fbpx
loader

2022

Post Image
Gig ReviewsReviews
September 2, 2022
Kym Robey

[Review] KISS @ Adelaide Entertainment Center, Adelaide 30/8/2022

Without a doubt, KISS was THE band that started it all for me. My obsession with rock music, the way that I dress, even the majority of my friends today…pretty much everything in my life can be traced back to KISS.

As a very young kid when KISS were at their peak of popularity in Australia, they were impossible to miss. They were everywhere! Everyone seemed to be listening to KISS as they were all over the TV, radio, and on the covers of so many magazines! At school, we were all trading KISS cards, eating Kiss ice-blocks and had their posters on our walls at home.

When KISS first toured here in 1980, I still recall being devastated that I was too young to go see them and nobody would take me.

Despite Kiss-mania being a relatively short-lived phenomenon in Australia (they were pretty uncool to most people about a year after their first visit here), I remained a fan for life.

Even though I’ve since seen KISS many times over the years, since missing that first visit here, I was very excited to see that they would be returning to the country for their End of The Road Tour. Initially, Australia wasn’t included on the band’s farewell tour schedule, but thanks to that pesky virus you may have heard about, the whole tour was postponed and then rescheduled with Aussie tour dates added! Thanks Covid 19!

Arriving at the Adelaide Entertainment Centre on the night, it was impossible not to feel the sense of occasion! Of course, there were fans dressed up as their favourite member of Kiss, complete with make-up and elaborate costumes, and plenty of fans just sporting the make-up with their casual jeans and rock T-shirts on.

As is often the case, a KISS concert evokes a vibe that’s like a cross between a rock show and a visit to the circus. It’s fantastic!

By the time the doors to the venue were opened, the gig was completely sold out! There were even quite a few people outside the box office holding up signs to let people know they were after tickets. It was good to see KISS were getting a proper send-off in Adelaide.

Inside the lobby everyone seemed to be buzzing with excitement. By the time I got down to the front of the stage with beer in hand, I was really feeling it myself.

Opening the show was Adelaide’s own The SuperJesus. I was very excited for them (and maybe slightly jealous) as I’ve known these guys for years and know how thrilled they were to be playing on the same stage as KISS. Obviously playing to a room full of KISS fans waiting to see their larger-than-life idols on stage could potentially be a tough gig, the band were up for the challenge for sure. They sounded tight and had a big enough sound to win over the crowd early on in their set. They blitzed their way through some of their best-known songs including Down Again, Secret Agent Man, and ending their set with Gravity, with frontwoman Sarah Mc Leod doing a great job of encouraging audience participation and making the most of the large stage. They did a great job of warming up the crowd for KISS.

Not long after this support set, the giant KISS banner was erected in front of the stage, adding to the anticipation in the room. Anyone who’s been to a KISS gig knows that when that curtain drops…a whole new world is revealed.

As time ticked down to the appearance of KISS, classic rock anthems blasted out from the P.A. getting the full room pumped up for the main event. Through AC/DCs Thunderstruck and Led Zeppelin’s Rock and Roll…the anticipation grew, until…those famous words echoed out loudly across the Entertainment Centre…’You wanted the best…you GOT the best…the hottest band in the world…KISS!!!!!!’

The curtain dropped right on queue and BANG!!! It was on! Lights, smoke, giant flames, fireworks…the larger-than-life band members dropping from the ceiling on giant robotic platforms…THIS is why KISS is synonymous with over-the-top rock n roll theatrics! Within the first thirty seconds of the show, you’re bombarded with everything you could expect from a big rock concert and more. 

To be honest, despite being a big KISS fan, before the gig I wasn’t 100% excited knowing what their set list would likely look like. KISS tend to stick to a fairly similar set of their best known hits, songs which I often skip when listening to Kiss as I’ve heard them all a million times over the years.

However, as soon as that curtain dropped and the opening to Detroit Rock City kicked off the show, all thoughts of issues with the set were instantly forgotten. Right after the big opening it was full steam ahead with the massive KISS anthem Shout it Out Loud. This one seemed to have everyone singing along at the top of their voice. From here it was early KISS with Deuce from their first album. During this song, the big screens were showing vintage footage of the band from the early 70s which got me thinking about the beauty of KISS being in full make-up and costumes again. Even though the core band members Paul Stanley and Gene Simmons are in their 70s now, being in character, they still look exactly the same as they did when I worshipped them as a kid! With the face paint on, they are still the star child and the demon, the rock gods they were to me back then! War Machine from the Creatures of the Night album was next, which has become a KISS live staple and fan favourite, despite this coming from a turbulent period in the band’s early 80s history. After this was the first song from the band’s non-make up days, Heaven’s on Fire which has always slotted perfectly into the set as though it was an early year’s classic.

Another song from the Creatures of the Night album that has become a KISS classic was next. I Love it Loud is one of the best rock crowd singalongs ever and did not disappoint, this one had the whole arena joining the call-and-response war-cry in unison, even those who weren’t familiar with this era of KISS seemed to be singing along loudly.

The one song that I was surprised was in the set was next. From the 2009 album Sonic Boom, came Say Yeah. This would have easily been the least known song from the KISS catalogue on the night but once again, being a typical Kiss anthem, it had everyone singing along by the end of the song. After this, it was back to classic KISS with Cold Gin, followed by an impressive guitar solo by guitarist Tommy Thayer, complete with fireworks shooting from his guitar!

