of Ragnarok through the number, Twilight of the Thunder God, and before we knew it, Amon Amarth return with Johan raising Thor’s famous tool, Mjolnir, above his head before crashing it down upon the ground kicking off the finale.

I do not remember the last time my hair and shirt were soaked in pure sweat, whether it was mine or others, however I couldn’t expect anything less experiencing the sheer power of these three legendary metal acts back to backs, all returning after years robbed by a pandemic. My soreness and lost voice only describes how much joy I had. Would I do it all again?

…….Yes. In a fucking heartbeat   

Amon Amarth, Trivium & Malevolence will be back on stage at the very first KNOTFEST AUSTRALIA kicking off today in Melbourne!

KNOTFEST AUSTRALIA 2023
LINE UP:
 
Slipknot | Parkway Drive | Megadeth | Trivium | Northlane | Amon Amarth
 In Flames Knocked Loose | Spiritbox | Story Of The Year | Alpha Wolf
 Void Of Vision | Bad Omens | Malevolence

DATES AND VENUES:
Friday 24 March 2023 – Flemington Racecourse, Melbourne SOLD OUT
Saturday 25 March 2023 – Centennial Park, Sydney SOLD OUT
Sunday 26 March 2023 – RNA Showgrounds, Brisbane SOLD OUT

Information available at destroyalllines.com

March 24th, 2023 – Flemington Racecourse, Melbourne

Saturday 25 March 2023 – Centennial Park, Sydney

Sunday 26 March 2023 – RNA Showgrounds, Brisbane 

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Gig ReviewsReviews
March 17, 2023
Kynan Arden

[Review] My Chemical Romance @ Rod Laver Arena, Melbourne 16/03/2023

The Black Parade, after so many years, finally flooded the grounds outside of Rod Laver Arena for an iconic group that made an explosive comeback pre-Covid, and proved that their powerful performance ability had never wavered in the time they were seemingly gone. Joined by the wholesome pop-punk tunes of Jimmy Eat World, Gerard Way and his ensemble of hellhounds gave fans what they waited for as they tore the roof off the iconic Melbourne Arena.

 

Jimmy Eat World elevated the energy of an already eager crowd as they injected an enthusiastic dose of pop-punk. Performing an array of hits from their career, this band was a notably significant aspect to this tour given their history starting out and performing with My Chemical Romance, telling tales of their youth in high school and the hardships of starting a rock band at their age, in the community they grew up in. This wholesome, joyful ensemble concluded after a soaring audience roar with the unmistakable rock’n’roll hit, The Middle, a song of hope and the encouragement of following your dreams, no matter the lengths or time it takes. 

 

The interval between both sets was short and sweet, and after being entertained by an roadie seductively vacuuming the stage to the tune of Pony by Ginuwine, before the crowd collectively howled the lyrics to I’m A Believer. The lights dimmed and an ethereal synthy drone rumbled accompanied by fitting dark red beams. My Chemical Romance silently took position as the guitarist plucked the intro to The Foundations of Decay, and decked out in a ladies office attire covered by a long black overcoat, Gerard Way’s incomparable vocals swept us off our feet.

 

It was extremely difficult to keep off our feet throughout the entirety of this show. Decorated with an incredible backdrop of an apocalyptic city in ruins at the stern of the stage, MCR exceeded all my already high expectations with a heavy instrumental amplification accompanying Gerard Way’s vocal range from angelic youthfulness to monstrous screaming. And it’s not easy to rip the conversation away from the revered heartthrob frontman, as his undying energy and charisma really helped construct such a powerful show. The sold out audience was under his enchanting spell who screamed and jumped to until the perimeter of Rod Laver Arena opened an inch. It was notably difficult to not slip on the puddles of tears throughout the venue, which was understandable that this was such an emotional event for die-hard fans.

 

The middle of the night shined brightest and received the most noise as hit after hit brought the house down. Beginning with the chat worthy Teenagers, dedicated to Gerard’s ‘badass’ daughter Bandit, followed by the painful lyrics of I’m Not Okay (I Promise), all before pulling up to the 2010 era with Na Na Na. The real emotion hit upon hearing That G note. Of course familiar individuals would know this as the saddening first note introducing the undeniable classic, Welcome to the Black Parade, and oh boy when I tell you that voices were lost and tears fell like Niagara.  I tear fell to my eye not to the tune itself, but witnessing the impact that MCR and their music to has to especially younger fans, it’s this power of music that really makes one appreciate the art form. 

