


[Gallery] You Me At Six @ Forum Theatre, Melbourne 27/01/2025
You Me At Six
Hevenshe
Holding Absence

[Gallery] Cavalera @ Northcote Theatre, Melbourne 19/01/2025
Cavalera
Algor Mortis
Black Jesus

[Review] The Killers @ Rod Laver Arena, Melbourne, 12/12/2024
Somebody Told Me… The Killers were in town, so I thought it was about time I go and check out the Las Vegas rock outfit in the flesh for myself. Following a recent trend of bands who want to make their fans feel like we did ‘When We Were Young’, the band have embarked on a tour to celebrate the 20th anniversary of the release of their chart-topping debut album, Hot Fuss. This is an anniversary tour with a twist, however, as the band are touring with 2 different shows on alternating nights. One show celebrates Hot Fuss and they play it in its entirety, whereas the alternate Rebel Diamonds show offers fans a variety of their monster hits across all 7 of their studio albums. Both shows are bound to be as brilliant as one another, but I was lucky enough to catch them on a Rebel Diamonds night.
I was breaking my back just to get in there, so after the Melbourne summer heat called for refreshments at the brewery next door, it was time to join the hordes shuffling into Rod Laver Arena to settle into their positions for the night. Kicking the night off was Australian band Radio Free Alice, and whilst I hadn’t personally heard of them, they certainly had some hardcore fans around me who were singing and dancing along to their upbeat tracks. By this stage the arena was packed wall to wall, and whilst the crowd was predominately millennial and older, it was refreshing to see people bringing their young children along to ensure they were receiving a well-rounded musical education. School was now in as the lights went down, the music fired up, and The Killers appeared on stage with frontman Brandon Flowers appearing in all his messiah-like glory, strutting around the stage adorned in a black sequinned pin stripe suit asking us, can you ‘Read My Mind’.
The distinct fiery intro of ‘Somebody Told Me’ had the crowd going mental, and I was transported back to my 16 year old self as I screamed along the lyrics with the 10,000 others around me. Flowers was on absolute fire with his smooth and powerful vocals blessing my ears, and his intoxicating energy that infiltrated every single cell in my body. ‘Spaceman’, ‘Jenny Was A Friend of Mine’ and ‘Smile Like You Mean It’ had the whole place jumping, and the confetti guns and visually spectacular laser light show that accompanied the entire set could only be described as seizure inducing but was incredibly mesmerising and just really topped off the vibe in the place. One lucky audience member had incidentally bumped into the band at breakfast that morning, and after chatting they discovered it was this guy’s birthday and that he’d be at the show. So that all being said, Flowers kindly dedicated ‘My God’ to the birthday boy who seemed bloody stoked with his 5 minutes of fame.
It was refreshing to look around the arena to see only a handful of mobile phones out during the show in comparison to a Gen Z-heavy gig I went to a few weeks ago where the number of phone screens in hands lit up the entire place up. Each generation thinks they are the most superior generation, but sorry I think us millennials win this round in terms of losing ourselves in the moment of a brilliant live show and not worrying about the little handheld devices that rule our life.
At times during the night, Flowers took on the persona of a passionate gospel preacher at a tent revival trying to ‘devil be gone’ his patrons (you know the ones), demanding responses to questions like “Did you order a good time tonight”? You bet your ageless rock star arse we did, and that’s exactly what was being delivered. Now, I’m not a religious woman by any means, but I would do anything and everything that this man with the gorgeous face and knee weakening smile told me to do. ‘A Dustland Fairytale’ with its intimate piano in the opening verse was just another on the setlist the crowd gobbled up as quickly as the band could dish it out. The emotive melody of ‘Be Still’ temporarily brought the mood to a sombre tone and had everyone’s emotions running high, whilst also showcasing Flowers’ vocal ability as his pipes effortlessly soared over the music. The crowd took over lead vocals for the first verse of ‘Runaways’, before one of my personal favourites from the Hot Fuss album, ‘All These Things That I’ve Done’. Flowers jokingly pointed out that they’ve just been ripping off U2 this whole time, and the gospel chords in ‘I Still Haven’t Found What I’m Looking For’ inspired this track from their debut album. During the bridge the crowd once again took over and were singing the chant, “I’ve got soul, but I’m not a soldier”, and it was honestly one of those spine-tingling moments that nearly gave me an outer body experience and had the goosebumps popping up on every inch of my skin.
