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[Review] James Blunt @ Rod Laver Arena, Melbourne, 24/11/2024

A sticky, humid Sunday night didn’t deter crowds from flocking to the city to soak up some live music, to fight off those Sunday Scaries we all tend to suffer from. Tramming my way to Rod Laver Arena, a bunch of people stopped off to go and check out The Offspring, but the rest of the tram crowd and I were headed over the bridge for a completely different experience, to be serenaded by the sweet dulcet tones of James Blunt. The UK singer-songwriter is currently touring the country to promote his latest album, Who We Used To Be. This is the superstar’s first trip back to Australia in 6 years, and it appears we have welcomed him back with open arms that might just never want to let him go again… or maybe that’s just me.

Settling into our seats for the night, my excitement levels hit a giddying high when I realised that we were sitting just 4 rows from the front. So many thoughts were running through my head:

“Am I close enough to reach out and grab his hand?”

“Will he remember me from that 15 second encounter we had 10 years ago where he shook my hand and said hello?”

“Is this the night he asks me to join him on stage to sing?”

Once I stopped living out these ridiculous fantasies in my head and landed back in reality, the lights had gone down and entering the stage was the support act of the evening, Pierce Brothers.

This was my second time seeing the Melbourne based brothers, and their set was absolute FIRE!!! The stage presence and energy alone that these 2 brothers emanate is next level, not to mention their incredible talent and sound. Playing and seamlessly interchanging between no less than 6 instruments between them: including, guitar, mandolin, percussion, didgeridoo and harmonica, this powerhouse folk duo really got the room pumping for the night ahead. Their upbeat set included It’s Alright, Genevieve and my personal favourite, Amsterdam, and there was not a body in the house that wasn’t moving along to their infectious beat and energy. From humble beginnings busking in Bourke Street Mall, it was evident how genuinely grateful and overwhelmed the pair were to be playing to a hometown crowd on a stage as big as Rod Laver. Their hearts were on their sleeve as they thanked not only James Blunt, but also the crowd for turning up and showing their support. Pierce Brothers finished their set off to a well-deserved standing ovation before calling it a night to allow us to prepare for the main event.

It was a quick break before the arena was once again drenched in darkness, and the man of the hour was set to take the stage. Ringing out around us was the soundtrack of a heartbeat with the visual of a heart rate monitor on screen, and as the beat was vibrating throughout my entire body, I could feel my own heart rate rising with excitement and I started to wonder if I was going to flatline at any second. I didn’t have time to entertain the thought for much longer as a 4-piece band entered the stage with Mr James Blunt in tow, full of his own excitement and guitar in hand opening his set with ‘Beside You’, a track from his latest album. We were encouraged to get up off our seats and feeding off Blunt’s contagious energy we all moved and sang along. Wisemen from his debut album, Back to Bedlam, was another early song in the set that was a crowd favourite and provided another sing along.

I’m always interested to see the type of demographic an artist attracts, but this was one show where it was impossible to pick given the mixed bag of people there. Blunt joked throughout the night that the only reason there were any men there was because they’d been dragged along begrudgingly by their partners, but I can tell you now from my observations that some of these blokes were bigger James Blunt fans than their partners, belting out his songs louder and prouder.

Despite being a fan and being familiar with his repertoire, I had expected to sit there in a melancholic daze listening to his soul-destroying tracks that have been the soundtrack to many a breakup. WRONG!! Right from the get-go, Blunt emanated this fierce energy in which he demanded that every person be up and clapping, dancing, or doing whatever the hell you wanted. This was the perfect way to emotionally recover from those moments where we were sitting there with tears streaming down our faces as we reminisced about past romances and loved ones no longer earth side. One of those songs that put my heart in my throat with its raw emotion and gut-wrenching lyrics was Dark Thought, another track from his latest album. A fun fact Blunt shared before singing this song was that he was good friends with actress Carrie Fisher (Princess Leia) and had even lived with her for years, and he’d written this about her after she passed. He even went on to explain that Goodbye My Lover – which was next on the setlist – was recorded on the piano that resided in her bathroom (celebrities, huh!). Both these songs brought a poignant stillness over the crowd, with the latter providing all the feels and goosebumps as the crowd once again took over the vocals and sang along to every single word.