The set continued on with popular songs from the band’s history, featuring all the KISS trademark moves, including bassist Gene Simmons breathing fire and then spitting blood while rising up on a platform to sing God of Thunder while  looking down from the top of the arena, a drum solo from Eric Singer while his drum riser lifted him up above the stage with smoke billowing from below, and then front-man Paul Stanley being carried from the front of the stage on a zip-line where he performed Love Gun up close and personal to those in the back of the room. From here, the band then launched into I was Made for Lovin’ You while Paul flew back over everyone’s heads to the main stage again.

The last song of the main set was Black Diamond, featuring drummer Eric Singer on vocals, with the band then vacating the stage behind a huge display of smoke and fireworks.

Within just a few minutes, the encore began with Eric once again on vocals, this time sitting behind a glittery grand piano for a rendition of Beth, the ballad originally sang by KISS’ original drummer. Peter Criss

As the show drew to a close, it was time for a song that was a huge hit in Australia for KISS but nowhere else in the world, Shandi, from the Unmasked album. As the opening chords rang out, dozens of huge KISS balloons dropped from the ceiling and it became a fun spectacle to watch as they were thrown around the Entertainment Centre, seemingly in time with the music.

Finally, it was time for the show-closing anthem that has ended many KISS shows over the years, and would likely be the last song the band would ever play in Adelaide…Rock and Roll All Nite. With this, the band certainly went out with a bang! As soon as the band said their goodbyes and launched into the opening chords of the song, they threw everything they had at the crowd. There was confetti pumped out into the air, smoke, fireworks, flames…all of the theatrics they had left in the bank were pumped out onto the stage for their final farewell and it was a spectacular finale for sure!

I seriously doubt that anybody who was in attendance for this gig had a bad time. KISS had lived up to the hype that they put on the best rock n’ roll show in the world and this seemed like a very fitting way to say goodbye to Adelaide on this final tour. To me, this gig more than reminded me of what got me into rock music in the first place, and I suspect it may have even inspired some younger audience members to discover it for the first time!

Read More
Post Image
FeaturedNews
August 31, 2022
STM

Orianthi – New Album, Rock Candy, Out October 14. New Single, Light It Up, Out Now

Platinum-selling recording artist and world class guitarist, Orianthi has announced the upcoming release of her new studio album, “Rock Candy” on October 14, 2022.

The release follows 2020’s studio album, “O”, which, at the time, was her first new studio album in seven years and her first new music as a solo artist in six years. Sonically, “Rock Candy” is a hard rockin’, blues tinged, display of Orianthi’s dazzling guitar playing and her soulful vocals.

Check out the videos for the album’s first single, ‘Light It Up’

Watch the music videoOrianthi’s first major solo artist success, as a singer-songwriter and guitarist, was with the Geffen Records release of “According To You,” which is now RIAA-Certified Platinum® and has over 29 million streams on Spotify. Her music’s ability to transcend time and remain relevant cannot be more clear than its recent resurgence on TikTok. There are over 110 million views on the “According to You” hashtag making it a viral trend that is introducing Gen Z to Orianthi for the first time in a big way. Career-long fans are used to seeing their favorite world-class guitarist playing arenas with rock royalty and global superstars like Michael Jackson, Carlos Santana, Carrie Underwood, Alice Cooper, and more. The juxtaposition of her newly arrived online popularity and her lifelong pursuit of artistic credibility shows the transcendence of this shining star.

 Joining Orianthi on this release is the multi-talented Jacob Bunton, who produced the album. Additionally, he provides guitar, bass, keyboard, piano, and violin playing through the course of the album. Jacon Bunton is known in the rock world for his work with Steven Adler, amongst others, but he is an Emmy Award-winning composer, songwriter, producer, and multi-instrumentalist whose credits include Mariah Carey, Steven Tyler, Smokey Robinson, Akon, Pop Evil, and many more. Drummer Kyle Cunningham rounds out the line-up for “Rock Candy”.

“Rock Candy” Tracklisting:
1. Illuminate (Part I)
2. Light It Up
3. Fire Together
4. Where Did Your Heart Go
5. Red Light
6. Void
7. Burning
8. Living Is Like Dying Without You
9. Witches & The Devil
10. Getting To Me
11. Illuminate (Part Ii)

LINE-UP:
Orianthi – Vocals, Guitars
Jacob Bunton – Bass, Guitar, Keyboards, Piano, Violin, Backing Vocals
Kyle Cunningham – Drums
 

Pre-order/save “Rock Candy” on CD/Colour LP/Digital HERE:
https://orcd.co/rockcandy  

Follow Orianthi 

Facebook | Instagram | Twitter | Web | TikTok

Read More
Post Image
Gig ReviewsReviews
August 30, 2022
STM

[Review] Hilltop Hoods @ Brisbane Entertainment Center, Brisbane 27/08/2022

Over a ‘Great Expanse’ of 20 plus years, I would have seen the Hilltop Hoods perform live six or seven times now. While, yes, the sets and crowds continue to get bigger, and the pyrotechnics, lighting and venues continue to improve, what hasn’t changed – and what I suspect is the real reason thousands flock year after year to see the Hoods – is the energy the famous trio bring to every city they visit. Enamoured by fans young and old, Suffa, Pressure and DJ Debris blessed a sold out crowd in Brisbane on Saturday night. Here’s just one Brissie girl’s recollection of her time in ‘The Nosebleed Section’.