Just to tease us the band looked like they were going to leave us in the lurch as they bowed and thanked us, but they didn’t depart the stage and instead flew straight into another hit from Hot Fuss, ‘When You Were Young’. Whilst Flowers was trying to convince us that “he doesn’t look a thing like Jesus”, I was thinking to myself “Mr Brandon Flowers looks pretty bloody god-like to me”. We were now in for a treat as Flowers introduced Australian rock royalty to the stage, Iva Davies from Icehouse, and the pair did a cracking rendition of ‘Electric Blue’ which once again had the crowd utterly thrilled and singing along. Everyone then left the stage and talk about leave us hanging! Every single person in that arena was frothing at the mouth for more Killers goodness, and after what felt like an absolute eternity waiting for them, they finally hit the stage again, firing up with ‘Your Side Of Town’. ‘Boy’ saw the confetti guns going off once again, before we were asked the big question in life, “are we ‘Human’, or are we dancer?” Well, I can tell you now that given the way everyone’s bodies seemed to moving for the whole night – consciously or not – it’s fair to say we were all the latter.
I’d had a bet with my friend earlier in the night on whether Richmond player Jack Riewoldt would make an appearance on stage during a certain song (IYKYK), but sadly it was a bet I lost. The song in question, (which if you haven’t screamed it on a dance floor at the pub in your youth in between drinks and random pashes, then have you even lived?) was of course their global hit ‘Mr. Brightside’. This is what everyone was waiting for and once again had the whole arena bouncing and passionately screaming along to every word. After one hell of shit-hot set, The Killers bid us a sad good night, but not before drummer Ronnie Vannucci hung back by himself to throw his remaining drum sticks into the crowd and hilariously scull the remains of his bottle of wine which was met with an encouraging reception.
I’ve always loved Killers’ The music and went in expecting a great show, but my expectations were blown right out of the water at what an absolutely incredible live band they are. The charisma that Brandon Flowers exudes is hypnotising, as a collective they are one musically tight band, and the entire stage show manages to bring the glitz and glamour of Las Vegas but without the tacky. The force of this band is undeniable, and they have well and truly served their time in the industry to prove they are a continuous hit making machine that will continue to do just that for at least the next 20+ years. It’s been a while since I’ve come home that wired after a gig, and it’s such a euphoric feeling that you never want to leave you. If I was a fan before, then the band better get a restraining order out against me now, because I am OBSESSED. This is one band I never want to miss live again, and this was honestly up there with one of the best gigs I’ve ever been too. Open up your eager eyes and put them on your ‘must see live bucket list’, because you will regret it for the rest of your days if you don’t see them live at least once on your lifetime.

[Review] Wallows @ Margaret Court Arena, Melbourne, 9/12/2024
Local Australian artist Grentperez opened the night, and what better way to warm up the young, already energetic and enthusiastic crowd than a lovable goofball whose fresh music was not only a tremendous enjoyment, but also an example or great local Australian indie music. His set was nothing short of fun and friendly, with no shortage of tomfoolery, that made the whole environment feel less like a concert and more of a house party hangout, with juicy grooves to help us love our feet, and banter in between tracks that always included audience participation allowed us to decompress with joy.