Never one to shy away from taking the piss out of himself, before singing his hit High he joked that his singing voice sounds like a dolphin, but he’s the best sounding dolphin I’ve ever heard with his soaring falsetto that kicks in during the chorus. To accompany this song the crowd were instructed to do a Mexican wave when the chorus hit, and damn it was a cool sight to behold. Throughout the set Blunt floated between his guitar, piano, and even ukulele for the upbeat track Postcards, with all instruments appearing to be a comfortable extension of his body. At one point during a cover of Slade’s Cos I Luv You, my heart stopped as he jumped down into the crowd and I thought this was the moment he’d grab me and pull me up on stage. It wasn’t to be, and he opted to run a quick lap of the arena instead, much to everyone’s elated delight. You’re Beautiful was another that put the crowd in a frenzy, and by this stage with the numerous moments of direct eye contact we shared, I just knew he was singing this song directly to me. (Leave me alone, a girl can dream, OK?).

Rounding out his set with OK, he was back in no time to fulfill his encore duties. Now this, I was not emotionally ready for. The encore opened with his song Monsters, which he wrote as an almost eulogy to his sick father whilst he was (and is) still alive. Some may recall the viral film clip of a vulnerable and openly emotional James Blunt singing into to the camera through tears, only for the camera to pan out and have his father sitting right there next to him in the video. Somebody was cutting onions somewhere because my eyes were profusely leaking all over the place and fogging up my glasses as this song played out. Thank God he then lifted the mood again and followed up with 2 absolute bangers in Bonfire Heart and 1973, that had everyone up dancing and singing once again.

Love him or not, there’s no doubt that James Blunt is an incredible artist, and I think anyone who was here this night would agree that they didn’t want the night to end. His instantly recognisable vocals, heartbreaking melodies, and songwriting wizardry has the ability to make even the blackest of hearts break down in tears, and to me that’s a magical element to possess and one that many artists don’t. He did hint that he would be back to tour next year, in what I suspect will be a Back to Bedlam anniversary tour. You can bet your arse that I will be there front and centre. But for now…

Goodbye James. You have been the one, you have been the one for me.

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KREATOR Release Digital Album LIVE IN CHILE + Full Show Filmed April 23, 2023 Streaming On The Band’s YouTube Channel

Today, the mighty KREATOR have released a digital album and full video stream of their monumental live performance at Movistar Arena in Santiago, Chile, which was held and recorded on April 23rd, 2023.

Fans can relive the mayhem and massive circle pits that erupted throughout the night, showcasing the raw energy that only KREATOR and their Chilean Hordes can command.

With Live In Chile you can experience one of the world’s most renowned extreme metal bands rip through a breathtaking, career-spanning set full of fan favourites and songs from their most recent album, Hate Über Alles, proving that they’re still at the very top of their game.

LISTEN TO KREATOR – LIVE IN CHILE:
https://kreator.bfan.link/liclp

WATCH KREATOR – LIVE IN CHILE:
https://youtu.be/r714qvYD0K8

ABOUT KREATOR

Decades into their game-changing career, German metal legends Kreator find themselves more successful and influential than ever. They’ve stuck to their guns, weathered the trends and outlasted their peers – never once wavering from the ferocious noise that excited them as teens. If anything, that thirst for sonic warfare is just as strong, if not stronger, today. Where others have suffered from creative malnourishment and artistic uncertainty, something which even metal’s biggest and best are prone to, Kreator have always charged full steam ahead – thanks to the red-eyed conviction and fearless determination of founding singer and guitarist Miland ‘Mille’ Petrozza. On 1985 debut Endless Pain, the Essen innovators created the template for extreme noise to come, fusing elements of thrash and black metal in ways that had never been heard before. Their sophomore album of the following year, Pleasure To Kill, became one of the landmark albums of 1986 – making metal history alongside key releases from Metallica, Slayer and Megadeth. And onwards they marched, bringing hellish anthems to the masses in every album that followed, with a track record few could ever rival.