An X-ecutioners fan from way back, I was disappointed to not quite get to see all of DJ Eclipse’s set. Fortunately, Brisbanites can catch the Brooklyn born turned Aussie local fairly regularly. It’s obvious why Eclipse continues to receive accolades for his blending, scratching, and beat juggling. Having been in the business; the ‘Show Business’; for nearly three decades now, and having even being credited with helping to pioneer turntablism, Eclipse still knows how to hypnotise an audience. Previously, he’s explained the benefits of playing to an Australian crowd: a crowd noticeably more open to showing their excitement than those in the Big Apple. He takes us on a journey. His own journey emanates from every set performed – there’s no mistaking the sounds of the New York scene in the late 90’s, a time referred to as the Golden Era of Hip Hop for a reason. How appropriate then that the revered DJ is now signed to the Hoods label entitled, Golden Era Records. Fortunately for me, this also means Eclipse returns to the stage for A B Original’s set.

Until then though, crowds are treated to an all-too short set by young Kenyan powerhouse Elsy Wameyo. Like the Hoods, this talented vocalist grew up in Adelaide and though relatively new to the scene, it’s obvious she won’t be an ‘Outcast’ for long. Her flow is flawless, fast paced and frenetic. Her professionalism and range allow seamless switches between soulful ballads like Daily and festival-bound bangers like the River Nile. Come the third song, Promise, Elsy entices the Brisbane audience, initially hesitant to get involved, to sing along. Though just four of her usual 7-piece band join her this time, they too are exceptional. If you are yet to listen to Elsy, make it a priority. I genuinely can’t help but move when her beats drop.

When aptly named A B Original (say that quickly now) hit the stage, the energy continues. Unapologetically political, Briggs and Trials continue their mission of presenting young Indigenous Australians with a vision and a sound of what’s possible. Previously they’ve reflected on not having local Indigenous rappers to look up to as children. Like Elsy before them, they are initially – and visibly – disappointed with the audience replies, but soon get us joining into their passionate set which includes King Billy CokeBottle, 2 Black 2 strong, Black Balls and their version of Paul Kelly’s Dumb Things among others. Joined by a pianist, DJ Eclipse, guest vocalist for January 26 and the equally powerful and multi-talented Mo’Ju, A B perform passionately. They suitably warm the audience up for what is sure to be a killa night ahead.

At about this time, my friend and I start taking bets on whether the floor-to-ceiling maroon velvet curtain hiding the ‘real’ stage will drop or rise when the Hoods come on. It drops…revealing a 5 metre-high, platform for Debris constructed upon a massive HTH fluro-illuminated emblem. Perhaps the Hoods need to get better at keeping secrets though – ha ha – fans like me had already seen the set when they’d posted it on social media earlier that day. Hey, it’s understandable – as was Debris’ obvious excitement during footage of him first seeing his coveted office-space for the night. Who says working from home is the best?!?

And so, the stage alights – literally with fire -and Suffa and Pressure start their marathon performance with Leave me Lonely, running to and fro, jumping non-stop and leaving no doubt that these veterans can still cut it. In May I had the privilege of sitting down with Suffa Mc (see that whole interview here). During our chat he was telling me how earlier that day his personal trainer had nearly broken him – you can see why that’s necessary – neither him nor Pressure stop to take a breath for most of the 90plus minute set, a set they’re next taking to Sydney, Perth, Melbourne and Adelaide. Though an older fan like me would have liked more from the first two albums, their inclusion of Chase that Feeling made me very happy, and reminiscent. It’s also during this song that I first realise just how far out into the crowd the rappers can come.. and they do so often. Indeed, making their crowds feel welcome and involved is clearly a mission of the trios. Favourites Nosebleed Section and 1955 come next, the latter of which sees guest vocalist, Nyassa, join the stage. She wears what has come to be her signature look including headband, and a boxy jumpsuit with shoulder pads that would impress even the 1980’s. Her mic seems quite quiet at first but this is later rectified. Like time travellers we’re suddenly thrown back to the present, with not one but two new songs busted out: first Show Business – normally featuring Eamon and the song that gave the tour its title and then Whole Nights Day, the tune that got ‘the 1955 band back together’.

By now I’m predicting a few slower tracks – surely these two are going to pass out at any minute…. but I’m wrong. They pick up the pace once again and get everyone back on their feet for I Love It. This track is hot, and not just because the flame throwers have come alive again. Suffa and Pressure alike are sweating. So are we but in the best way possible. Ok, so I was one song off. The pace does slow briefly for Let You Down. Clark Griswald follows – but where are those grey wigs, plaid vests and Chinos fellas? Nearly didn’t recognise ya!

Despite being a diehard fan, there are a few songs, typically those with guest vocalists, that I haven’t always appreciated as much as I should have. Songs that just ‘bang’ with so much more ‘buck’ when live. This is true of Exit Sign I think. It’s so much fun. Live and Let Go follows with the crowd singing along in the absence of Maverick Sabre and Brother Ali. It is at this point, during Through the Dark that the Hoods, and Pressure specifically, remind us of just how far they’ve all come, just how versatile they are … and how blessed. Written hospital bedside in 2014 while his son battled Leukaemia, Pressure explains this was one of the hardest songs to ever write. Thankfully, this prayer “to Hip Hop Almighty” was answered and post a full recovery, his son’s battle has inspired a collaboration with CanTeen offering young cancer patients Side of Stage perks. If you’ve never looked at the lyrics for Higher – the set’s next track- go check them out. With almost as many cultural references as an all-time fav of mine, Fifty-in-five, such writing reminds us that the Hoods are indeed dope lyricists, poets even, not just Emcees with flows for days. At this point, Nyassa leaves the stage. Though clearly a talented vocalist, the Hoods ever the professionals, are generous to a fault and gracious, even giving her literal centre stage for the entire time she joins them. Perhaps Suffa and Pressure instead envied Debris birds’ eye view – both joining him at different parts of the set. Counterweight channels eerie Radiohead vibes to start but also lets the drummer and the horns section show off their skills. This is a great example of a tune that should shut down any haters who might dismiss Hip Hop as lacking melody. Indeed, the Hoods don’t just “write rhymes” but have consistently pushed the boundaries of the genre – highlighted best perhaps by their ongoing collaborations with symphony orchestras both on stage and in the studio.