Wallows had the entirety of Margaret Court Arena in a grip of enthusiasm, as their intro rapidly built anticipation later by layer with large sheet casting shadows of the group opening with the slow somber Do Not Wait, all before the classic opening riff of Your Apartment ripped through the venue as the band was revealed. The boys’ laid back energy , as well as the seamless chemistry between them during in their performance was immediately apparent, through this energy delivering a sound that is both nostalgic and fresh simultaneously with a set list of tracks that can resonate with everyone.
Despite the venue being a large arena filled with hundreds and hundreds of screaming fans, the performance felt very intimate, similar to Grentperez in the sense that it felt like hanging out with friends watching mutual mates perform onstage. The charismatic yet chill interaction with the audience showed this enough, yet it skyrocketed when during She’s An Actress, Dylan slowly made his way through the crowd, taking time to high 5 fans in GA and connect with the audience, this followed shortly by Cole and Braeden, waded through the crowd to a smaller stage at the back of the GA, decorated with lamps providing mood lighting, where they performed a short acoustic set of three songs, Pictures of Girls, 1980s Horror Film and OK. Their fans singing along with them and sharing hilarious banter amongst all.
After the childhood mates made their way back to the main stage, after Braeden ran up and down the reserved sections of the arena screaming the lyrics of Calling After Me passionately, even though you could barely hear the band over the crowd screaming their adoration. Wallows provided an explosive encore to the show that was fuelled by the final volume of energy that the audience had been giving all night. It felt emotional and personal, hearing the boys turning their instruments and vocals both to 11, clearly showing their love of one of thier biggest hits Are You Bored Yet?, and Remember When to cap off the night.
As I’ve previously stated, in one emotional and triumphant night, Wallows had brought their indie LA sound to a city in which is perfectly fits the grunginess of Melbourne, and for any and all fans of indie rock, of all ages, the three childhood mates are a quintessential ensemble that perfectly captures why the genre is so beloved and relatable.
Wallows third studio album, Model is available now. They finish their Australian run in Brisbane on the 14th.

[Gallery] Good Things Festival @ Flemington, Melbourne 06/12/2024
Korn
Electric Callboy
Mastodon
Jet
Then Living End
Northlane
Sleeping with Sirens
The Butterfly Effect
Aviva
From Ashes To New
Grandson
Loathe

Good Things Festival Kicks Off Next Week! Alex Lahey Joins, Battle Of The Bands Winners & Local Acts Announced And More!
GOOD THINGS FESTIVAL
ALEX LAHEY JOINS GOOD THINGS 2024 LINEUP
BATTLE OF THE BANDS WINNERS & LOCAL ACTS ANNOUNCED
MAPS & TIMETABLES ARE HERE
STAGE 666 RETURNS WITH CIRCUS PERFORMERS,
KILL YOUR POP STARS LIVE KARAOKE BAND & MORE
KEEP UP TO DATE WITH REGULAR ALL THE GOOD THINGS &
GOOD THINGS BRINGS EPISODES
FESTIVAL ARTWORK | ARTIST PRESS ASSETS | EVENT MAPS & TIMETABLES
Prepare yourselves, the madcap chaos of Australia’s largest travelling music festival is nearly upon us; yes, Good Things Festival season will officially kick off next week, with three East Coast festival dates, a horde of headline sideshows and a stacked bill of international heavyweights, old favourites, hungry up-and-comers, and Aussie staples all ready to make 2024’s Good Things Festival one for the ages.
Originally set to perform on Stage 5 alongside some headline sideshow performances, Sacramento’s DESTROY BOYS are devastated to announce today that they will no longer be performing at Good Things this year:
“Due to unforeseen circumstances, we will have to cancel our appearance at Good Things and Australia shows. To our Aussie fans – we are sorry we can’t make it this time, and we can’t wait to meet you in the future! ♥ ” – Destroy Boys
In leiu of DESTROY BOYS performing, the band’s co-headliner for their previously planned headline sideshows, ALEX LAHEY, joins the festival lineup for 2024 in their place, with the beloved Aussie alt-rock singer-songwriter and multi-instrumentalist set to bring her melodically-charged and endlessly relatable anthems to a festival setting for Melbourne, Sydney and Brisbane.