 

As stated before, the headbanger of a set remained unchanged for the remainder of the set. Gerard’s witty but in character quips and hollers to the crowd and the precise energy of the band kept thoughts away from any and all gig-weariness. The real kicker for me was the surprise reggae-inspired guitar skanks opening a personal favourite number of mine, Mama, a dark Cabaret tune that in my personal opinion, perfectly captures the Tim Burton-esc, gothic horror theme of My Chemical Romance, what with the catchy chorus declaration of “Mama, we’re ALL going to Hell”. The band abruptly closed the curtains on their performance in preparation for what surely would be an explosive and emotionally driven encore, after the packed arena of fans never broke from the streak of cheering; and screaming, the team re-entered to conclude the set with the heavy fast paced Vampires Will Never Hurt You ending with the follow up of the classic intro number to the album Three Cheers For Sweet Revenge, Helena, which was no better way to end this long awaited show. Gerard spiritually embraced all of us collectively in his warm arms quavering the chorus words “So Long, and Goodnight”, harmonised with the strained vocals of countless sobbing fans. 

 

Growing up, I couldn’t help but to catch an MCR hit every now and then, however from what I can remember I was always drawn to every emo theme and grew to admire the group. Finally witnessing a live show of theirs made me appreciate these beautiful memories of youth, and witness the emotional impact Gerard and his gang have on fellow youths, whether they got us through hard times, or phases of dark self reflection. My Chemical Romance, you were a treat. 

You can still catch My Chemical Romance at the following shows:

Rod Laver Arena, Melbourne – March 17,2023
Qudos Arena, Sydney – March 19, 2023
Qudos Arena, Sydney – March 20, 2023

For complete tour, ticket and VIP Experience information, visit: livenation.com.au

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Gig ReviewsReviews
March 6, 2023
Kynan Arden

[Review] Heilung @ Forum Theatre, Melbourne 04/03/2023

The comforts of my solitude and slumber was suddenly interrupted, welcomely after months of waiting, by the call of the Valkyries, hence the ravens of Odin guided me not to the tall glorious door to Valhalla, but the Roman inspired architecture of The Forum. Tall branches and exotic decoration adorned the stage as the auditorium was bustling with a heavily varied arrangement of character, from patrons fashioning their quintessential metal black, to individuals going above and beyond for the show dressed in old cotton garbs, headpieces, masks, even painted with impressive bodily artwork. I expected nothing less for the first visit down under by the titans of amplified history, Heilung 

 

Right after a touching and well needed acknowledgment to the sacred indigenous land we stand on, we were greeted by Kai Uwe Faust, wielding a burning incense in which its sparks were blown onto all the equipment and microphones, concluding with the audience, as if to give the venue a blessing prior to the experience we were about to have. He was later joined by none other than Maria Franz, both donning their iconic antler headpieces, along with a fierce, incomparably talented ensemble that all gathered in circle to perform an opening ceremony before the show commenced. 

 

What followed after was 2 hours ritualistic, spiritual form of expression and storytelling that caused my mouth to remain wide open for the entirety of the show. The grim chants and steady, unrelenting beat of the tune In Maidjan was a perfect introduction. Kai’s flawless throat singing and Maria’s vocal range of a siren constantly sent ice cold shivers up and down my body, not to mention the accompanying instrumentalists and stage performers who transformed the modern world at that moment into a glimpse of medieval pagan culture. Alfadhirhaiti…..you truly need to listen to this track itself in order to fully appreciate the monstrous power behind it. The call and response chanting of the spear/shield wielding warriors fuelled a primal warrior instinct within me that made me wish to storm and pillage the shores of England and Francia. 

 

One aspect of this show that really stood out me was the expression of wild foundation of human nature, conveying the true independence of the human body and soul devoid of rules and guide lines delivered through a perfect amplification of our history through Scandinavian and Germanic culture. For this was a culture that did not discriminate or promote prejudice, for both men and women of the times shared all when it came to duty, sexuality, and spiritualism. Women bore their naked chests displaying their strength as much as men did. Women rode along men in battle. Men embraced activities that throughout recent history would be seen as “feminine”. This was both touching and liberating. This stunningly undomesticated spiritual awakening also captivated every soul in the ordinance to the point of almost acting like Germanic warriors at a feast. Hell, at one point I let out an animalistic scream that I never though could leave my thin body! 

 

Throughout this performance we were taken through many intense tales of pagan culture. With a handful and warriors thrashing the bottom of their spears in rhythm whilst chanting promoted the ferocity of battle, Druid-like characters performing animalistic rituals and ceremonies, and the use of such unique ancient languages in their lyrics taken from the stones such as Eggja. One aspect of history they heavily display is the band of warriors themselves, in which the band recites this specifically from the writings of Tacitus whom scribed the tales of the Warriors, named the Harii, painted in black to cause chaos attacking their foes at night. The entire idea of Heilung is for them to to demonstrate a beautifully wild and almost forgotten culture in history to the modern eye, and this unforgettable performance demonstrates this flawlessly.