And just like that “they came and they conquered”… well not quite. I sometimes get annoyed at Brisbane crowds – often their demand for encores are not what they should be! But, true to form, the Hoods treat us to not one but two extra songs: Rattling the Keys to the Kingdom and, as predicted, Cosby Sweater. All supports are welcomed back on stage too and the Brisbane Entertainment Centre really lights up. “And it’s all good. And it’s all good. And it’s all good”.

Suffa, Pressure, Debris you continue to amaze. You continue to educate but “it would take a nation of millions to stop” me requesting that you play your millions of fans more of The Calling, The Hard Road and State of The Art next time. Cos, like you, “we’re still standing and we’ll be back again.”

Read More
Post Image
FeaturedNews
August 30, 2022
STM

Enter Shikari Share Video For New Single ‘The Void Stares Back’ Feat. Wargasm.

Fresh from dominating the main stages at Reading & Leeds festivals over the weekend, Enter Shikari are today sharing the video for their latest single, The Void Stares Back feat. Wargasm. The song became the subject of much conversation over the weekend as the band brought Wargasm themselves out on stage with them for a first live airing.

Lead vocalist / producer Rou Reynolds previously described the song as being about “the forward march of social progress” and today the stunning official visual for the song is unveiled, directed by Elliot Gonzo.

Enter Shikari are also announcing that they will headline the 2023 edition of Slam Dunk Festival. Reynolds comments on the booking: “I’ve been intoxicated by the idea of headlining Slam Dunk again ever since our Take To The Skies celebration headline set back in 2017. It’s such a great festival, always nails its bills, and has the added bonus that us lads can actually cycle to the Southern date, being that Hatfield is a neighbouring town to us!
 
In fact, essentially, this will be our biggest “hometown” show ever, now that the festival has grown even more. I cannot wait. In fact, I will not wait. I demand we play this tomorrow!
 
I think playing outdoors is my favourite thing to do in life. Just being able to look up and see the sky, with the expanse of people underneath it, all sharing the same emotions and experience, it’s just such a raw, beautiful, and reifying thing.
 
Slam Dunk is a festival I try to attend every year regardless of whether we’re playing it. I love both the sites, and it’s always full of mates and has such a convivial vibe. (That’s my word of the week).
 
We’re already thinking about stage production ideas, we’re going to do everything we can to make this our biggest show yet.”

Enter Shikari will also return to Australia in November for their national headline tour with special guests Creeper and Windwaker.

A SO Recordings, 30 Century Management & X-Ray Representation,
In Association With Destroy All Lines Presents
 
ENTER SHIKARI (UK)
AUSTRALIAN NOVEMBER 2022 TOUR 

WITH SPECIAL GUESTS
CREEPER (UK)
WINDWAKER

FRIDAY 11 NOVEMBER 2022: FORUM, MELBOURNE
SATURDAY 12 NOVEMBER 2022: ROUNDHOUSE, SYDNEY
SUNDAY 13 NOVEMBER 2022: EATON’S HILL HOTEL, BRISBANE
TUESDAY 15 NOVEMBER 2022: THE GOV, ADELAIDE

Tickets on sale NOW
www.destroyalllines.com

Read More
Post Image
FeaturedNews
August 24, 2022
STM

JULIA JACKLIN Announces ‘PRE PLEASURE’ East Coast Headline Shows – FEB 2023

With her highly anticipated third studio album, PRE PLEASURE, released this Friday, Frontier Touring and Penny Drop are delighted to announce acclaimed singer-songwriter Julia Jacklin will perform three special headline theatre shows in Sydney, Brisbane and Melbourne in February 2023.

Currently on tour in the US – part of a comprehensive US, UK and Europe trek which will see her performing in her biggest venues to date, including London’s Roundhouse and Brooklyn Steel in New York – Jacklin today also revealed another slice of her upcoming longplayer, with new track ‘Be Careful With Yourself’ out now.

A loose jam, ‘Be Careful With Yourself’ equates true love with the fear of losing it. It reinforces the album’s throughline – Julia Jacklin at her most authentic; an uncompromising and masterful lyricist, always willing to mine the depths of her own life experience, and singular in translating it into deeply personal, timeless songs.

The February tour dates will be Jacklin’s first Australian shows with her full band since 2020. Get early access to tickets via the Frontier Pre-sale, which starts Thursday 25 August (1pm local time – see website for details). General Public tickets go on sale Monday 29 August (1pm local time) via frontiertouring.com/juliajacklin.

New album PRE PLEASURE, released by Liberation Records, is a masterclass in songwriting, cementing her status as one of the most important Australian talents of our time. Fans’ first taste of PRE PLEASURE came in the form of lead single ‘Lydia Wears A Cross’ (which the singer described as being “about a lot of things but mainly being a seven-year-old Jesus Christ Superstar fanatic attending Catholic school trying to figure out which way is up”), followed up by songs ‘I Was Neon’ and ‘Love, Try Not To Go’.

Jacklin recorded the 10-track PRE PLEASURE in Montreal, Canada, alongside producer Marcus Paquin (The National, The Weather Station), with collaborator Owen Pallett on string arrangements, which were recorded by an orchestra in Prague.

With over 200 million streams to her name to date, ever since the arrival of 2016 debut Don’t Let the Kids Win and 2018’s ARIA-nominated follow-up Crushing, the Melbourne-via-Blue Mountains singer-songwriter has carved out a reputation as a direct lyricist, wiling to excavate the parameters of intimacy and agency in songs by stark and raw, loose and playful. Earning accolades from Pitchfork, Uncut, the New York Times, i-D, Rolling Stone, The Guardian, NPR, BBC1, BBC 6, Sirius XMU global, Jacklin’s exquisite narratives and singular vision make her an artist not to be missed.

‘A masterclass in narrative songwriting’ – ★★★★★ The Independent
​‘Julia Jacklin’s Crushing is exquisite’ – Pitchfork ​
​‘The result is a profound statement…this year’s strongest singer-songwriter breakthrough’ – Rolling Stone

Don’t miss Julia Jacklin, live on stage in February 2023 – tickets on sale Monday 29 August.

JULIA JACKLIN
​AUSTRALIAN TOUR
​FEBRUARY 2023
​Presented by Frontier Touring, Penny Drop and triple j

FRONTIER MEMBERS PRE-SALE
​Via frontiertouring.com/juliajacklin
​Runs 24 hours from: Thursday 25 August (10am local time) ​
​or until pre-sale allocation exhausted

PENNY DROP MEMBERS PRE-SALE ​
​Via pennydrop.com.au
​Runs 24 hours from: Thursday 25 August (10am local time) ​
​or until pre-sale allocation exhausted

GENERAL PUBLIC ON SALE
​Begins: Monday 29 August (10am local time)

Saturday 25 February
​Enmore Theatre | Sydney, NSW
​Licensed / All Ages
​Ticketek.com.au | 132 849

Sunday 26 February
​Tivoli Theatre | Brisbane, QLD
​18+
​Ticketmaster.com.au | 136 100

Tuesday 28 February
​Forum Theatre | Melbourne, VIC
​18+
​Ticketek.com.au | 132 849

PRE PLEASURE
​Out Friday 26 August through Liberation Records
​Pre-order available here

Read More
Post Image
Gig ReviewsReviews
August 23, 2022
Megan Milner

[Review] MONOLITH FESTIVAL @ Bella Vista Farm, NSW 20/08/2022

The inaugural Monolith Festival kicked off in Brisbane last weekend to a fantastic crowd. The all Aussie lineup is helping us warm up to festivals and live shows becoming a more regular occurrence, once again.
7 bands, 1 stage, NO clashes! 

The morning’s weather is less than ideal, a grumpy sky and some rain make any punter nervous about the day ahead in an open field in Sydney’s west. As the clock edges closer to the gates opening, the skies open to a beautiful blue, just for us.
Today’s venue, Bella Vista Farm is a large open green ground, with sheep grazing behind a fence, and natures amphitheatre at the foot of a hill, this is where the stage can be found. With only 1 bar, 1 merch tent and a few food trucks it is not regular festival programming today. 

I walk the perimeter on my arrival, making sure I absorb every aspect of the festival set up by the legends over at Destroy All Lines, I get a drink and prop myself on the hill to watch Perth based, experimental prog rock group Yomi Ship, kick off the day.
Yomi Ship are the first of 3 instrumental acts on the Monolith line up. Yomi Ship demonstrates to audience members that although vocals give a band more depth, they are not always required. As we observe and take in Yomi Ship’s ripping riffage and melodies as they perform songs like Seamonkey, Ice Drake, and S.H.A.M.A.N. as we appreciate the level of musicianship. 

The day is under way and with less than 30-minute change over intervals, we are treated to another healthy dose of live music with Reliqa. Their energy was infectious and thank goodness as the dampness of the ground had made everyone quite uncomfortable, we are on our feet! Sydney-based rockers came out with guns blazing. Front woman, Monique Pym’s energy does not come down once. There are many headbangers in the crowd, including one blue Power Ranger! With Mr Magic and The Halfway Point, Reliqa encourages punters to hustle closer to the barrier. Every song after this, including Safety, which was only released last week, is said to be a brand-new tune. 

The enigmatic and hefty introduction to Tundra introduced Sydney’s Sleepmakeswaves, an instrumental rock band with members Otto Wicks-Green on guitar, Lachlan Marks on guitar, Tim Adderley on drums, and Alex Wilson on bass, keys, and electronics. Sleepmakeswaves‘ heavy and layered sounds were pushed out into the crowd in melodic and energising waves, bringing skilful professional riffage! They played a well-balanced show, with tremendous energy and seamless transitions between songs. The air was painted with melodic and intricate works of art by the songs The Stars are Stigmata, Traced in Constellations, Great Northern, and Something Like Avalanches. Sleepmakeswaves left its impression on audiences with long-time fans happy and plenty of new fans excited to hear their most recent song, Pyramids, a gorgeous heavy piece. As they approach the microphones, used only to speak with the crowd, they are humble and appreciative of all in attendance. 

Plini is up next, rounding out the instrumental acts of the day. I have known about their music for some time now and their reputation for being astounding musicians. We audience members are being intoxicated by Plini songs like I’ll Tell You Someday, Every Piece Matters, and I cannot forget the fan favourite Electric Sunrise as their immaculate arrangements pulse and soar off the stage. They bring a different energy to the other 2 instrumental bands, and really stand out. 