From her debut 2017 album, I Love You Like A Brother, through to her 2023 third full-length, The Answer Is Always Yes, ALEX LAHEY‘s ability to find comfort in the discomfort, while also crafting earworms that touch the soul, has seen her in hot demand touring globally while also receiving two ARIA Award nominations and securing pop culture infamy appearing on the soundtrack for Tony Hawk’s Pro Skater1+2 and on Sony Picture Animation’s The Mitchells vs. the Machines.
Also set to add local flavour to Good Things Festival next week will be the winners of the official Battle Of The Bands competition, with BODY PRISON winning in Melbourne, PYREFLY in Sydney, and COSMICA in Brisbane. With over 220 bands and over 20 thousand votes in the pre-heat round, the competition spanned three local heats before the final battles this week. Each winning band from Melbourne, Sydney and Brisbane will open their respective hometown events on Stage 5, and will also take home consultations with some of the best in the biz, from booking agents and promoters, through to publicists, managers, social media and more to help them thrive beyond their Good Things experience.
And witness some extra Aussie talent at Good Things Festival this December, with the addition of some stellar local talent in each city, we are pleased to welcome BELLE HAVEN in Melbourne, INERTIA in Sydney, and BAD NEIGHBOUR in Brisbane.
Ahead of next week, you can already start planning your Good Things day, with maps and timetables for all three festival events now available, as well as the official Good Things Festival app offering event maps and a personal timetable ‘My Planner’ so you don’t miss a single moment. The Good Things Festival app is available for download for both Android and Apple devices.
In 2023, Good Things Festival saw the launch of a brand new stage, with Stage 666 featuring a karaoke band, circus performers, AM/PM DJs and more. In 2024, the colourful Stage 666 is back to level up the entertainment factor yet again, with the Freak Lounge playing home to some very special guests, including Berlin’s princess of pain, Princess Tweedle Needle, and the world’s strangest strongman, The Great Gordo Gamsby, hosted by Australia’s own punk-rock daredevil Captain Ruin. And if you’ve hanging to unleash your inner Rock Demon next week, Stage 666 will also see the return of KILL YOUR POPSTARS, with a hardcore live karaoke band experience waiting for you, led by some of Australia’s best musicians with over 150 bangers to choose from. Whether punk, heavy, emo, indie, metal or classic rock is your jam, you can tell all of your mates that you performed at Good Things on Stage 666.
And all that rock’n’roll is bound to make anyone hungry, but luckily 2024 will see the return of BBQ City to Good Things Festival, with plenty of mouth-watering delights set to send your taste buds into a breakdown worthy of any mosh pit.
At the heart of the Good Things Festival Brisbane lies the Garage Stage, a hidden gem for fans craving a raw, unfiltered music experience. This secret gorilla stage strips away the grandeur of massive production, taking the festival back to its roots—a place where riffs echo off concrete walls and passion fuels the performance. Tucked away from the main buzz, it captures the essence of garage jams, celebrating the grit and soul that birthed alternative, rock, and metal. Here, the energy is pure, the connection is visceral, and the music feels as authentic as when it first roared to life. Its not on the map, but go walking trough tunnels and follow the noise to see the garage rumbling with the sounds of Perpanic, Whoroboros, Snake Mountain, Hard Luck Champions, The Silver Spurs and Deadheat.
The final tickets for Good Things Festival are on sale now, but don’t say we didn’t warn you – these tix won’t last long! Secure your spot today and come soak up the beautiful madness in 2024!