 

The show concluded with what I can only describe as a full on pagan rave, as all the performers built up a monstrous 10 minute track to what I could only interpret as a celebratory ritual. The percussionists thrashed their drums in perfect rhythm, the vocalists chanted excitedly, and the ensemble performers danced in such a captivating frantic way that pumped the sold out venue with non stop energy. The Warriors themselves couldn’t help but grin though the ballet as us audience members clapped and jumped along to this wholesome conclusion. The historic party ended with a final ceremony, both mimicking but responding the the opening, before these unforgettable characters gracefully exited the stage.

 

And thus I remain, 1 hour after the finale, beer in hand at my local pub, but not ever drifting from the ongoing buzz I felt which was so strong it drown out the entire rowdiness and music around me. I do not think any words I write can do justice the magic I had just witnessed. Heilung had brought to me an art that I only now have become to fully appreciate and awaken to, and I truly hope that this band, and everything they represent, will continue to prosper for years on end. 

 

Fin  

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Gig ReviewsReviews
February 25, 2023
Kynan Arden

[Review] Sting @ Rod Laver Arena, Melbourne 23/02/2023

There aren’t many appropriate words to describe the greatness Sting’s influence on music, whether it’s his songs themselves or the known influences he draws from all corners of the world, notably classical renaissance and Jamaican reggae. What made this recent tour of his so special was Gordon Sumner bringing his son, Joe, along as a support act, and what better way to experience this at it’s fullest than joining my own father who’s been impacted by Sting’s music as early as the Police days.

Joe Sumner beautifully demonstrated his own musical prowess through a heartfelt track list of original, folky, acoustic numbers clearly demonstrating his authentic love and pursuit of his artwork. His opening tune, Looking For Me Looking For You, was a standout in itself for me personally being a lover of certain musical elements with the way Joe doubled up his vocals with a guitar lick. Other stand outs included Jellybean, a very personal soliloquy, almost nursery rhyme dedicated to his children, and Hope, joined by Paul Dempsey that provided a powerful finale to this supporting act. Joe Sumner’s authenticity as an artist and mind-blowing high vocals was in itself a treat to witness, an performance that would undoubtedly make his father proud 

You know when you see someone so legendary up close long enough that you start doubting your own present reality? This is honestly a feeling I can’t describe better as Gordon Sumner himself, along with his remarkable band, entered the arena opening the set with none other than the famous letter on solitude, Message in a Bottle. This was followed closely by other iconic Police tracks like Englishmen in New York and the up-tempo wholesome love letter that is Every Little Thing She Does Is Magic. It was a struggle to find any member audience, mixed with both old and young fans alike, dancing on their feet and belting every word, including myself proudly. This was all before Sting acknowledged and thanked the fans for their lyrical cooperation, and then almost apologetically expressed a humorous, exaggerated disdain for the amount of new/solo material he would be performing for a large portion of the night.

There was nothing to even jokingly apologise for however, for Sting had demonstrated a magical setlist filled with heavy influences such as classical, R n B gospel, reggae sounds from the many artistic streets of Jamaica, and even the instantly recognisable licks and musical language of Arabic impact. Amongst this artistry, Gordon’s vocals never wavered, and this was only beautifully accompanied by the highly energetic and sensational backing vocalists, whose spirit/image never failed to plaster my face with a grin as their enjoyment of the night were never disguised. Sting also had the entirety of Rod Laver Arena wrapped around his finger between songs as his humour and level of storytelling is unmatched. The story telling impacted me most as he described his home which surrounded itself with barely fields, perfectly setting up the plaintive thirst of Fields of Gold, in which its nostalgia alone set off every emotion in my body and soul.

Right before Sting concluded his two-hour magical recital with remaining Police hits, an almost orchestral performance of What Could of Been, joined by an emotional but breathtaking montage of scenes from the hit animated show Arcane in which the track is featured on it’s OST. The energy picked up afterwards however as the iconic keys-doubled Bassline of Walking On The Moon echoed through the venue, later on followed with Stings’s son, Joe Sumner, once again joining the ensemble on stage for King Of Pain, and the strangely beautiful but haunting Every Breath You Take.

Encores have not yet exited large shows like this, and annoyingly exciting as they are, for Sting and his band only made the wait short before re-entering the stage. Sting once again let his humour run wild as he teased us fans by jokingly forgetting one last chart-topping Police number, humorously complaining about his straining vocals as every one of us screamed ROXANNE, before finally the guitarist broke the tension performing the iconic introductory reggae skanks of the legendary tune. This song did not conclude the night however, as Sting sat on a stool with an acoustic six string and wanted to formerly conclude the night with a beautiful, heartfelt rendition of Fragile dedicated to harrowing disasters currently happening over in Ukraine, Russia and Turkey, giving a voice to families or individuals who is left to do nothing but Endure and Survive through such horrific events. Another tear jerker that concluded such a breathtaking and unforgettable night that will continue to flood my soul with joy months after its performance. 

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