The last decade has been a particularly exciting time for the group, with 2012’s Phantom Antichrist proving how they could embrace modern production techniques and move with the times without forsaking the underground spirit and defiance which made them a household name in the first place. Its successor, 2017’s Gods Of Violence, saw them topping the German charts for the very first time in their career, a feat virtually unheard for a band of such thunderous intensity.

They returned in 2022 with fifteenth opus Hate Über Alles – which marked their first studio album with Frédéric Leclercq (ex-Dragonforce, Sinsaenum) on bass, joining Mille, guitarist Sami Yli-Sirniö and drummer Jürgen ‘Ventor’ Reil – the metal titans are once again channelling an unholy heaviness strong enough to tilt the earth off-axis.

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Mastodon & Lamb Of God Release Collaborative Single ‘Floods Of Triton’. Mastodon Appearing At Good Things Festival 2024.

MASTODON & LAMB OF GOD
RELEASE COLLABORATIVE SINGLE
FLOODS OF TRITON

APPEARING AT GOOD THINGS FESTIVAL 2024

Mastodon and Lamb of God have just shared their new collaborative single Floods of Triton, a high energy rager that effortlessly evokes the spirit of the bands’ respective early works while also harnessing the stylistic expansiveness that has forged them into icons of heavy music. The new song is aptly timed on the heels of the groups’ co-headline arena tour celebrating the 20th anniversary of their classic albums Leviathan and Ashes of the Wake, synthesizing the indelible influence of those respective classics while underscoring their enduring relevancy as pivotal figures in the heavy music world. The song was recorded at Mastodon’s own West End Sound in Atlanta and was produced by Mastodon and Tyler Bates, highly regarded in his own right for his scores for Guardians of The Galaxy, John Wick, MaXXXine, and more.

This momentous collaboration also serves as a bookend for the bands’ highly successful summer tour, a celebration of two landmark albums that charted a path that countless heavy bands have followed in the intervening years. Mastodon’s Leviathan and Lamb of God’s Ashes of the Wake not only marked critical turning points in each band’s career but also left an indelible influence on the evolution of the genre. While Floods Of Triton echoes the innovation and raw energy of these albums, it also speaks to their persistent hunger for creativity and evolution and marks the first step in Mastodon’s next chapter.

Floods of Triton is out now on Loma Vista Recordings.

STREAM FLOODS OF TRITON
https://found.ee/FloodsofTriton

PRE-ORDER FLOODS OF TRITON VINYL
https://found.ee/FloodsofTriton_Vinyl

Mastodon will be returning to Australia this December for Good Things Festival alongside Korn, Sum 41, Violent Femmes, Electric Callboy and stacks more.

GOOD THINGS FESTIVAL LINE UP:

Korn
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:
AViVA | Destroy Boys | 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 are on sale now https://www.oztix.com.au/

ABOUT MASTODON:
GRAMMY® Award-winning band Mastodon have quietly evolved into one of the most influential, inimitable, and iconic rock bands of the modern era. Since emerging in 2000, the Atlanta quartet have defied both sonic and thematic boundaries with an uncategorizable, undeniable, and uncompromising vision unlike anything else in music. This vision manifested over the course of canonical albums such as Leviathan, which landed on Rolling Stone’s coveted The 100 Greatest Metal Albums of All Time. Following the seminal Crack The Skye [named one of the best albums of 2009 by Time], they earned three consecutive Top 10 debuts on the Billboard Top 200 with The Hunter [2011], Once More ‘Round the Sun [2014], and Emperor of Sand [2017]. Out of six career nominations, they received a GRAMMY® Award in the category of “Best Metal Performance” for “Sultan’s Curse.” They are the rare creative force whose music can be felt everywhere from Game of Thrones, Adult Swim, The History Channel, and DC comics films to Coachella and Bonnaroo. They notably supported the Hirschberg Foundation For Pancreatic Cancer Research with a rendition of “Stairway To Heaven” in honor of late manager Nick John. The group reached another critical high watermark via their ninth full-length, Hushed and Grim. Featuring the GRAMMY® Award-nominated “Pushing The Tides,” it marked the band’s third straight #1 bow on the Billboard Hard Rock Albums Chart. It concluded 2021 on over a dozen year-end lists with Rolling Stone raving, “we get everything from some of the band’s hookiest rockers to date to some of their most awe-inspiring epics.” Evolving as they usher rock into new realms, they forever remain the same unpredictable trailblazing beast—Mastodon.

 

 

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PIXIES ANNOUNCE EXCLUSIVE INTIMATE AUSTRALIAN SIDESHOWS

PIXIES have announced 2 exclusive intimate sideshows, as they prepare to kick off their Australian tour with Pearl Jam next week.

Pixies will play Melbourne’s The Croxton on Friday November 15 followed by Liberty Hall, Sydney on Wednesday November 20. Special guest is The Belair Lip Bombs.

On their 2022 Australian tour, Pixies shows at Forum in Melbourne, and Sydney’s Opera House Forecourt sold out instantly, so don’t miss your chance to see them live this November.

Tickets for all shows go on sale this Friday, November 8 at 10am.

My Live Nation members can secure tickets first during the exclusive pre-sale beginning Thursday November 7 at 10am, running until Friday, November 8 at 9am.

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

Pixies have just released their tenth studio album The Night the Zombies Came to critical acclaim, with MOJO saying, “This most thrillingly deathly of bands remains alive” and DIY stating, “Pixies remain one of the most consistent, influential bands on the planet”.

Pixies wowed UK fans in August with their main stage performance at London’s All Points East, described as “raucous” by Rolling Stone UK after their sold-out Glasgow Academy show was tipped as “a full-on head rush of classics” by the Scottish Sun and “as relevant in 2024 as they were over 35 years ago” by Glasgow World.

35 years since their groundbreaking Platinum-certified album Doolittle catapulted the band into the UK Top Ten, and 20 years since their celebrated reformation at Coachella, Pixies are deep into their second act, and in the midst of a creative purple patch.

PIXIES – THE NIGHT THE ZOMBIES CAME – 2024 AUSTRALIAN HEADLINE DATES

SPECIAL GUEST – THE BELAIR LIP BOMBS

THE CROXTON, MELBOURNE – FRIDAY NOVEMBER 15

LIBERTY HALL, SYDNEY – WEDNESDAY NOVEMBER 20

TICKETS ON SALE FRIDAY NOVEMBER 8 AT 10AM
Live Nation pre-sale: Thursday November 7, 10am – Friday, November 8, 9am

For complete tour and ticket information, visit: pixiesmusic.com & livenation.com.au

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MALEVOLENCE Release Video For New Single ‘Trenches’

Sheffield’s metal powerhouse MALEVOLENCE have unleashed their brand-new single, ‘TRENCHES,’ embodying the raw resilience and grit of their Steel City roots. This standalone track is the first glimpse of their partnership with Grammy-winning producer Josh Wilbur, known for his work with heavyweights like Lamb of God, Korn, and Gojira. Amplifying their Northern backdrop, MALEVOLENCE also collaborated with in-demand director duo Double or Nothing Productions for a Metal video debut that demonstrates their unique identity in British Metal.

Vocalist Alex Taylor comments: “Trenches is possibly the most aggressive, ignorant and direct song we have ever written. Over the last few years, we’ve been playing more in the commercial metal circuit at festivals and arenas, so we wanted to take this opportunity to remind people that we still haven’t lost sight of where we came from. The lyrics are a declaration of not needing validation or approval, and a rejection of those who never supported the journey but only show their face when you achieve some level of success.”

Stream ‘Trenches’ on all platforms now at:
https://malevolence.bfan.link/trenches

Malevolence – ‘Trenches’ (Official Music Video)

Malevolence are:
Alex Taylor | Vocals
Konan Hall | Guitar / Vocals
Josh Baines | Guitar
Wilkie Robinson | Bass
Charlie Thorpe | Drums

 

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Gig ReviewsReviews

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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[Album Review] Astrofuzz – Self Titled

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

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

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

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

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

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

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

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

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