General tickets are on sale now: www.goodthingsfestival.com.au
GOOD THINGS FESTIVAL 2024 LINE UP:
Sum 41
Violent Femmes
Electric Callboy | Billy Corgan | Mastodon | Kerry King
The Gaslight Anthem | Jet | The Living End | L7 | Northlane
Bowling For Soup | Alpha Wolf | Sleeping With Sirens | The Butterfly Effect | 311
In Alphabetical Order:
Alex Lahey | AViVA | Dragon | Frank Turner And The Sleeping Souls
From Ashes To New | Grandson | Highly Suspect | Imminence
Killing Heidi (Performing ‘Reflector’ In Full) | Loathe | Reliqa | Taylor Acorn
Plus the return of Stage 666!
DATES AND VENUES:
Friday 6 December – Flemington Racecourse, Melbourne (15+)
Saturday 7 December – Centennial Park, Sydney (16+)
Sunday 8 December – Brisbane Showgrounds, Brisbane (15+)
Tickets on sale now at http://goodthings.oztix.com.au/
GOOD THINGS FESTIVAL | FACEBOOK | TWITTER | INSTAGRAM | TIKTOK
ave you checked out the official Good Things Festival ‘All The Good Things‘and ‘Good Things Brings’ series? ‘All The Good Things’ is your #1 place for all news relating to Good Things Festival, where host Tiana Speter rounds up all competition info, new releases from our artists and much, much more. The latest episode covers all the timetable and map updates, a special BILLY CORGAN deep dive, band competition news, new music from NORTHLANE, a MASTODON feature and more.
Also in the lead up, ‘Good Things Brings’ is your official pre-festival interview series, with bands from across the lineup joining host Tiana Speter for a one-on-one chat before the festivities commence next week! Recent guests include BOWLING FOR SOUP, NORTHLANE, MASTODON, 311 and IMMINENCE.
Catch up on both series via the official Good Things Festival YouTube channel here, or via the festival’s official social media pages.

OPETH New Album: The last WILL and TESTAMENT Out Now
The wait is finally over and OPETH‘s highly anticipated 14th studio album, The last WILL and TESTAMENT is now available worldwide via Moderbolaget / Reigning Phoenix Music!
To celebrate this release, the Swedish prog legends are now sharing a lyric video for the song ‘§4,’ which can be found here: https://youtu.be/kIH7sx4QuPU
Opeth frontman Mikael Åkerfeldt comments on the track, “‘§4’ is an oddball song, just written by instinct. I’m not a clever guy when it comes to writing music. People call us ‘thinking man’s metal,’ I think that’s laughable. I listen to music from so many different genres, it’s impossible to me to stick to one genre. I find the idea boring to try and belong somewhere, we’re a bit all over the place, and I think this song shows our diversity. For ‘§4’ I was inspired by something called ‘twelve note music,’ which I think is a classical term, where you’re supposed to play twelve notes und you cannot repeat a note twice. I heard some of that music by classical pianists playing, and it sounds wicked, it sounds evil, it sounds really strange – so that inspired the initial guitar theme. There’s a mellotron theme in the beginning, it just sounds odd, like it doesn’t fit in, almost like a free-form jazz solo or something like that. But it quickly kind of lands in an almost traditional metal theme with a common response type death metal vocal that has a stereo double-tracked normal vocal response.
“I can’t remember what happened during the writing process, but I reached a point where I just stopped and felt, ‘OK, time for something strange!’ We ended up with a flute solo by Ian Anderson of Jethro Tull, which was kind of an accident in a way, because I asked him to do a narration, not flute. As he was doing the spoken word bits, he asked me ‘do you need a flute solo?’ I was like, ‘yes, please!‘, while I didn’t really have a part for a flute solo! I had to shuffle through the songs quickly in my head before he would change his mind. I had him on the hook, of course I was gonna find a piece! So, he played almost like a common response type flute solo in ‘§4.’
“This is a great song with the ending piece being one of the more evil pieces of music I’ve written in a long time: it sounds really menacing, sick almost!’’
