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Australian Tour

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Gig ReviewsReviews
April 16, 2024
Andrew Pauley

[Review] Orange Goblin @ Croxton Bandroom, Melbourne 13/04/2024

It’s Saturday night, I have gig itchy ear parts, and my plus 1 buddy Eoghan. We are cruising through town to get to the Croxton to slam a couple of Jars down and bare witness to Orange Fucking Goblin!! Yes please, make the pleat in my trousers full. Tick!

I love the Croxton and this night I could already tell was going be turned up to eleven.  All my friends were there, Orange, Peavy and Marshall. A couple of Ludwigs set up ready to be pounded.  Enter Astrodeath….

Astrodeath a two piece unit were up and energised. Throw a little QOTSA, pinch of Local H & maybe some Monster Magnet and you have yourself a booming duo that will knock you fucking face off. Right from the get go with Yoshi on the skins slamming into that kit and Tim’s presence and energy had everyone committed.  It was like being in the crowd of the Mupppet show with long hair trying to keep up with the headbanging that was unfolding. To further my point my Amigo Eoghan said its like watching Animal play the drums. We were both hooked and wanted more.

It was one of the night’s where you say to yourself if this is the first outfit then how can you go up from here.  Belting out tunes like Mountain King, Leviathan Rising and Ceremonial Blood, Astrodeath had us on the hook, even knocking out a Sabbath cover which as a two piece was a more than fair effort. Tip my hat to Yoshi & Tim for the sound they deliver, it’s full, it’s mixed right, it’s punchy, go hard or go home and fuckin delicious. Rate em highly. Check em out!

Isn’t it Rich?

Are we a pair?

Me here at last on the ground,

You in mid-air

Send in the clowns…………

Robe cladded doom metal Melbourne band Dr Colossus enters with Krusty the Klown’s Send in the clowns….not having seen them before I wasn’t expecting to see a band that infuses Doom metal with The Simpson’s!! The Croxton is filling up now and the Muppet show is keen to roll into more metal on the doom side with a sense of humour.

Jono,  Mike, Josh & Joel just had the pull of the crowd to get everyone amped not only for the gear they were spilling out but also for the up coming Goblin. The inhouse Dr of the night gave us a solid set featuring Pickabar, Sixt Six & Six Lard Lad & So Long Stinktown. A mixture of 4 string bass, left-handed drummer, lead and rhythm with excellent clean vocals gave us a well rounded tight Simpsons on the dark side of the moon. The Croxton community gathering around Mike to tribute a lost comrade was a nice touch too.

Bizarre moment as I was talking to me mate about Bon Scott and an AC/DC tribute band when It’s A Long Way came on through the PA. Now music had been playing between sets, so I never took much notice until the curtain started to rise. Sploodge!

Now that’s a way to open to a now eager Melbourne crowd. Tip my hat for having the smarts to walk onstage to a local tune like that. I give you Orange Goblin and yep we all were goblin!!!

Mountain sized Ben had us all in the palm of his hand as he swept us up and took us on OG journey starting back in 97’. You have Moses looking Chris centre stage on the kit, Joe on his Gibson (fuck me can that Dude play!), Harry on Bass stage right & Ben the Giant wielding cannon sized arms to grab the crowd, all in front of Marshall stacks teetering of the edge from blowing out.

Solarisphere, Saruman’s Wish, Made of Rats, Aquatic Fanatic ripped through the Muppet Monster race of fans left right, front and centre. A swarm of electric mayhem was a back and forth between crowd & our Orange Goblin. Joe’s guitar playing was outstanding, just a very fucking cool guitar sound, almost Angus like, lots of overdrive pushing his amp to the limit. The whole band dripping with style & energy. The sound mix was bang on and all instruments could be distinguished. Harry had his bass amp so high it was almost at warble but silky good.

More from the OG journey came Sons of Salem, Your World Will Hate This and moving into more of their newer kit Not Rocket Science which is a banger of a tune. Good driving song!! They also played Scorpionica, Time Travelling Blues finishing on Red the Rising.

Ben said he was told earlier on the tour, “Wait until you get to Melbourne.” As a reference to the Melbourne scene, pretty sure we lived up to the hype and even though it was the last Aussie show he vowed to be back and without the 10+ year gap between. So, if you like having your nipples turned up to 11 and your head spun off its shoulders then get yourself to see Orange Goblin, anywhere anytime!!

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Gig ReviewsReviews
April 16, 2024
Wendy Smith

[Review] Live and Incubus @ Margaret Court Arena, Melbourne 14/04/2024

When confronted with a lineup featuring Incubus and Live, I definitely thought that Incubus would have the bigger Australian fan base, having been regular visitors to our shores over the last 15 years or so (this is my 4th go round with Incubus).  So I was surprised to see Incubus coming on first and having the slightly shorter set of the two.  There is a lot to be said for a dual headlining show – all thriller, no filler and I was excited to be seeing 2 excellent bands on the one bill.

Incubus appeared just a couple of minutes after the prescribed time and there was no mistaking when charismatic frontman/heart throb Brandon Boyd took the stage as the cheer was a loud one.  Sporting long hair these days and a seriously dodgy 70’s porn star mustache which should be shaved off immediately, he nonetheless cuts a fine figure at the front of the stage.  The VIP setup for this gig was a strange one.  On each side of the stage was a little fenced off area where 20 or so excited die-hards stood awkwardly waiting for the show to start – well I guess you can’t get much closer than that for your money. 

After a short instrumental introduction, the familiar scratchy scratchy intro to Nice to Know You began with Brandon adding his breathy beat box over the top.  I love this song and from the enthusiastic singing of the assembled, I am not alone – Goodbye, nice to know you.  Following along on the all thriller, no filler theme, next up was the incomprehensible Anna Molly.  I swear I have only just discovered as I write this, that this was the song title.  For years, I thought it was Indubitably.  En-unc-iat-ion, please.

Sick Sad Little World was next featuring a long instrumental interlude which gave Brandon a chance to shake his skinny booty and brought Chris Kilmore out from behind his decks to spin what must be 30+ years of dreads in a circle headbang.   Speaking of Circles, this song from the wonderful Morning View album of 2002 was up next and gave new girl, bassist Nicole Row a chance to show her chops.

Is it my imagination or did it suddenly get very hot in here?  To the strains of The Beatles’ Come Together, Brandon shed his t-shirt and I had to remind myself that I was here for the music.  Come Together was not the only cover of this set.  Are You In morphed midway and seamlessly into Riders on the Storm from the Doors, and back again without skipping a beat.  They also did a short, sexy cover of Glory Box by Portishead, and one of my faves, Let’s Dance by David Bowie.

After a hit packed, but all too short set, Incubus finished on a definite high with the singalong favourite – Drive.  This brought Brandon and guitarist Mike Einziger down to the front of the stage for an acoustic intro.  The audience singing could be heard clearly over the music – Would you choose water over wine, hold the wheel and drive.  It was a given that the set would end with Wish You Were Here.

I Googled Live yesterday and a live version of all the music my husband and I watch on Youtube on a Saturday night over the pool table came up, but no Live the band.  I had to delve way deeper down the Google wormhole to find Live the band.  Probably a poor choice of a band name in this digital age but as they have been going in one form or another since the early 80’s when the world wide web was just a concept in an English computer lab, you can’t blame them. 

My experience with Live begins and ends with the hits.  I love me some post grunge, alternative rock (as Wikipedia describes their style) but some Live songs skirt just a wee bit close to country for my liking.  And tonight, Ed Kowalczyk explained why that is.  Hailing from York, a town in Southern Pennsylvania, an area that is known as Pennsyltucky as it shares a border with West Virginia and there to the Southern states of Kentucky, Tennessee and Alabama and explains why “I talk funny” says Ed.  And yes, there is a definite southern twang in his voice.  “I hope all y’all are having a good time.” 

If anything, the floor of MCA is more tightly packed for Live than it was for Incubus.  Their set started with the radio friendly Hold Me Up, followed by the very recognizable All Over You which brought a massive singalong from the packed house which continued for Selling the Drama whose lyrics read like a passage from the bible.  Although not known as a Christian band, Christian themes seem to appear regularly in Ed’s lyrics. 

The Dolphin’s Cry was up next and has there ever been a more melodramatic song title in all of rock?!  I think not.  The mullet in a flanny sitting in front of me was in raptures and much fist pumping and finger pointing accompanied this song. 

The next song Ed says was a new one, Leave the Radio On.  It began innocently enough but after a few bars, I heard a sound that made my heart drop and my jaw clench – slide guitar.  You’ve just crossed the line.  The hits of Live with a grungy feel had always made me think that Ed Kowalczyk was more Billy Corgan than Billy Ray Cyrus but I may have been mistaken. 

The main set finished with the wonderful Lakini’s Juice.  A constant on the Triple M playlist and a masterpiece of post grunge angst.  Ed was winning me back and the 2 song encore featuring I Alone and Lightning Crashes had the mullet in a flanny, AND me leaving MCA with a smile on our faces (not together….EEEEWWW).

So my takeaways from this gig is that co-headlining tours are awesome.  Great value for money (and let’s face it, concert tickets in Australia are getting RIDICULOUSLY expensive) and shorter sets are guaranteed to be packed to the gunnels with hits and the songs the fans want to hear.  Promoters of Aus – More Please!

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Gig ReviewsReviews
February 29, 2024
Kynan Arden

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

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

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

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

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

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

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InterviewsTour Interview
February 26, 2024
Midnite Mitch

Interview with Ben Ward (Orange Goblin)

Click above to see Mitch chat with Ben Ward ahead of Orange Goblin Australian Tour!

Cut from the same beer-stained cloth as the greats, UK stoner rock metal act ORANGE GOBLIN are still riding high and leading the pack in 'balls to the wall' heavy metal thunder. Emerging amid the exhilarating melee of the mid-‘90s stoner rock and doom explosion, ORANGE GOBLIN immediately endeared themselves to a generation of metal fans by simply going for it at full, beer-swilling pelt and some twenty five plus years later, nothing has changed! Moving towards 2024 it’s all hell for leather with the release of their tenth studio album, the first one since 2018's 'The Wolf Bites Back' and the first for new label Peaceville Records.

 
Being 11 years since their last trek to Australia, ORANGE GOBLIN are way well overdue for a bone jarring jaunt and have promised to pull out all the stompers for an intense and intoxicating atmosphere that will truly show the power and might these British heavyweights are armed with.
 
Earning a unique place in Australia’s heavy scene is Simpsons themed doom-rock band DR COLOSSUS. Brandishing low tuned guitar riffs and melodically driven songs that then manage to turn the genre on its head by presenting lyrics and an aesthetic based entirely on episodes of The Simpsons. A gimmick as it may be, DR COLOSSUS have earned a reputation as one of the one of the country’s most dynamic heavy acts who wield a dynamic palette of doom infused rock stomping grooves within well crafted, fun and riotously catchy material.
 
Leading the charge of mountainous riffage is Sydney’s two piece feed ASTRODEATH. Possessing a furious and intimidating sound, at a titanic reverberation that far exceeds the sum of its twin parts, ASTRODEATH belt out sludge ridden slices of heaviness that pack a devastating punch.
 
ORANGE GOBLIN with DR COLOSSUS and ASTRODEATH performing at:
 

April 9th – Adelaide, Lion Arts Factory

April 10th – Canberra, The Basement
 

April 11th – Brisbane, The Zoo

April 12th – Sydney, Crowbar
 

April 13th – Melbourne, The Croxton

 

TICKETS ON SALE at:

ADELAIDE – www.moshtix.com.au
 

CANBERRA, BRISBANE, SYDNEY, MELBOURNE – www.oztix.com.au

 
 

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Gig ReviewsReviews
February 25, 2024
Raelee Atkinson

[Review] Atreyu @ Manning Bar, Sydney 22/02/2024

Atreyu are a metalcore band from California, USA, taking their name from a character in the movie, The Never Ending Story. 

Back in 2007 I bought a copy of Metal Hammer magazine and it had a bonus cd on the cover with “new” music. One of those tracks was Becoming The Bull by Atreyu. I was instantly sold on their sound and have loved that track ever since.

Fast forward to February 2024 and I finally got to see this band play live.

It was a steamy Thursday evening in late February and I was among those gathered at the University of Sydney’s Manning Bar. I entered the venue, perused the merch stand, grabbed a bottle of water from the bar and staked out a spot near the sound desk and with a good view.

First up was Sydney female-fronted metalcore band, Bridge Left To Burn.

When they walked on stage there was about a dozen people waiting on the rail but by half-way through the first song the floor was half filled.

They played a cracking 20 minute set, lead vocalist Ava Sukkar switching between harsh and clean vocals one moment angelic, the next demonic. The Sydney-siders were stoked to be on the bill and put 110 percent into their performance by warming up the audience for the following bands.

Strangely, as soon as the band finished, the floor cleared, people choosing to gather near the bar or outside on this hot Summer night.

After a gear changeover next up were Melbourne metalcore band, Bad/Love. Before they even introduced themselves, I could hear the distinct Melbourne ‘core sound. A bit Void Of Vision, a touch Thornhill with a dash of Windwaker. There’s a certain polish to the sound that comes out of Melbs. The Melbournites gave a strong 30 minute performance which included Social Suicide and their latest single, Ungød. There was a screeching lead guitar solo in the last song as they ended their set.  Again, the audience vacated the floor during the gear changeover, which was quite disconcerting. The Manning Bar isn’t a large venue, yet it felt empty and I was left wondering “where were Sydney’s Metal fans tonight?”.

The intro music started playing as Atreyu finally entered the stage, people started moving onto the floor as they began to play Drowning, all of a sudden they were at the chorus, I looked around and the floor was filled, and there’s a crowd gathered on the 2 levels and outside on the balcony. I teared up, grateful and happy that Sydney had indeed turned out for this fantastic band. Everyone was singing along loudly, and I mean LOUDLY! The song ended to loud cheers and my beloved song, the previously mentioned, Becoming the Bull was played next and I joined the crowd, yelling out the lyrics loudly. Vocalist Brandon Saller announced it was time for a circle pit and the audience complied as Right Side Of The Bed played. Next we were told it was time to help sing a part, “it’s only two words” Saller says, we practised it and then Save Me played with the audience screaming out “Save Me” loudly during the chorus. Next was When Two Become One and mid-song Saller takes someone’s phone and video records part of the song from the stage, then at the end he shared with the audience that the couple in the front row had used that song as their ‘first dance’ song at their wedding. Saller then mentions how twenty years ago on their first Australian tour, they heard this unique sound that they had always wanted to use in a song. The beeping noise from our pedestrian crossings. Almost twenty years later they finally used it in the song (i).  *side note: Billie Eilish and her brother Phinaeas had said and done a similar thing with their song Bad Guy.  Suddenly there’s movement on stage and they change instruments, the drummer is now playing bass, the singer is now playing drums and the bass guitarist is now singing lead vocals, and they proceeded to play Bleeding Mascara.

Everyone then returned to their regular positions and played The Time is Now, during which, Saller walked throughout the entire room through the crowd and out onto the balcony, singing. Ex’s and Oh’s and Gone are next we were asked to sing along but the audience just can’t get the timing right, which is hilarious and results in some good-humoured “shit talk”. Someone in the audience yelled out “Where’s Travis?” To which Saller responded, “right there”, pointing, “he’s been there all night”. Saller then said to guitarist Travis Miguel “they don’t recognise you with your shirt on, take your shirt off” the crowd cheered but Miguel politely declined and Saller quipped back, “c’mon, your body, their choice”. Then it was time for Battle Drums and the crowd were singing loudly again. Time for the “lucky dip” song. An audience member was chosen and asked to pick a song from the selection that the band puts written down into a clear pencil case. Watch Me Burn was chosen which was then followed by Falling Down and everyone was moshing again.  Saller then talked about how we all go through ‘dark times’ but it’s how we pick ourselves up and move forward that is important which is the segway to Warrior, during the bridge it took a short detour to Wonderwall, before returning to Warrior, then the set is finished with two middle fingers in the air and a rowdy rendition of the song Blow.

The band thanked the crowd and exited the stage. After a brief break, guitarist Dan Jacobs returns to the stage with a saxophone and plays short bursts of a few songs, including the standard, Tequila, the rest of the band rejoined him and they played the Whitney Houston hit, I Wanna Dance With Somebody as their encore. The band tossed out drum sticks, setlists, and guitar picks and bid Sydney farewell. Next stop …. BrisVegas!!!

Atreyu played an energetic and entertaining 75 minute set filled to the brim with bangers. They put on an amazing show, which included loads of banter with the audience. You get the distinct impression that these guys love what they’re doing, and it’s infectious. I walked in with an appreciation for this band and walked away drenched in sweat and completely hyped for them. They’ve now played their last show of this tour in Brisbane to a sold out audience, so sadly, if you missed this tour you will have to wait until next time.

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Gig ReviewsReviews
February 24, 2024
Tess

[Review] P!nk @ Marvel Stadium, Melbourne 23/02/2024

Melbourne is experiencing an exciting few months filled with major music events. Last week, the city hosted performances by Blink 182, Taylor Swift, and Matchbox Twenty, and this week the momentum continues with Slash featuring Myles Kennedy, and the much-loved Suzi Quatro gearing up for the Red Hot Summer Tour in March.

The start of a P!nk concert feels like the rush of zooming down a roller coaster’s steep drop. It’s a thrilling and wild journey, where you find yourself catching your breath in anticipation..

In other words: Just. Hang. On.

On her Summer Carnival stadium tour’s Friday night show, P!nk delivered a mesmerizing performance amidst a backdrop of colorful neon flamingos, oversized mirror balls, and whimsical flying bananas, all complemented by her signature, breathtaking circus-inspired acts. Now at 44, P!nk has mentioned in recent interviews, feeling at the pinnacle of her fitness, which was evident in her dynamic bungee cord stunts during the vibrant kickoff with Get the Party Started, intertwined with a hint of the Eurythmics’ Sweet Dreams (Are Made of This), and the lively Raise Your Glass, highlighting her incredible energy and agility.

P!nk’s ability to deliver both vocally and visually, even while performing complex aerial maneuvers, surpasses that of many artists who perform with both feet on the ground. My plus one, who has a lifetime background in theater and was experiencing a P!nk concert for the first time, was completely amazed. It was quite a sight to see her experience her first P!nk concert; it reminded me of the excitement of discovering something wonderful for the first time. The way P!nk manages her vocals while engaging in spins and flips was truly remarkable. 

P!nk took a moment to reminisce about her initial performance at Marvel Stadium, known back then as Telstra Dome, in 2002 during the Rumba festival, where she shared the stage with Bon Jovi, Shaggy, and Australian acts Natalie Imbruglia and Bachelor Girl. There seemed to be a few loyalists in the crowd who were there as-well! Even when simply standing at the microphone for Who Knew, dressed in a glittering, silver outfit with matching ankle boots, P!nk’s performance was as powerful and confident as ever, her voice as strong as her physical presence. It was about here she spied a gift held aloft by a fan who clearly knew her weakness. TIM TAMS !!! But wait…. “Are these new” Alecia exclaimed?! “They are blue?!….. DOUBLE COATED!!!! Can they still be used to drink coffee through?” The crowd answered as only a 40thousand crowd can, much to Alecia’s delight. 

Armed with a strong selection of tracks from her latest album Trustfall, P!nk faced the challenging task of integrating new songs with classics from her 23-year repertoire. The setlist she crafted managed to encompass the breadth of her career, featuring anthems like Try, with its powerful chorus ideal for stadium singalongs, the emotive and dance-heavy What About Us, and the uplifting F*!king Perfect. A standout moment was Just Like Fire, which was seamlessly blended with Benatar’s Heartbreaker, creating an energetic fusion highlighted by Justin Derrico’s electrifying guitar performance. 

In a captivating moment, the youngest dancer of the troupe, Madelyne Spang, took center stage with a beautifully haunting dance during the spoken introduction of Turbulence. P!nk then emerged, offering words of encouragement to Madelyne, reminding her to breathe. Following this tender exchange, P!nk joined veteran dancer Khasan Brailsford at the top of the catwalk for an impressive solo aerial performance, which then evolved into a thrilling aerial duet.

P!nk also found room in her set for a few cover songs, delivering a unique take on Bob Dylan’s Make You Feel My Love, inspired by Adele’s version, performed on the piano. Later on, she included a rendition of the 4 Non Blondes hit What’s Up? adding her own flair to these classic tracks.

In a quieter segment of the concert, P!nk shared the stage with her 12-year-old daughter, Willow, for a touching performance of Cover Me in Sunshine, a track they released together in 2021. Following this, P!nk took a moment to sit at the edge of the catwalk alongside guitarist Justin Derrico for a series of more intimate performances. The acoustic rendition of Don’t Let Me Get Me particularly resonated with me, stirring emotions deep within my 50-year-old heart. The albums M!ssundaztood from 2001 and Can’t Take Me Home from 2000 remain my cherished favorites. P!nk’s talent for conveying deep emotion through her music was profoundly evident in the poignant ballad When I Get There, a heartfelt tribute to her late father. 

However, it wasn’t long before the energy shifted back to vibrant pop rhythms with I Am Here. P!nk chose to perform this piece barefoot, declaring it the only way to truly connect with the song. She likened the experience to being a dolphin, suggesting the importance of letting worries slide off effortlessly, just as water does off a dolphin’s back. Of course, P!nk couldn’t stay away from the adrenalized pull of something acrobatic. She joined some of her dancers for a unified routine during Trustfall while other members of her pack blissfully flipped on a trampoline behind her. P!nk joined them at the top of the setup, watching their “trust falls” onto the coiled canvas. P!nk’s remarkable qualities, such as her endurance, authenticity, and rich, powerful voice, are all worthy of praise. However, the greatest gift she offers during her concerts is the freedom to truly enjoy oneself.

In a dazzling display during her So What performance, the singer, covered in a shimmering outfit, took the concert experience to new heights—quite literally. She was secured in a harness connected to wires, which allowed her to execute a series of spectacular aerial flips across the expanse of the stadium. Hovering above the awe-struck crowd of almost 40,000+ fans, she belted out the defiant lyrics, “So what, I’m still a rock star,” with unmatched energy and charisma. This moment wasn’t just a highlight of the show; it was a vivid declaration of her unstoppable spirit and undeniable status as a rock star. Her ability to blend vocal prowess with daring acrobatics in front of a massive audience not only captivated everyone present but also solidified her reputation as an exceptional performer, truly living up to the title of a rock star in every sense.

P!nk plays again tonight in Melbourne with tickets still available at https://www.livenation.com.au/artist-p-nk-348049. 

Before setting off to Adelaide, and Perth before heading back for encore shows at Melbourne, Sydney and Brisbane. And finishing off this incredible tour in Townsville on 22nd and 23rd March. 

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Gig ReviewsReviews
February 15, 2024
Terri Nas

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

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

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

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

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

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

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

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

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

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

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

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

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InterviewsTour Interview
February 9, 2024
STM

Interview with Hugh Cornwell

Click above to see Casper chat with Hugh Cornwell on announcement of Australian Tour!

When future historians of music draw up a list of the movers and shakers who changed the modern musical landscape, there will be no doubt THAT HUGH CORNWELL’s name will be prominent amongst them. As a pioneering musician, songwriter, and performer his pervasive influence persists in the record collections of music aficionados, across the globe’s radio waves and on stages around the world, Hugh’s presence is unquestionable.

As leader of THE STRANGLERS, Hugh was the main songwriter of all the band’s most memorable songs across ten stellar albums all of whom consolidated Cornwell’s stature as a unique songwriter and musician. His lyrics to ‘Golden Brown’, from the La Folie album, and their multiple meanings, is a songwriting masterclass.

Widely regarded as the poet laureate of punk, Hugh Cornwell has also built a substantial and singular body of impressive solo albums.

Don’t miss this British Music Legend as he Performs Iconic Stranglers Hits and Classic Solo Songs with a Full Band!

“His solo work is a joy to listen to, great lyrics and wonderful guitars, and The Stranglers numbers stand the test of time, still sounding great after all this time” (Scottish Music Network)

“Cornwell’s voice is spiky or smooth as required” (Norfolk Rocks)

HUGH CORNWELL August 2024 Australian Tour Dates

Thursday 1st August The Great Club, SYDNEY (Marrickville)

Friday 2nd August Blue Mountains Theatre, BLUE MOUNTAINS (Springwood)

Saturday 3rd August The Croxton, MELBOURNE (Thornbury)

Sunday 4th August Memo Music Hall, ST. KILDA

Thursday 8th August The Triffid, BRISBANE

Friday 9th August The Gov, ADELAIDE

Saturday August 10th Rosemount, PERTH

Tickets

Presale:  Tuesday 13th February, 9am Local time

General Public: Friday 16th February, 9am Local time

From: https://metropolistouring.com/hugh-cornwell-2024/

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Gig ReviewsReviews
February 5, 2024
Cassandra Hale

[Review] Wednesday 13 plays Murderdolls, Max Watts, Melbourne 04/02/2024

Melbourne had delivered us our first scorcher of summer, the heat radiating from every building and footpath as I made my way to Max Watts Melbourne. The lines were in full force, the colours predominantly red and black, classic Gothic attire reigned supreme. The punters had been on the countdown to Wednesday 13 playing Murderdolls and of course in true Melbourne style it was a sold-out show. Paying tribute to former members Joey Jordison and Ben Graves, touring this show in their honour.

The merch line was at least 50 deep, stretching way back to the stage, everyone keen to nab a memento. So I took the chance to find some air conditioning in a prime position for the night ahead. Death of Art was our opener, and they got the fans well and truly warmed up. With a quickfire set of 30 minutes their dark electronic rock won over the floor. Singer Erin Blackie peppering each song with accessories including a neon whip, ropes, and even donning horns for the final song. Their Gothic costumes and feel suited the night and they were well received by the expanding crowd. If goth is your thing go check them out, you will be glad you did.

The stage was flooded with red and the Wednesday 13 banner firmly in place, it was as if Max Watts had grown its own pulse, the atmosphere was electric. The roar almost deafening as the lights dropped and the red runway lights flashed up and down the roof signalling the craziness was about to take flight.

With the force of 1000 cannons Wednesday 13 blasted onto the stage, an assault on every sense all at once, my adrenaline was instantly racing as Chapel of Blood rang out. It was all fishnet and leather and of course a bit of make-up here and there to complete the look, Wednesday 13 looking the epitome of cool as his gothic persona came to the forefront. Death Valley Superstars had the fans rabid, pulsing as one unit, the excitement at seeing Murderdolls brought to life in front of their eyes more than some could take. Wednesday worked the stage and the fans with vigour only coming up for breath on the briefest of occasion, 197666 took things up another notch and we were only three songs deep.

I knew it was going to be huge but the enormity of this show was only just hitting as Slit My Wrists and Love At First Fright whacked us in the face. Guitarist Roman Surman graced my side of the stage, and holy shit can he shred the shit our of his guitar! He was a pleasure to watch as he enveloped each and every song with every fibre of his being, so invested and so damn cool. She Was A Teenage Zombie, Die My Bride, Blood Stained Valentine, the songs kept coming as Wednesday and his cohorts smashed us from pillar to post, fists pumping on autopilot, clapping on command and the frenzied flipping of birds. This show had an energy force I have not felt at a gig for a long time, it was evident from the get-go the punters have been waiting for this one for a long long time. We came ready to rock and rock we did, as Pieces Of You, and Drug Me To Hell had the sweat dripping. Wednesday on his knees taking advantage of his strategically placed fan as Max Watts became a veritable melting pot, glasses of water hungrily grabbed as quick as the security could pass them out.

As the band left the stage it was time to be educated in the art of drumming as Mike Dupke took charge of the skins and showcased what was one of the finest drum solos I have witnessed. His sticks becoming an extension of his body as he entered beast mode for the duration. Flooded with red light as he played to whoops and cheers, leaving Max Watts in awe of his precision behind the kit. The song list kept coming but Nowhere was when things became emotional, it was dedicated to Joey and chants instantly erupted in his honour, Wednesday looking sky bound with pause for the loss of his dear friend. But this was not a time for sadness it was a time to celebrate Joey and his music so that is what we did. Summertime Suicide set the joint alight, our voices now as raspy as the man himself as we sang ourselves hoarse.  I must also give mention to guitarist Jack Tankersley, what an absolute legend, not only is he an A class musician but so engaging every time he visited my side of the stage. This band is a well-oiled machine and tight as fuck! Wednesday had us under his command from the minute he walked on stage, we were his congregation, he was our preacher, and we were all schooled in Murderdolls by the master himself.

With a quick detour off stage it was not long before the chants of ‘Wednesday’ began and we were rewarded with a return of the band. Wednesday sporting his trademark ‘encore’ hat and red leather jacket, offering us 1-3 songs depending on how loud we were, needless to say the roof was well and truly raised and 3 songs it was. Opening the final trifecta with the mind-blowing cover of Billy Idol’s White Wedding, Troy Doebbler was slapping his bass to within an inch of his life, this guy is a four-string assassin, and the hidden weapon of the band. With his ‘Fuck You’ Umbrella in hand Wednesday had us priming our middle fingers as I Love To Say Fuck blew our hair back and the war cry ‘fuck’ was thrown around with delight. The only way to finish out this mind-bending night was of course with Dead In Hollywood, everyone just hanging on by a thread but still bouncing not willing to relent for one minute. With thanks and waves goodbye it was over and the sore and spent bodies dragged themselves to the water jugs and made the hot sweaty pilgrimage back to the real world.

Joey and Ben would have smiles as wide as the stage after witnessing the show of a lifetime in Melbourne, Australia. If there was a place to forget the outside world existed it was Max Watts last night, thank you to Wednesday 13 for bringing us Murderdolls revisited, you came, you saw and you kicked out mother fucking arses!!

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