The sun begins to descend behind the hill as the Ocean Grove backdrop is raised. Being the band, I most looked forward today, I leave the height of the hill and enter the pit for the madness about to ensue. From the moment they burst on stage with Superstar the energy of the day is lifted, and atmosphere altered as the crowd bellows in excitement.
OG stand out on this line up, as their flavour of nu-metal/rock/punk/oddworld is quite different from the other acts. Although I commend the organisers for throwing this incredible wildcard.
Front man Dale Tanner’s energy is endless, as soon as I see him wearing dark blue coveralls, I know we are in a world of trouble and there is a big performance coming. (Fever 333 fans will understand!) A packed set of hits including Junkie$ and Sex Dope Gold are thrown our way, opening the moshpit instantly. Bass player Twiggy Hunter was recently released from hospital although it did not hinder his performance, with a beaming smile from start to finish he lends backing vocals to many songs while holding down the bass with a style like no other. We are so glad he is on the mend!
Drummer Sam Bassal treats us to a fantastic solo on the song, Guys from the Gord, as we are swept into Thousand Golden People. It is an interesting song with a hard-hitting intro, some borderline rapping from Dale progressing into a huge chorus for the crowd to join in on.

Before they hit the stage someone asked me what genre Ocean Grove are, I simply replied ‘yes’.

The only criticism I would have of their performance would be the lighting. It is back lit so extreme that I can only see Dale’s face when he is close to the drum riser, otherwise he is but a shadow on the stage. For a performer who is constantly moving and bonding with the crowd, it was a shame to not see more facial expressions and connect with the enigmatic front man especially being on the barrier.
Ocean Grove performed a tremendous show that will be hard to top, bringing psychedelic vibes with Ask for the Anthem and their collaboration track with Brisbane rockers Dune Rats, Bored. Concluding with their legendary song Sunny, which I am singing at the top of my lungs. Go ahead and put that song on now and tell me you do not want to scream the chorus.
The unconventional and funky flavours and electrifying energy of Ocean Grove made a lasting effect on attendees of the Monolith Festival. The sun was still in the sky as Ocean Grove took to the stage, as I turn around, we are covered in darkness. I leave the pit out of breath, elated and beyond happy. 

The crowd has amassed monumentally, ready for the two big acts to close out the day. It did not feel like all that long before Cog are before us. Fans begin to sway and fill the front of the stage as Bitter Pills begins with its lengthy and mysterious opening. 

COG‘s set, which is shaping up to be an excellent blend of their very early bangers that have stood the test of time and later material the crowd has fallen in love with, is best described as melodic, heavy, and intricate. We get to sing along to Anarchy Ok and What If, after the ferocious nature of Ocean Groves set the energy is lower and the songs longer as they create an ambient atmosphere.
The Middle and Open Up, two more recent songs, seamlessly blended into the nostalgic setlist. Bassist Luke Gower and vocalist/guitarist Flynn Gower bounce off each other, seeming extremely happy to be on stage together once more. The sense of comradery is extremely evident up there tonight. I am incredibly impressed by their ability to play almost identical to the recorded version.

Closing out the set with favourite Bird of Feather we are all singing in unison. For a track that was released in 2008, it seems the whole venue know it word for word as friends and strangers are arm in arm singing at the top of their lungs. This track transports me back to high school and I could not be happier to be here today with my best friend, as we dance around and adore every moment. 

As Karnivool‘s performance time drew near, a sheer black curtain went up, not blocking the view of much at all. The instrumental for Fear of the Sky began to play, lights and shadowy figures began to appear. As the stronger beats slowed down, the curtain fell, revealing Karnivool in a haze of light. The audience went wild! 

It’s no surprise most of the punters are here for Karnivool. Spotting Karnivool shirts at the train station, bus stop and more and more at the festival as merchandise is purchased. Fans are utterly devouring Goliath, Animation, Set Fire To The Hive as they swing their arms, dance, and headbang in the pit.
Ian Kenny’s vocals are astounding. If you have listened to but 1 Karnivool track and attempted to sing along, you quickly realise how difficult those songs are. Add on a festival appearance, cool wind snapping at your face and a smoke machine filling the stage every few minutes, Kenny keeps his top-tier vocals throughout the performance.
Simple Boy is an example of his remarkable vocals, as the crowd help, singing it as loud as they can. 

Kenny praises the superiority of Australian music. We all yell in unison. Who would have thought COVID lockouts would ever occur, and now that Karnivool is entertaining us as they have never left the stage? The drums of Steve Judd are strong and beat throughout the farm, he is hitting those skins so hard I question if he will need a change out midway through!
Roquefort and Themata from 2005’s album of the same name, Themata, are very evident crowd favourites. As a DJ of Sydney heavy clubs, I played/heard Themata every week for my entire 20s and I am brimming with nostalgia. The crowd dances and throws their fists to the sky, smiles across everyone’s faces until they close out their set with New Day. 

Karnivool is not done with us yet. The Aussie legends return to the stage for two more tracks for the hungry crowd who were whipped up into a frenzy more by with All It Takes, one of their more recent and heavy from 2021. With Fade, the great concert came to an end. The crowd went wild, making the most of the evening’s final song.
The audience was content by Karnivool, but they eventually wanted more! A tribute to the renowned Australian progressive rock group. 

The first Monolith Festival in Sydney went down in history for many as the black-clad crowd, many in Karnivool shirts by now, exit the green pastures of Bella Vista Farm. Without a doubt, the day was a huge success, each and every band put on outstanding performances that captured the attention and hearts of all.  

The size of the festival was spot on, no clashes meant every act got the attention they deserved and a moment to shine. A free shuttle bus was parked outside the venue to transport the droves home or to the pub safely, to no doubt, recall stories of the day well into the night and year.
Here’s hoping Monolith becomes a festival staple. 

Read More
Post Image
FeaturedNews
August 23, 2022
STM

Amy Sheppard Shares New Single & Video ‘BLUE GUITAR’.

After years spent as part of one of Australia’s most popular musical exports, Amy Sheppard has gone solo, with new single Blue Guitar offering a second taste of her forthcoming debut EP, Nothing But Wild – set for release on September 16 and available to pre-order on vinyl and CD from https://www.amysheppardofficial.com/. Following on from the arrival of the title track in April, Blue Guitar is an immersive piece of vibrant country pop from the iconic Queensland artist.

Inspired to share a modern twist on the classic ‘90s ballads from iconic names like LeAnn Rimes, Faith Hill, and Shania Twain, Blue Guitar is as fierce as it is sparkling, bolstered by impassioned lyricism, a mesmerically powerful performance style, and dreamy instrumentation that transports the listener to the glory days of country music. Working with producers Lindsay Rimes (Kylie Minogue, Luke Bryan, Troye Sivan) and Stuart Stuart (Sheppard, Dean Lewis, The Veronicas), it emerged as the first country song that Amy wrote, who took it to brother George Sheppard for some further musical insights. Before long, it took on a new life as her favourite song from her upcoming EP. As Amy explains, “I really leaned into the beauty of country music storytelling. Country music gives permission for songwriters to weave creative stories and this is where Blue Guitar was born. The storyline follows a woman who returns to visit her small hometown. When she enters a local bar, she is taken aback by a familiar voice. The man singing on the stage is her former lover who never quite made the big time. She notices he is still playing his blue guitar- the same one he used to write love songs to her on. She is filled with the same old feelings she had for him and begins to wonder if the songs he is singing today are still about her.”

The accompanying video for Blue Guitar sees Amy Sheppard working with Natalie Sim and Alex Flamsteed from Method to my Madness, having previously teamed up with them for the clip to debut single, Nothing But Wild. With a resumé that also boasts clips for the likes of Jaguar Jonze and Sahara Beck, Amy notes that she felt like she was in safe hands as she stripped things back for the ethereal video. “I wanted to go back to basics and capture this video as a vocal performance with the usual other elements stripped back. We filmed it in the iconic Princess Theatre in Brisbane. I was also inspired by the mood and lighting of videos by James Bay and LeAnn Rimes.”

Having launched her musical career as a member of Sheppard which she founded with her brother George in 2009, Amy Sheppard has enjoyed global chart success on numerous occasions. This year however sees her going solo for the first time, with Nothing But Wild set to arrive on September 16 as her debut EP. Working with a number of impressive songwriters for the EP – including Trannie Anderson (Reba McEntire, Gabby Barrett), George Sheppard, Jason Bovino (Sheppard), The Wolfe Brothers, and Phil Barton (The Buckleys, The McClymonts), to name a few – it’s a powerful release, and one that means a lot to Amy as a person and an artist. As she explains, the EP focuses on, “the spontaneity of love – whether it’s rosy, messy or somewhere in between. Love by its very nature can send you off in many directions. This EP aims to capture that from different points of view.”

With the imminent release of Nothing But Wild, Amy Sheppard will also be complementing its release with a number of live performances during August, September, and October, including a hometown launch show at Lefty’s Old Time Music Hall on release day – with GA tickets on sale for this show at 12pm AEST on Wednesday August 10. While any live show is an exciting experience for Amy, she notes that the solo nature of these shows will serve as something even more special for dedicated fans. As she explains, “I hope they’ll have a great time! It’s a combination of the EP tracks, some inspired covers and also some of the songs I recently wrote in Nashville. Should be a great show and I can’t wait to perform as a solo artist!”

Blue Guitar is out today, August 5, while new EP Nothing But Wild will be released September 16 and is available to pre-order on vinyl and CD from https://www.amysheppardofficial.com/ and digital https://amysheppard.lnk.to/NothingButWild-EP

Listen: BLUE GUITAR

Watch: BLUE GUITAR

Smartlink: BLUE GUITAR

Read More
Post Image
FeaturedNews
August 23, 2022
STM

Social Distortion & Bad Religion Announce Australia & New Zealand Co-Headline Tour.

Punk rockers of Australia and New Zealand unite! For the first time in history two of the most influential and enduring punk bands of all time are heading down under together. Fans never thought they would see the day so get ready to tick this off your bucket list as LA heavyweights Social Distortion and Bad Religion team up and hit our shores in February 2023.
 
The tour will kick off at Trusts Arena in Auckland before it makes it way over to Brisbane’s Riverstage, Sydney’s Hordern Pavilion, Margaret Court Arena in Melbourne’s and closing out their Aussie run at Red Hill Auditorium in Perth.

Traversing multiple and significant line-up changes, internal challenges and tragedies, and the demise of the very Los Angeles hardcore scene that conjured them for over four decades, California mainstays Social Distortion have spent a lifetime honing their uncompromising rootsy, hard-hitting brand of punk since first emerging back in the late 70s.
 
Following the release of the group’s debut 1983 album Mommy’s Little Monster, Social Distortion‘s transformation from pioneers in the then-fertile L.A hardcore scene into a distinctive sonic force to be reckoned with saw the group become one of the few punk bands to be featured on MTV in its 80s glory days and, over time, branching out to cement their now-trademark blend of punk, blues, country and rockabilly. Currently in possession of seven studio albums, with whispers of an eighth full length release on the horizon, Social Distortion‘s live prowess is overshadowed only by the passion and innovation relentlessly on display onstage, fearlessly helmed by the band’s founder, guitarist and vocalist Mike Ness. This is Social Distortion’s first Australian headline tour ever and their second time coming to Australia in over 40 years so it’s fair to say we may not see them ever again!

Bad Religion have become synonymous with retaining their underground credibility alongside building a staggering punk empire since forming back in the early 80s. Constantly on a journey of evolution and philosophical exploration, Bad Religion‘s storied career, including 17 studio albums and the label as one of the best-selling punk rock bands of all time, has seen the group remain relevant and vital in the hardcore community while welding their trademark sonic foundations with inflections of psychedelia, heavy metal, hard rock and lashings of melody along the way.
https://youtu.be/GEbd76i1S6Q 
With front man and remaining original member Greg Graffin‘s steadfast guidance, Bad Religion have defied the odds and expectations of an ever-changing industry around them, touring the globe armed with an overwhelming back catalogue of material, including fan favourite tracks like American Jesus and 21st Century (Digital Boy). Don’t miss out on seeing Bad Religion next February, their first Australian headline tour in over a decade!
 
Returning to Australia in 2023 since last appearing down under for Good Things Festival back in 2019, don’t miss some Bad Religion goodness next February.

2023 will undeniably declare punk’s not dead – be sure to catch Social Distortion and Bad Religion live in action when they bring their explosive live shows to a town near you.
 

Early Bird pre-sale tickets on Sale: Friday 26 August @ 9am local time

To Gain Early Ticket Access Register Here -> https://bit.ly/BR-SD-AUNZ-

General tickets on sale Tuesday 30 August @ 9am local time
Tickets from destroyalllines.com.au

SOCIAL DISTORTION & BAD RELIGION
TOUR DATES:
 
WEDNESDAY 15 FEBRUARY 2023 – TRUSTS ARENA, AUCKLAND
FRIDAY 17 FEBRUARY 2023 – RIVERSTAGE, BRISBANE
SATURDAY 18 FEBRUARY 2023 – HORDERN PAVILION, SYDNEY
SUNDAY 19 FEBRUARY 2023 – MARGARET COURT ARENA, MELBOURNE
WEDNESDAY 22 FEBRUARY 2023 – RED HILL AUDITORIUM, PERTH
 
General tickets on sale Tuesday 30 August @ 9am local time
Tickets from destroyalllines.com.au 

 

 

Read More
Post Image
Gig ReviewsReviews
August 22, 2022
Midnite Mitch

[Review] Be’lakor @ Corner Hotel, Melbourne 20/08/2022

Tonight, is a night full of incredible melodies, whether it’s from a black, death or just a straight up metal riff, there is melody in the air coming from all these bands. It’s been a little while for me since going to a local Melbourne scene gig, it was a great reminder of how supportive and kind the scene really can be. This is a sold-out show and it’s great to see a line outside at a venue for a local gig, its been years since seeing that kind of thing, the patch vests are out, there are familiar faces around and the Jack Daniels is flowing!

Opening the festivities is Black Lava, bringing on their melodic black sound with killer riffs and an absolutely cracking snare sound, that thing cut through the mix perfectly and the drummer was hard-hitting, perfect combination. Being a Black Metal 4 piece band can be hard, you need to consider how everything gels together live, clearly, these guys know what they are doing because they had a full band sound with just the one guitar, you could hear all the intricacies of the music without it sound thin. While watching though, I realise I’ve seen the beast of a vocalist before and note that it’s the singer of local Black Metallers Blackhelm. Anyone into Watain or Satyricon-style bands should check them out. They played to a half full venue at 7:30 but they got everyone there into their music.

Next out for this night of tightly played melodic music is Andy Gillion and his band, featuring 2 members of Orpheus on bass tonight, Chris and Leon. This is a completely instrumental set and this type of thing can either be really entertaining or drag on, lucky for me it was the first option. Andy and his band are incredible to watch, these guys make playing guitar look easy. Their playing was so fluid, their right hands just seemed to wash over the guitars while their left was all over the fretboard, it felt like I should be taking notes at a masterclass. Andy states that he has been living in Australia for about 5 years now and this is his first Melbourne show played, the appreciation is genuine, and I don’t think he stopped smiling for the entire set.

At the end of Andy Gillion’s set, the curtains close and the crowd starts to move closer to the stage, Orpheus Omega are starting to set up. The curtains open with the band coming out to play Within These Walls, the new single that happens to feature Andy in it, who pops back up on stage to shred his solo. Chris has complete control over the crowd with quick and ground-setting speeches, laying down the law of “no crowd surfing” Yeah.. thanks Captain Buzzkill Jeez! (I’m kidding Chris, if you’re reading this… I promise) but he does make up for it at the end of the set with “I’m not telling you people what to do but IF you know what USUALLY happens in this last song and happen to do those things if you are so inclined.. that’s on you” with a massive grin. Orpheus smashes out a killer set of the hits from over the last couple of albums and dedicate Lighthouse from the latest album, Wear Your Sins to a member of the local scene who has recently passed. As I said earlier, this was just the night for the Melbourne scene to catch up and show its solidarity.

The curtains close once more and Be’lakor are now taking their turn in getting ready to darken the room with their progressive blackened sound. The crowd is now at full capacity, and you can no longer move around the venue, the anticipation is high, and the crowd doesn’t seem to have lost any energy at all. These guys know how to write a song, they remind a bit of Insomnium or something along those lines, epic, big-sounding LONG songs, they had about 90mins to play, and I think that was about 8 – 9 songs. These songs though are jammed packed with killer riffs that had the crowd moving and headbanging from start to finish. There were people singing along to most of the songs and their fans were ranging from old schoolers to the next generation, it’s great to see that their music has that kind of reach. Their live sound was amazing and did not disappoint, the amount of reverb on the drums made it sound like they were playing a massive open hall and just gave the music so much more atmosphere.

It is great to see so many people out and about for local gigs once again, I hope this makes everyone else just as hungry to go out and find more local bands and get the scene back to its former glory. I will be humming or playing these damn songs that are stuck in my head for weeks now, thanks guys!

Read More