Order The last WILL and TESTAMENT here: http://opeth.rpm.link/lastwillPR
Opeth’s fourteenth album was written by Åkerfeldt, with lyrics conferred with Klara Rönnqvist Fors (The Heard, ex-Crucified Barbara). ‘The Last Will & Testament’ was co-produced by Åkerfeldt and Stefan Boman (Ghost, The Hellacopters), engineered by Boman, Joe Jones (Killing Joke, Robert Plant), and Opeth, with Boman, Åkerfeldt, and the rest of Opeth mixing at Atlantis and Hammerthorpe Studios in Stockholm. The strings on ‘The Last Will & Testament’ were arranged by Åkerfeldt and returning prog friend Dave Stewart (Egg, Khan) and conducted by Stewart at Angel Studios in London. Not one to miss a beat, visual artist Travis Smith returns to the fold, crafting his 11th cover, a haunting “photograph” reminiscent of Stanley Kubrick’s infamous “Overlook Hotel” photograph. Miles Showell (ABBA, Queen) also revisits mastering and vinyl lacquer cutting at Abbey Road Studios in London.
Åkerfeldt rolls out the red carpet for storied flautist and Jethro Tull main man Ian Anderson. Not only do Anderson’s signature notes fly on “§4” and “§7”, he narrates on “§1”, “§2”, “§4”, and “§7”. Joining Anderson, Europe’s Joey Tempest lends a backing vocal hand on “§2”, while Åkerfeldt’s youngest daughter, Mirjam Åkerfeldt, is the disembodied voice in “§1”.
‘The Last Will & Testament ‘is gripping from start to finish, jaw-dropping inside and out, representing some of Opeth’s finest material to date. Just as Opeth welcomed many into its distressed arms over the years, the Swedes again deliver on the promise that great music always tells a compelling story—this time with growls.
Moreover, OPETH has landed the cover story for Decibel Magazine’s current December 2024 issue! The in-depth interview with the band was conducted by journalist Chris Dick while the photos were shot by Ester Segarra. The issue can be found HERE.
The cover artwork can be found below along with the track listing!
The last WILL and TESTAMENT Track list:
01 – §1 [LISTEN]
02 – §2
03 – §3 [LISTEN]
04 – §4 [LISTEN]
05 – §5
06 – §6
07 – §7
08 – A Story Never Told

After conquering North America this past October, OPETH will head to Australia and New Zealand in November of next year!
The full itinerary can be found below.
Tickets on sale now here: https://metropolistouring.com/opeth-2025/
OPETH Tour Dates 2025:
14.11.2025 NZ Auckland – Town Hall
17.11.2025 AU Sydney – Opera House
18.11.2025 AU Sydney – Opera House
20.11.2025 AU Brisbane – The Fortitude Music Hall
21.11.2025 AU Melbourne – Palais Theatre
22.11.2025 AU Adelaide – Hindley Street Music Hall
24.11.2025 AU Perth – Astor Theatre

Lineup:
Mikael Åkerfeldt – Vocals, guitars
Fredrik Åkesson – Guitars, backing vocals
Martin Mendez – Bass guitar
Waltteri Väyrynen – Drums and percussion
Joakim Svalberg – Keyboards, backing vocals
Special Guests:
Ian Anderson (Jethro Tull) – spoken word (tracks 1, 2, 4, 7) // flute (tracks 4, 7)
Joey Tempest (Europe) – backing vocals (track 2)
Mirjam Åkerfeldt – spoken word (track 1)
All Music and Lyrics written by Mikael Åkerfeldt
Lyrical concept by Mikael Åkerfeldt, dramatic consultation by Klara Rönnqvist Fors
Produced by Mikael Åkerfeldt
Co-produced by Opeth and Stefan Boman
Engineered by Stefan Boman, Joe Jones and Opeth
Mixing by Stefan Boman and Mikael Åkerfeldt and Opeth at Atlantis and Hammerthorpe, Stockholm, Sweden
Mastering and vinyl lacquer cut by Miles Showell at Abbey Road studios, London, UK
Artwork by Travis Smith with directions from Mikael Åkerfeldt
Follow Opeth:
