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Terri Nas

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Gig ReviewsReviews
September 3, 2024
Terri Nas

[Review] Trophy Eyes @ Forum Theatre, Mebourne, 31/08/2024

Trophy Eyes are no strangers to the punk-rock scene in Australia, and their latest tour proves that the Newcastle-based band aren’t going anywhere in a hurry. After wrapping up their Australian Tour in Melbourne over the weekend, they are about to venture to Europe to continue the party. Melbourne’s exquisite Forum Theatre hosted the final show of the tour, and I swear that with every visit to this historic beauty I fall more in love with it and its intricate features. As I waltzed in, the room was already relatively full, and it was obvious that the punters were keen to make the most of their Saturday night out on the town.

Kicking off proceedings were Adelaide duo, Towns, and their upbeat set provided a good foundation for the night ahead. The pair rocked out and seemed genuinely thrilled to be playing in such an iconic venue in front of a big crowd. Boston Manor were next up and they certainly made sure they were going to leave their mark on our country before heading back to their home in the UK. The 5-piece outfit opened their show with the guitar-heavy tune, Container. These guys had an awesome sound and even better energy, and the crowd were feeding off it for their entire set. The eerily haunting guitar riff of Floodlights On The Square got the crowd excited, as did Sliding Doors and Halo. Boston Manor’s set was super tight, and my body couldn’t help but move along to their killer sound.

The theatre was now wall to wall with black-clad bodies who were keen to see Trophy Eyes come alive on stage, and what an entrance they made! Luciano Pavarotti’s arrangement of the breathtaking aria, Nessun Dorma, filled our ears with pleasure and my skin was alive and crawling with goosebumps as the song built into a crescendo in which the band made their appearance once the song hit its peak. This operatic masterpiece certainly made my nerdy little music heart very happy. It was straight into the one-minute wonder, Sydney, which flowed right into Life In Motion with the ecstatic crowd showing their appreciation. Heaven Sent had lead singer, John Floreani, demanding that everyone get off their asses (I assume their metaphorical asses considering it was standing room only), and the song floated around beautifully with fans singing along passionately.

Popular tracks like My Inheritance, Figure Eight and Friday Forever kept the crowd’s appetite well-fed, and the energy coming from the stage was absolute fire. At one point during the night, we were all told to pull our phones out and open up our music streaming apps so we could follow the 2 talented support acts, and Floreani reminded us how important it is to support art because there is no life without art, and art is expressing life. He couldn’t be more accurate, and it seemed everyone in the room was in complete agreeance with his sentiments. The thrumming bass and drum intro of Kill was reverberating throughout my body, and the crescendo into the heavy chorus made this song one of the standouts for me. The band proved they are all for the fans and explained how much they enjoy seeing the same faces in the crowd of those who’ve been supporting them for decades, and then went on to dedicate one of their older tracks, Choke, to those fans who’ve always supported and believed in them.

We were treated to some killer tracks from their most recent album, Suicide and Sunshine, which included OMW, What Hurts Most, Burden, and Epilogue, and you could be forgiven for thinking that these songs were decades-old anthems, given that the crowd seemed to know every single word and were singing along with all their might. The night was slowly drawing to a close and just when I thought the crowd had been behaved and respectful, I saw three security guards make a mad dash down towards the front of the stage. I love a bit of people watching drama if it doesn’t include me, so I got out my popcorn as I watched a guy being dragged out kicking and screaming for doing who knows what, with his 2 very sheepish friends following behind. See ya, mate! The entire theatre turned into a choir as the crowd screamed “Some of my friends sell drugs, But I just sell sad songs,” and took over the vocals on You Can Count On Me. I’d say this was a sick way to start winding down the show, but these guys were still winding up and their power wasn’t dropping off anytime soon, especially with their popular hit Chlorine being just as energetic and finishing off this epic show.

Trophy Eyes certainly gave the fans their money’s worth and then some, and I can only imagine the excitement they’ll spread once they hit Europe on this tour showing the world their formidable talent. An awesome live show from a brilliant Aussie band!

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Gig ReviewsReviews
July 19, 2024
Terri Nas

[Review] Michael Marcagi @ 170 Russell, Melbourne 17/07/2024

Move over Mumford & Sons and The Lumineers. Michael Marcagi is the new kid in town, and I have a feeling in my waters he’s going to do big things. 

Hump day in Melbourne and the streets are slicked with what feels like never ending rain, and despite my body adorning multiple thick layers of warmth it still wasn’t enough to combat the icy wind slicing its way through me. I head on down into the dark depths of 170 Russell and, my claustrophobic fears aside, this has fast become one of my favourite live music venues in Melbourne. I’m here to see Cincinnati-born singer-songwriter Michael Marcagi who is down under for the very first time, spreading the joy that is his music across our great country. 

To start the night and melt the icicles off our face with her warm tones was Tasmanian singer-songwriter, Maddy Jane. Maddy Jane hails from one of the most southern parts of the world before you hit Antarctica, and being an OG Tassie-born gal myself I couldn’t help but feel proud to have such a fabulous talent showcasing her gift around the country. With her melodic voice and guitar in hand, she blew us all away with a solo set which included the relatable June, Thylacine (TASSIE REPRESENT), and a stunning Paolo Nutini cover, Through the Echoes. Maddy Jane invited fellow singer Kaitlin Keegan on stage for a couple of numbers, and their voices were perfectly blended with flawless harmony. 

With a break in proceedings, the room was filling fast and there was an excited buzz around the place whilst the young crowd were awaiting the main event. Soon enough, the lights were lowered, and Norman Greenbaum’s Spirit in the Sky played out as Michael Marcagi and his 5-piece band venture out on stage to a huge round of applause from a delighted crowd. The mandolin-heavy upbeat track American Romance – from the EP of the same name – opened the set and straight away I can tell we’re in for a great night. Next was Spend My Money which is a track from Marcagi’s former band that he used to front, The Heavy Hours. 

In the Light’s lyrics hit me hard and was definitely one of the standout songs for me, before we were treated to a ripping cover of Olivia Rodrigo’s Deja Vu. In between songs, it became quite evident that Michael was so genuinely thrilled, and perhaps even slightly overwhelmed to be here in Australia. He was continuously gushing at how much he loves it here and was even repping a green and gold ‘Australia’ t-shirt that he’d bought from the souvenir shop over the road for $17 bucks. Talk about dedicated to the cause! The up-tempo track Savannah was another one that I could see everyone appeared to be getting into, before it was time to test out some new music on us with Stick Around. Michael was then left to his own devices as his band vacated the stage to leave him to do another new track on his own, and man this one packed a punch. The raw and gritty emotion in his vocals, especially in the bridge of this song, was something else and definitely one of my favourite moments of the night. He told us a hilarious story about performing that song recently and after the show, a concert-goer approached him to tell him how unsettled she felt because he was staring at her the whole time he sang that song. In his defense he couldn’t actually see 3 feet in front of him due to the blinding stage lights, but this woman was convinced he was staring at her so now he has a serious complex about “being that creepy guy on stage”. 

It was time for another cover and this time it was in the form of the Harry Styles hit, Two Ghosts. The crowd loved this one too and were singing along, and jokes were made about how he only had 6 songs out in the world, but next time he comes back to Australia he promised to have more songs of his own to perform. The night was starting to draw to a close but not before Tear It All Apart, followed up by the popular, Scared to Start. It was a sea of iPhones and not a cigarette lighter in sight as the crowd sang along passionately to every word of this song, whilst capturing every moment for themselves to watch over and over again once they were home. It was goodnights all round as Michael and his band vacated the stage, but with the crowd’s feral reaction for more they had no other choice but to come back and give us one more song. The Other Side was our reward and the whole room erupted and once again provided back up vocals. It was then goodnight for good as Michael Marcagi and his band waved graciously as they headed off.

Marcagi’s beautiful vocals, songwriting prowess and musicianship make for a killer mix, and I think he’s going to do big things in the future! Add to this the fact he seems like such a genuine and humble guy who appears to be truly touched by his existing fans and their dedication. Throughout the show he kept raving about his newfound love of Australia and the surrealism that he’s here performing for crowds, and I can say we would love to have him back anytime! I can’t wait to see what Michael Marcagi delivers us next because guaranteed, it’ll be fantastic!

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Gig ReviewsReviews
June 24, 2024
Terri Nas

[Review] The Paper Kites – Forum Theatre, Melbourne 21/06/2024

Friday 21st June. The shortest day of the year and a full moon was illuminating the night sky, but thankfully it hadn’t brought the crazies out as I strolled through the city with my friend to catch The Paper Kites at The Forum. The five-piece outfit that originally hail from Melbourne have been touring Australia for the last month, off the back of their world tour which has had them taking their music far and wide around the globe. The theatre was slowly filling as we ventured in and settled into a standing position down toward the front of the stage. The crowd was made up of a specific age group, with majority of punters being loved up couples who were clearly there for date night. To kick the evening off and set the vibe for the night was Australian singer songwriter, Hannah Cameron. Hannah did a beautiful solo set, and with just her guitar in hand and 2 backing vocalists, she managed to hold the crowd at attention where you could’ve heard a pin drop. She navigated her set effortlessly, ensuring the audience were thoroughly entertained and now in the zone.

It wasn’t long between sets before The Paper Kites entered the stage to an excited round of applause from the intimate crowd, and then took their seated positions. Between the Houses was the first cab off the rank, and the quiet acoustic sound with the subtle pedal steel layer instantly put the audience into a trance-like state. Till The Flame Turns Blue would have you believing that the band were from the likes of Nashville or Texas with their unique sound that appears to be heavily influenced by bands that hail from these areas. Lead vocalist Sam Bentley then greeted the room and let us know how thrilled the band were to be playing in their hometown. This was the second last night of the tour before it wraps up, and they were equally as stoked to be playing in one of their favourite venues in the world. To be fair, The Forum is an absolutely incredible theatre and I think any musician would be honoured to grace its stage, with the walls soaked with the music of the legends that have played their previously, the building certainly has a story to tell.

Bentley explained that this tour came about after the band set up camp in a little town called Campbell’s Creek at the local roadhouse which they managed to turn into a bar. The first gig they played there attracted 5 people, until word finally got around town that the band were in residence in which they were then playing to a packed house. When we were told the next song was Hurts So Good, my friend Anna and I looked at one another with sheer excitement thinking were being treated to the John Cougar Mellencamp track. But our bogan dreams were shattered when we were told that in fact, no, this song wasn’t to be confused with Mellencamp’s hit. We definitely weren’t disappointed with this track though. I had to laugh that every thought I had and shared with Anna was then completely validated by the band. Looking around the room you could see the loved-up couples feeling each song, and then others that had that look on their face that this music was the soundtrack to a breakup where they laid in bed eating ice cream listening to The Paper Kites on repeat. The band were then joking around saying that their music is for sad people and couples and has the ability to have couples thinking they’re safe, until they leave their show then questioning if they’re with the right person. A sense of humour goes a long way when you’re the frontperson of a band, and Bentley certainly ticks all those boxes. He then cheekily dedicated the next song, Nothing More Than That, to all the sad folk and the doubting couples. The crowd absolutely loved this, and when bandmate Christina Lacy took over on vocals during the song, the crowd well and truly showed their appreciation.

Green Valleys kept up the melancholy mood, whilst Tenenbaum had drummer, Josh Bently picking up the harmonica to contribute another beautiful layer to the track. Another song from their latest album At The Roadhouse – I Don’t Want to Go That Way – had the crowd conjure up a collective sway as we were all still completely hypnotised by this magical musical fog that had infiltrated all our bodies and minds simultaneously. The band then all rose from their seats and gathered around an old school ear trumpet Delphina microphone, and the whole vibe had us all placed at the Ryman Auditorium in 1950’s Nashville watching the Grand Ole Opry. They then kicked off with their massive hit Bloom, and the crowd went absolutely wild when the plucked guitar intro rang out. This was such a special, intimate and moving moment as the crowd sang along to every word, and the look of pure joy and appreciation emanated from the band.  

June’s Stolen Car then picked up the pace with its electric guitar intro, and when guitarist David Powys hit us up with his vocals, this sent everyone into an excited spin. This song was undoubtedly one of my personal favourites of the night. The band kept up the musical adventure with Without Your Love, Good Nights Gone, and then Black & Thunder kicked in with its funky beat and almost sultry blues feel that had my body moving before I could even realise. The band then hit us up with an Adrienne Lenker cover, Anything, in which Bentley acknowledged that she is one of the best lyricists around and that they hoped to do the song justice. I can guarantee that that’s indeed what they did. For the last song of the night, Paint, the group once again came to the forefront of the stage and gathered around the Delphina. There was a collective happy sigh in perfect unison from the audience once the intro started, and this song was another crowd favourite.

We were then wished good night before the stage was emptied and the audience were left wanting and weren’t going to budge an inch until they got a bit more magic. The stage lights faded up so the band could deliver the encore goods, and the moving sound of By My Side placated the audience whilst also providing ALL the goosebumps. Electric Indigo closed off the show beautifully and by the look on everyone’s faces, not a single a person had a bad time.

The Paper Kites have achieved something very clever – whether its consciously or not – but their band name describes their musical style perfectly. Their songs sneak into your brain bringing an overwhelming sense of calm, before making you feel like you are in fact a paper kite, floating aimlessly in the sky with the warm sun on your face and not a care in the world. Their music is honestly just what your soul needs sometimes, no matter the mood you’re in or your usual musical preferences. At the end of the gig, I passed a poor distraught lady who thought she may have popped her knee out. Whilst this obviously wasn’t funny, I couldn’t help but be amused at the irony of the fact that of all the gigs in the world you could sustain an injury at in hectic moshpits or otherwise, it was at the most mellow gig imaginable. The band had joked earlier in the evening that they had attracted a crowd surfer once when they were in Salt Lake City, but despite this funny anecdote I don’t think this woman had tried to give it a go. With flawless harmonies, and instruments that sing and appear to be an extension of the human playing them, this was certainly a show for the books and a wonderfully unique experience.

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Gig ReviewsReviews
May 6, 2024
Terri Nas

Missy Higgins @ Palais Theatre, Melbourne 3/05/2024

Never in my young life could I imagine getting to a point where I would start a story with “20 years ago…” and actually have a living adult memory from that time, rather than it just being a blurred childhood recollection. So, when some of your favourite bands and artists start embarking on their ‘20th Anniversary Tours’ for albums you could swear to god were only released a year ago, the reality check hits you like a tonne of bricks. The latest artist to embark on such a tour is our very own and incredibly talented, Missy Higgins. Her debut album The Sound of White turns the big 2-0 this year, and she is currently touring the country far and wide to commemorate the hit album and its success.

Friday night my friend and I headed toward the ocean and landed in St Kilda at one of its most iconic landmarks, the historic and beautiful Palais theatre. This night she was lit up tastefully in a purple and red glow and commanded the attention of every passerby with her dominant presence on the St Kilda foreshore. As my friend and I approached, the crowd were gathering outside the doors and the icy sea breeze cut straight through us as we stood out the front finishing our traveller cans like a pair of naughty 16 year olds. With no support act and an early start time, there was just enough time to rehydrate at the bar and head in to settle into our seats ready for the night to begin.

We didn’t need to wait long until the lights went down, and Missy Higgins entered the stage to sit at her grand piano, to cheers and a huge round of applause from a very excited 2000-strong crowd. To start the set, she kicked off with one of her early songs Falling, and went on to explain that she’d put out a message on her socials asking fans to request songs for this set. The first half of the show was to be a mixed bag of old and new songs, before we revisited The Sound of White album. Halfway through singing The Battle, Missy had a temporary mind blank and hilariously said “Fuck, what are the words? This is what happens when I’m asked to play songs that are 20 years old”. We were then treated to a new song, Story for the Ages, which is on her new album due to be released later this year. Missy explained she wrote the song about coming to terms with her separation from her husband, and having to rewrite her story because it didn’t go the way she had originally planned. Despite her cheery demeanor and her reassurance that she is moving forward with her life, the raw emotion and grief is still clearly evident when Missy discusses this particular phase of her life. Being privy to that open emotion feels like a privilege and makes someone’s story and their music dive deeper into your soul.

The Broken Ones is another new release, and the relatable and emotionally charged lyrics really hit me for six. Throughout this entire set, Missy was alone on stage(bar a couple of numbers that included her backing vocalists), and she seamlessly floated between her piano and guitar, so the acoustic nature of each song gave it an additional layer of depth and feel. The Cactus That Found the Beat was a fun, upbeat jazz-inspired song that Missy wrote for her Year 12 end of year performance and had the crowd grooving and clapping along to the funky beat and her nifty scatting. We then got a huge surprise when Aussie singer Angie McMahon joined Missy on stage, and together they sang Where I Stood. The combination of Missy’s heavenly smooth tones and Angie’s ethereal vocals made this song other worldly, and the collective goosebumps in the theatre were palpable. This was a truly incredible moment, and one that I feel lucky to have witnessed first-hand. Missy made a joke about selling tissues at the merch stand, given the sad content of a lot of her songs, and I found this comment quite appropriate as she sang another new release in which there’s a line she sings about crying in the kitchen once the kids have gone to bed. It’s easy to forget that artists in the public eye are just as human as anyone else, and this particular lyric was really quite poignant and a stark reminder of this.

It was time for an interval so the crowd could grab a drink and emotionally reset, in anticipation of ‘The Second Act’. All For Believing opened the second set with a haunting arrangement with just keys and a cello, before the 6-piece band entered the stage appropriately dressed in white, to perform Katie. Missy flaunted her custom-made short suit for the tour with an accompanying white tasselled jacket, with different meaningful symbols embroidered on it to represent different lyrics from her debut album. The River prompted Missy to recall how she used to freak out her teachers at school with her fucked up stories, but it’s fair to say it seems to have worked out pretty well for her career-wise.

Nightminds brought a solid lump to my throat and had the nostalgia flooding right back into my bones, before Ten Days had me reminiscing about all the boys I wasted hours crying over in my younger years. Missy Higgins and her tunes of heartache were on high rotation on my broken heart playlist and despite the time that has apparently passed, she has the power to evoke all those feelings again making them bubble to the surface. This is How It Goes had Missy showcasing her incredible vocal ability where in one instance in the bridge her voice was doing things I didn’t think humanly possible, and the crowd agreed with their enthusiastic response. We kept moving through the album (not in track order) before landing on The Special Two. You could feel the physical energy of everyone in the room during this iconic track, and the audience couldn’t help but sing along (at a respectful level). Missy thanked her fans for riding this journey with her and for sticking around for the last 20 years, before leading into her first huge hit Scar that had the room singing along to every word and up dancing in the aisles. The Sound of White appropriately finished off the show, and the room completely erupted at its conclusion with raucous cheers and a well-deserved standing ovation.

Missy Higgins is one of our greatest talents in this country, and her songwriting and musical ability is second to none. Her incredible voice is a soothing salve for the soul, that has the extraordinary ability to heal even the most broken of hearts. This was a truly magical night of emotion inducing nostalgia, and I’m so thrilled that I got to experience it in the flesh for myself. Those that have been to this show will know exactly what I’m talking about, and will understand that sometimes there just aren’t enough words that will do this night and the whole entire tour justice.

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Gig ReviewsReviews
April 23, 2024
Terri Nas

[Review] Pandemonium Rocks Fesitval @ Caribbean Gardens, Melbourne 20/04/2024

Now it’s no secret that there has been a LOT of negative talk in the months leading up to the Pandemonium Rocks Festival, and not without good reason. What was initially marketed as a ‘too good to be true’ line up, turned out in fact, to be just that. 13 bands with multiple stages were eventually dwindled down to one stage housing just 7 bands for the day, and then throw in the extremely poor handling of refunding of tickets (or lack thereof) which understandably left an extremely bitter taste in the mouth of some punters. It was going to be an interesting day indeed, and I was intrigued to see what the day would have in store for me in terms of the organisation, crowd numbers and overall vibe. 

The festival was held at the Caribbean Gardens in Scoresby, which after exploring my transportation options, dawned on me that the this wasn’t an ideal location for a festival, and it was going to be a pain in the proverbial just to get there. There was limited onsite parking available for an additional fee, which was sold out prior to the day. Bookings for the designated shuttle buses closed a couple of weeks before the festival, and public transport was a couple of trains and then some bus hopping – forget it. I thought it a bit unfair to cut transport booking options off so early in advance to the event, as I’m sure there weren’t any refunds given for those cancellations. Not knowing the area, I took my chances and drove and ended up in a side residential street not too far from the site. With the site being tucked into the back of a big industrial estate, it was still a hike to get in there and I felt for those unable to physically walk that far. 

The sun was out and the temperature was comfortable, but I knew that the cold would be fast-approaching once the sun packed it in for the day. As I wandered through the gates, The Cosmic Psychos – donning wifebeater singlets, hard yakka and footy shorts – were in the midst of their set belting out some of their songs including Nice Day to Go to the Pub, Fuckwit City and Dead in a Ditch. Before me a sea of camping chairs and picnic rugs were laid out with people mulling about and setting up their camp for the day, with others wandering around checking out the merch and their surrounds. An abundance of portaloos – tick. A good variety of food options – tick. So far so good. I ventured toward the bar area and noticed a HUGE line of thirsty patrons waiting patiently, and it was then I was thankful that I was my own designated driver and wouldn’t have to line up for years to get a drink. 

I decided to grab a bite to eat before the next set and with only a small handful of tables and chairs available for use, some kind strangers at a table were very accommodating to this girl who just wanted to sit down for 5 minutes and chow down on her burrito bowl, because I was going to need my stamina for the night ahead. I ventured on down toward the front of the stage to get a prime position for Aussie rockers, Wolfmother. One elderly music lover had walked down to the front of the stage with her zimmer frame, and I marveled at her dedication to the cause. Wolfmother hit the stage, and the crowd were pretty damn excited. It’s been about 15 years since I’ve seen them live, and they’re a band that I forget how much I love and miss them and their sound until I hear them again. They’re just a great, no bullshit Aussie rock band, and their playing was sublime. They played through a number of their hits including Woman, Dimension and Joker and the Thief. A select few people around me were getting into it, however I feel the band didn’t get the reaction they deserved due to their early time slot and probably the sobriety levels of the crowd at that time of day. Singer Andrew Stockdale declared “Rock and roll ain’t dead yet, and we’re living proof”, before rounding out their set and departing the stage. 

Chatting to a few concert goers and even a fellow reviewer whilst waiting in line for the portaloos, it seemed apparent that a lot of the crowd there had purchased their tickets in anticipation of seeing the bands on the original line-up who had eventually pulled out. Wheatus were next to hit the stage, and even though I’m old enough to remember them hitting the big time and owning their CD single (go ask your parents, kids), I couldn’t remember them releasing any other songs during that time, so I wondered if they were going to fill their set with a 40 minute extended version of Teenage Dirtbag. Surprisingly, they filled their set well with songs like Fourteen, Leroy & Hey, Mr. Brown and although I didn’t know them, I did recognise a cover of AC/DC’s Rock and Roll Damnation before they finished off with the only song anyone cared about, Teenage Dirtbag. The crowd were loving it sick and singing along to every word of the early 2000’s anthem. 

Dusk was upon us, and it was at this point that I got led toward the front of the stage by a friend of mine, when my intention had been to watch from afar without people breathing down my neck. It was more of an opt-in situation rather than opt-out, so this is where I realised I would stay for the remainder of the evening. English rock band The Psychedelic Furs hit the stage, and their fans seemed to be getting into them. Unfortunately, the mix was off which meant the sound wasn’t great from my vantage point. It also seemed to be affecting the band as numerous times singer Richard Butler asked to have the levels changed, and even had to stop a song halfway through because he couldn’t hear himself. They played one of their most famous tracks, Love My Way, as well as a number of other tracks like Wrong Train, The Ghost in You and Pretty in Pink. 

We were now getting to the business end of the night with the 2 bands I was most looking forward to. A police siren soundtrack rang out from the stage and 70’s rockers Blondie entered, with lead singer Debbie Harry rocking a green pant suit and black Zorro-like mask. They opened with X Offender and then led into Hanging on the Telephone. One Way or Another and Call Me really got the crowd amped up and singing along. Once again, the sound was a bit of a letdown and with Harry’s vocals not being overly strong anyway, they were completely lost amongst the music at times. I did wonder if it was because I was so close to the stage, but in my experience the sound should still be decent whether you’re 10 metres or 100 metres from the stage. Blondie still put on a great and entertaining show, and when the stage was drenched in neon green lighting, Atomic blew us away with the addition of guitarist Tommy Kessler’s ripping solo on his Flying V. Blondie played for over an hour and included In the Flesh, Rapture and The Tide is High in their set. Heart of Glass had Harry donning a mirrored cape with a hood, before they finished off with Dreaming.

Darkness was well and truly upon us now, the air was chilled, and as I looked up to the sky in amongst the dark clouds was a near-full moon shining through. I couldn’t help but think how eerily cool and appropriate it was, given the act we were about to see next. There had been a little movement in the crowd which now mean I was about 6 people deep from the stage, and in a prime position to see shock rocker, Alice Cooper. The props were rolled on stage and a huge double drum kit was lugged on in 2 parts. My excitement was growing as it had been 19 years since I’d seen Alice Cooper, and I’d been front row squished on the barriers for that show. More movement on stage and a black curtain was in place, shielding us from the happenings behind it. The lights go down and 2 characters in creepy old fashioned plague masks with a long beak cross the stage ringing a bell. The intro plays out and Alice Cooper busts through a banner in all this black, leather-clad glory. The crowd were going mental by this point as he opened the show with Lock Me Up which was followed by Welcome to the Show. No More Mr. Nice Guy had the crowd singing along, as did I’m Eighteen. Billion Dollar Babies had green confetti guns going off, before Hey Stoopid and iconic anthem Department of Youth kept the crowd singing along. His band would have to be some the fittest people in the business, as their energy was off-tap and didn’t waver at all. Snakebite had Alice wrapped in a REAL LIVE snake (That’s a big no bloody thanks for me!!) and I was impressed that he could still perform so comfortably with that slimy thing wrapped around his body. 

It was then feeding time and I had the urge to start screaming “We’re Not Worthy” (Wayne’s World style) as the intro to Feed My Frankenstein played out. One of my favourites and I couldn’t help but scream along to the lyrics. Next on the list was my ALL-TIME favourite Poison, and the crowd were going sick for this classic hit. Throughout the song Alice was walking around pointing at audience members asking if they were poison, and I swear to absolute god he pointed directly at me and eyeballed me as he asked, “Are your lips venomous poison?” I wondered who he’d been talking to that had been telling stories about me…

A few more tracks followed including Black Widow Jam, Elected and Ballad of Dwight Fry, in which he was locked into a strait jacket, before ending the set with an awesome version of School’s Out that sampled Pink Floyd’s Another Brick in the Wall. His songs are played with such passion and energy that every single song could be a finale because they’re so epically huge. The crowd was left absolutely buzzing as he left the stage, and his impressive and engaging stage show was just as brilliant as I remembered it nearly 20 years ago.

In what was a day that many went into with disappointment, Alice Cooper was definitely the redeeming factor and saving grace of this festival. Without being bias, I definitely think it would’ve been a pretty mediocre line-up without him. I did have a great day all round, but I went in without any pre-conceived ideas or opinion, so I understand that others may not have felt the same. I don’t think I’ll be hurrying back to this venue for another event given its location, but the layout of the grounds were easy and straightforward to get around. Once I was home my body was telling me that I’m probably a bit too old to be down in the moshpit, however you know you’ve had a good night when your whole body is aching, and you have to go to bed with a big dose of Nurofen and a hot water bottle. Just another day spent listening to great live music, to fill my little music-nerd heart. 

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Gig ReviewsReviews
April 17, 2024
Terri Nas

[Review] James Taylor @ Margaret Court Arena, Melbourne 16/04/2024

It’s a cold and rainy winter night. You’re lounging on the living room floor with a glass of wine in front of the heater, turntable crackling in the background, and the sweet, mellow smoothness of James Taylor is absorbing your ear drums as well as your soul. Life is content. This is the exact vibe that washes over me whenever I hear his voice…

Tuesday night in the city and it was baby boomer central at Margaret Court Arena, as a few thousand punters ventured in to see legendary singer-songwriter James Taylor. Taylor is currently touring the country on what has been dubbed as his last Australian tour. 

As my friend and I were standing in line waiting to stuff our faces with Mr Miyagi’s pork baos, I could’ve sworn I saw James Taylor walking through the crowd. In fact, there were about 30 James Taylor’s strolling by me on their way to the bar. At first I thought my hunger was making me hallucinate, I soon realised that in actual fact there were just a lot of men sporting their flat caps, paying homage to the man of the hour who is known to have one as permanent fixture to his head. For those spring chickens less acquainted with the style, think Peaky Blinders hat. 

Given there were no support acts, it didn’t take long to dive straight into proceedings once we’d taken our seats amongst the hoards. The house lights were killed off, and Mr James Taylor walked out on stage (yes, wearing his iconic hat), under a single spotlight and was met with a huge applause. His hat was removed, and he took a bow before settling into his position for the night. He let us know that he was so glad to FINALLY be back in Australia and that it’s such a long trip to get here. The show was opened with Something in the Way She Moves, in which Taylor revealed that this was the first song that he played for Paul McCartney and George Harrison in 1968. The Beatles had just started Apple Records and after hearing that song, Taylor was the first artist to be signed to their label. There’s nothing I love more than listening to an artist give a backstory on their music and creating this whole bigger picture than what you initially realise. 

Rainy Day Man followed before we were led into That’s Why I’m Here, which was written after the death of his good friend and partner in crime John Belushi, which was then a catalyst towards Taylor’s own recovery. A song about our own beloved Australia, Yellow and Rose played out, until we were a “long way from anywhere” with Anywhere Like Heaven. Throughout the first half of the show I was having a good laugh at the female cohort of the crowd, yelling out that they loved him in which he awkwardly and cheekily reciprocated, however I did think it was going to get all Tom Jones there at one point and I was going to see underwear being thrown at the stage. Before getting into Never Die Young, James told us “That’s actually great life advice and if you’re young enough then don’t die. It’s too late for me but save yourselves!” His dry sense of humour was present throughout the entire show and had everyone laughing along the whole night. 

After Country Road, in which I couldn’t take my eyes off drummer Dean Parks with his killer drum part, there seemed to be an issue with James’ inner ear monitors and he hilariously told us he had the footy game running through them, and it kept cutting out which was annoying him. Sweet Baby James was a huge hit with crowd, until the wacky tune Sun on the Moon rounded out his first set. When Taylor held up a comical-sized board of his set list that looked like a wobble board, he mentioned an intermission and I thought this was his humour coming into play again. 

“Now I’ve seen fire and I’ve seen rain” … but never in all my years of going to concerts have I been to one with an intermission!

 The house lights went up and for 20 minutes the crowd had a stretch and restocked their snacks and beverages before settling back in for the second half of the show. We were then taken on a bit of a journey around the world, with the beautiful Carolina in My Mind opening up the second set. We then jetted off to Mexico, and with its slight Caribbean undertones which I found interesting, it had the crowd moving along. The crowd went wild as he traded in his acoustic guitar for an electric for the first time that night, and there was a cheeky joke made about how far guitars had come since the old gas and steam guitars, but that horse drawn guitars were still being used in Pennsylvania. This led into the blues tune Steamroller in which I felt my body involuntarily moving to the beat. It also further solidified the fact that I need to learn how to play the harmonica (you’re welcome, neighbours) after a ripping harmonica solo from Taylor. 

The iconic intro to his heartbreaking classic Fire and Rain had the crowd going mad and had them also singing along at a respectable volume throughout the entire song. Up on the Roof – written by the legendary Carole King – got the crowd even more excited, as did Shower the People where James’ wife joined the band onstage on backing vocals. We were then told “I’m gonna sing that other Carole King song for ya” which raised a huge response from the crowd as he led into the absolute classic You’ve Got a Friend. How Sweet It Is (To Be Loved By You) seemed to draw the night to a close and attracted a huge reaction with a standing ovation from the crowd. 

After James and the band left the stage, I was contemplating whether we would get an encore given the intermission we had. But I needn’t contemplate for long because James was back in no time, much to the pure delight of his fans and went on to Shed A Little Light on us, which had everyone up and dancing. Smiling Face had that exact affect on the crowd, and they reciprocated with another standing ovation at its conclusion. They still weren’t quite done so to finish off the night completely, it was the mellow You Can Close Your Eyes and the beautifully blended harmonies resonated throughout the arena which was the perfect end to such a relaxed evening. 

James Taylor is one of the original singer-songwriter masters of our time, and his melodious music and soulful lyrics have the power to impact and survive throughout the generations. This was a night that was throughly enjoyed by all, and I know that everyone present are secretly hoping that he’ll change his mind about this being his last Australian tour. Until (hopefully) next time, James!

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Album ReviewReviews
March 12, 2024
Terri Nas

[Album Review] Claire Anne Taylor – Giving It Away

What do you get when you mix the raw talent & raspiness of Janis Joplin, the melodic sweetness of Eva Cassidy, and the rock grit of Melissa Etheridge? Claire Anne Taylor, that’s what you get. Despite the many musicians that come to mind when listening to Claire, she still has her own uniquely distinct sound. The Tasmanian-born singer/songwriter released her third album Giving It Away on 16th February, and my god what an incredible piece of work it is. 

The opening track Swallowing Stones is a slow ballad with a warm accordion intro and lyrics that really hit hard, which is followed up by the tale of the child forced to grow up too fast in You Were Just a Kid. This particular song is a prime example of Claire’s exceptional storytelling talents. With it’s funky saloon-style piano intro, Dance With Death gets your toes tapping and really showcases Claire’s raw powerful vocals. 

For Old Times Sake picks up the pace and combined with its catchy chorus, you’ll be bopping along with a smile on your face. Stuck Around is a nostalgic tale of what could have been and the subtle organ under the track provides a joyful layer to fill the song. 

Claire’s opening vocals in Before evoke deep emotions, whilst If You Should See Sunshine is a gutsy rock track that packs a huge punch. Its thumping drum intro and meaty guitar sound completely encompass your whole body to move along as the song builds to its crescendo. 

Lay You Down in the Cold Hard Ground is my absolute favourite track on the album. It’s a brilliantly dirty, gritty, blues-rock track that just builds and builds, and transports you to the famous blues bars of the Deep South. I’ve found myself singing and/or humming this tune nearly every day since it first entered my radar. 

Keep On Truckin’ has an upbeat country feel and is the perfect road trip anthem with a dose of wise advice in its chorus for good measure. 

The highly emotive title track Giving It Away has Claire completely baring her soul, and sharing her deeply personal journey of grief. I managed to catch Claire’s Melbourne show recently, and seeing her perform this song live with just her piano was one of the most incredibly moving performances I’ve ever seen. The goosebumps still haven’t disappeared. 

Rounding out this brilliant album is The River Song that floats weightlessly around you before settling comfortably within your space. 

It’s one thing to be a talented singer, songwriter and musician, but Claire has the added superpower of being a gifted storyteller, whose stories have a special way of infiltrating your psyche and opening up every emotion laying dormant within you. If there is one homegrown artist you need to get around RIGHT NOW, it’s Claire Anne Taylor. 

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Gig ReviewsReviews
February 15, 2024
Terri Nas

[Review] Charley Crockett @ Forum Theatre, Melbourne 13/02/2024

Tuesday saw just another classic Summer day in Melbourne – 37 degrees, damaging storms, torrential rain, flooding, gale force winds, power outages, all the usual stuff – however none of this deterred a bunch of keen music lovers who ventured out to see the talented Charley Crockett. The Texan country singer has been touring Australia with his band for the past few weeks, with his final show set for Perth on 14th February. 

Knowing very little about him and only a couple of his songs, I was interested to see the demographic of his fan base. Based on my last hectic country music experience at the Forum, I was well prepared for what potentially may lay ahead for me. If you’ve been reading my previous reviews then you’ll know I love people watching, especially at gigs. The fans that rolled out to this gig were a lot more sedate than my previous experience, and proved a solid point that you can’t always stereotype the fans a musician or band may attract. Given the thick, traditional country sound to his music, I was surprised to find only a handful of Stetson hats wandering through the crowd and a limited amount of plaid shirts and cowboy boots adorning the punters. From the ages of early 20’s to late 80’s and everything in between, it really was the ultimate mixed bag of people. 

As I settled into position in the historically beautiful Forum theatre, I managed to catch the last few songs of the first support act, Sweet Talk. The local Melbourne 6 piece outfit have got a damn fine sound, and I was disappointed I didn’t get to catch their full set(Thanks public transport delays). Country, soul, blues, with slight funk undertones and hint of honky tonk, these guys have got a dash of everything in their music, and lead singer Tane Walker’s voice has got an awesome soul quality to it. This is a band I’ll definitely be looking out for in the future – I need more of them in my life! 

Next up were Sydney country band Caitlin Harnett & the Pony Boys. With their solid country sound and Caitlin’s distinct soaring vocals, they proved to be a big hit with the crowd despite Caitlin joking at times “You don’t even know who we are”. Their recently released album All Night Long is sure to be a hit with fans old and new, and the song Sidelines – which Caitlin wrote for her sister- is definitely a stand-out track. 

There was an excited buzz travelling throughout the audience now, and I could tell everyone was gearing up for the main event. Well our appetites were about to be fed, as Charley’s band entered stage left followed by the man himself, decked out in his crisp Ten Gallon hat and acoustic guitar strapped firmly to his front. They opened the show with $10 Cowboy, and the crowd were absolutely thrilled! 

Charley then greeted us with a “good evening Melbourne”, which was met with a rowdy applause. Bass player Colin Colby then switched out his electric bass for a classic upright double bass which gave the next track, Black Sedan, a really deep and rich sound. 

Just Like Honey and Lies and Regret followed which the crowd really got into, and the latter was a real toe tappin’ boot scootin’ affair. Charley was flying through the songs back to back with minimal audience interaction in between, and amongst those were some James ‘Slim’ Hand covers including In The Corner. Into the mix he also threw in Hard Luck & Circumstances, Odessa and Look What You Done To Me, which had slight hints of New Orleans Jazz vibes with it’s arrangement. 

It was then we went to Welcome Hard Times, before it sounded like we were headed into a Mexican stand-off when the moody intro to The Man From Waco rang out and had the crowd singing along to the chorus. After a few more songs, including a Jerry Reed cover of I Feel For You, Charley then thanked and praised his wonderfully talented band and said that “they make a $10 cowboy look pretty good”. He then said he had to ask us something, and asked if we were having a good time? This was met with deafening cheers and applause, in which Charley then summoned a big Hallelujah from everyone in the room. 

It was then into another cover, this time Tom T. Hall’s That’s How I Got to Memphis, before we got down with the funky blues tune Travelin’ Blues. Charley then picked up his banjo for the first time that night and proceeded to play the bluegrass sounding track Darlin’ Six Months Ain’t Long, promptly followed up with Lily My Dear. Trinity River was a hit with the crowd, and once again this track with its upbeat jazz feel makes you feel like you’re marching down Bourbon Street in New Orleans in a Second Line Parade. 

It really amazes me how a song can make you feel an experience that you’ve never encountered before, and during Run Horse Run I truly felt like a cowboy in the Wild West riding in the saddle of my faithful steed. After finishing the ode to his home state Goin’ Back to Texas, he cheekily told us that because this was his second Melbourne show he was twice as good as he was the night before, money back guaranteed. His set then drew to a close with Midnight Run and a huge and thunderous applause from the crowd who were hungry for more. When I say the crowd were hungry, they were bloody starving for more once Charley had departed the stage. The cheering and stomping from the audience would’ve put the hyena stampede from The Lion King to shame, and the sound was deafening as the crowd were trying to summon him back to the stage for an encore. There was a long delay where it looked as if that was it and a few concert goers started to disperse, but their ravenous calls were met with Charley reappearing with his acoustic guitar and singing a solo version of Lonesome As a Shadow. It was then one last song with the full band before the night drew to a close and a lot of happy souls were left to venture out into the night for their journey home. 

Charley’s voice is a deep, smooth salve for the soul and at times reminds me a lot of the late great Johnny Cash. I am far from a country music aficionado by any means, however I feel his style of country music is a lot different to what you hear commercially released these days. His old school country sound pulls from influences like Hank Williams and George Jones, and made me feel like I was back in the 1950’s sitting in some little honky tonk bar in the depths of the Deep South. Charley is certainly a talented performer, not just vocally, but musically and with his cute little dance moves and dashing cowboy looks, he really is the whole country meal deal. I really enjoyed my night with Charley, and can now officially call myself a fan! 

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Gig ReviewsReviews
December 1, 2023
Terri Nas

[Review] Jackson Browne @ Margaret Court Arena, Melbourne 29/11/2023

Review By Terri Nas

Wednesday night was a wet and soggy occasion(classic Melbourne Summer), and it was baby boomer central as I headed over to Margaret Court Arena to see legendary American singer, Jackson Browne. If there’s one thing I love as much as going to gigs, it’s people watching. As I stood outside waiting for my friend to arrive, I watched the crowd roll in and it occurred to me that never have I been to a gig where a huge portion of the crowd had to enter via the accessibility entrance. These boomers were here for a damn good time, and absolutely nothing was going to get in their way.

Browne is currently touring Australia after having to postpone his tour earlier in the year due to illness. Supporting him on his tour is Australian singer-songwriter, Liz Stringer. This is one home-grown talent that I am admittedly ashamed I have never heard of until now. Stringer has an absolutely incredible voice that has the ability to stop you in your tracks. It’s raw, husky quality is equally matched with refined smoothness and during a couple of her slower songs, if I’d closed my eyes I would’ve sworn I was listening to Christine McVie from Fleetwood Mac. Stringer is a true storyteller and her songs really struck a chord with me. Her song The Metrologist is brilliant and the intensity of the bridge had me holding my breath, waiting for her to come up for air during the fast paced lyrics. I thoroughly enjoyed her entire set, and she now has a brand new fan in me.

Once Liz Stringer departed the stage the roadies did their seamless stage changeover, and it wasn’t long until the house lights would go down in preparation for the main event. The stadium was stripped of light, and Jackson walked onto stage alone under a single spotlight to a huge round of applause. Guitar in hand and decked out in jeans and a blue plaid shirt, he opened the show alone with a moving version of Don’t Let Us Get Sick.

His band of 7 then entered the stage and took us on an upbeat ride Downhill From Everywhere, which then led to For Everyman where the stage was completely bathed in red lighting to really set the tone. Jackson’s two incredibly talented back up vocalists then joined him down the front of the stage to sing Until Justice Is Real, in which he dedicated it to those all around the world fighting racial injustice.

Fountain of Sorrow and The Long Way Around were next on the list until we got to Somebody’s Baby, in which Jackson confessed that it took him 20 years to love this particular song. He also acknowledged with humour, that “a guy with a white beard singing about a baby, is not good”. He then went on to explain that in his mind he doesn’t have a white beard and he’s definitely not 75. Those of us that have begun the ageing process certainly found this hilariously relatable.

Jackson then jumped over to the piano to play his favourite song, a cover of Warren Zevon’s The Indifference of Heaven. We then were treated to a beautiful and moving rendition of For A Dancer, which he explained was written about his first friend that passed away.

The lyrics are completely heartbreaking and I’m sure I wasn’t the only one with a lump in my throat at that point.

Hecklers in the audience started piping up with requests, and The Pretender was one that many called out, which was met with a chuckled response of “we’ll get there”. Jackson opted to play Boulevard next before succumbing to peer pressure and playing The Pretender, which was met with a hugely excited response from the crowd. Jackson explained that he’s actually been in Melbourne for the past week seeing the sights and lapping up our incredible restaurants, and couldn’t help but cheekily stir us about our “great weather” in response to the consistent summer rain we’d had for the past week.

Call It Alone and Time The Conqueror were up next, despite the audience still shouting requests in between. Jackson, in a good natured way said in response “we’re gonna play what I want.” Whilst the odd harmless heckle or request can be funny, when people consistently do it throughout a show it does wear thin and I find myself getting as annoyed as what the performer must be. As we started to navigate to the final leg of the set with more hits, That Girl Could Sing was a great experience with an awesome harmonising guitar battle, and then we got to the classic Doctor My Eyes which the crowd couldn’t help moving and singing along to.

Late For The Sky took things down a notch before the set was rounded out with a finale of his iconic hit, Running On Empty. The crowd were going wild and dancing in the aisles to the legendary tune. Those that weren’t up dancing, were then up out of their seats for a standing ovation at the end of the song. Jackson and his band deserved this overwhelming reception and more. We then went through the usual motions of being wished goodnight and pretending to say goodbye, until SURPRISE! Encore time!

There was no way he could finish up his 2+ hour set without singing an ode to all the roadies out there with The Load-Out, which naturally led into the crowd favourite Stay. There was a lot of audience participation and backing vocals during the entire encore because in fact, yes, we did “wanna staaaayyy, just a little bit longer”.

It was then a final goodnight to the brilliant Mr Jackson Browne and his super tight and talented backing band. Jackson and his formidable talent is a great example that age doesn’t necessarily mean limitations, given that his voice was still just as superb as ever, and I did love seeing him float between his guitar and piano throughout the course of the night. His music has that wholesome ‘Americana’ feel with long instrumentals and meaningful lyrics that reach your heart, which also have the staying power to reach multiple generations. Despite being one of the youngest there and not knowing every single song I thoroughly enjoyed my night with such a talented legend, and judging by the conversations I overheard on the way out, that was the general consensus of everyone that was in the room that night. Until next time, Mr Browne!

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