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[Review] Robbie Williams @ AAMI Park Melbourne, 22.11.2023

Hell is gone and Robbie’s here there’s nothing left for you to fear, 

Shake your arse, come over here, now SCREAM!!!  

The surrounds of AAMI Park were awash with people, food & merch stands, glitter, and more people, and I excitedly approached the stadium because tonight I had a date. A date with a man that I have loved for a very long time and who doesn’t actually know that I exist. But a date, nevertheless. Enter: Mr Robbie Williams.  

It was an expected older crowd who were flooding through the gates and jostling for position to catch a glimpse of the global megastar. Whether you’re a fan or not his music is undeniably catchy, and you will always find yourself at least humming along to his familiar tunes. My partner in crime for the evening is a dear friend who loves Robbie as much as me. I dare say there would be bloodshed between us if one of us had’ve nabbed Robbie for ourselves. We found our seats promptly and despite Robbie not gracing the stage for another 2 hours, the excitement was pulsating within me already. 

The first support act for the evening were Lufthaus, an electronic dance duet who originate from Melbourne. They’ve spent a lot of time overseas building their following, and interestingly enough have actually collaborated with Robbie on a number of tracks. They got everyone in the mood with their continuous electro tracks, and they let everyone know how pleased they were to be playing to a home crowd for the first time. 

Next on the bill was British singer and former Supergrass frontman, Gaz Coombes. His music is a mix of pop and rock, and people seemed to be really digging it. Gaz and his band were energetic and rocked the stage for their entire set, right up until they exited the stage. It was interesting to note the contrast in the 2 support acts, which no doubt ensured everyone’s music tastes were met.  

As the sun dissipated and dusk was upon us, my heart was bursting and the butterflies were in full force causing havoc in my stomach. I knew the arrival of the great man was imminent, and that he was nearby and ready to blow the stadium away. The remaining lights went down, there was movement on the stage and the crowd started to get riled up. We were met with the introduction of Hey Yeah Wow Wow, and as the 3 cubes that doubled as screens started to rise from the stage, There. He. Was. Donning a black sequin suit, accessorised with a white Elvis-style scarf, there was the legend we had all been waiting for. The song was over in no time, and it was then that the instantly recognisable piano riff of Let Me Entertain You began, as Robbie marched down the catwalk stage that led out into the middle of the general admission area. Robbie piped up during the song with “Let me reintroduce myself, I’m Robbie Fucking Williams”. The crowd were completely beside themselves by this point, dancing and singing along to every word. This was my 3rd time seeing the British superstar, and despite being nearly 20 years since our last date, hot fucking damn this man has not lost a thing.  

The next song he led into was a cover of Wilson Pickett’s Land of 1000 Dances, which is a party starter at the best of times. There was more audience participation, and at one point Robbie had a little sit down because as he put it, “I’m fucking nackered, I’m nearly 50!” Robbie told us he was going to take us on journey, on a 33-year musical odyssey of his career. The way in which he did this was hilarious and heartfelt with a great dose of nostalgia. Robbie checked in and asked his crowd, “Am I amongst friends, Melbourne? Am I in a safe space to share with you?” The crowd went ballistic in support because yes Robbie, we are here for you ALWAYS.  

Next up was one of his early hits Strong, in which he jumped down into the crowd to get up close and personal with his fans. It was hilarious watching this unfold on the big screen as there were a sea of female hands grabbing and groping him from every angle. Come Undone followed, and during it’s musical intro he incorporated a bit of JPY’s Love Is In The Air. This is one of my most favourite Robbie songs, and I was belting it out as loud as I could, along with the rest of my fellow concert goers.   

It was then Robbie wanted to take us on a trip back to 1990. On this trip he told us the Berlin Wall hadn’t long come down, Nelson Mandela had been released from prison, a young Australian cricketer was preparing to make his debut (this little tribute sent the crowd wild – R.I.P Warnie), and most importantly in that year a little boy band was formed called, Take That. There were a lot of Take That fans in the audience, and when we were treated with the music video to the band’s song Do What You Like, in which we were exposed to a close up image of 16-year-old Robbie’s arse in the clip, the crowd were THIRSTY. He then went on to play their song Could It Be Magic, in which he bailed on halfway through as he exclaimed “Na, I can’t be arsed!” He then shared a little anecdote of that era, when he went to Glastonbury with a bag full of drugs and champagne and hung out with 2 brothers from a popular UK rock band at the time. This was of course a segway into a cover of the Oasis classic, Don’t Look Back in Anger. Robbie took on the iconic Gallagher stance at the mic as he sung the song and at this point, I wasn’t sure that life could get any better than that moment.  

The Take That fans then got what they wanted with a version of Back For Good. Robbie went on to tell us that despite all the struggles he’s had to endure with his career, life, mental & physical health etc, that now he is actually the happiest he has ever been. If you’re someone who has followed his career both on and off the stage, then you know that this is a huge deal. This led into his song I Love My Life. Better Man followed and the audience took it upon themselves to provide backing vocals once again, and I found this song and its lyrics hitting me differently than they had ever done previously.  

The upbeat track Candy followed, before a moody and atmospheric performance of Feel with an intricate light show that perfectly set the vibe. After watching Robbie’s new Netflix documentary (which I highly recommend by the way), I realised during the show that songs like Feel, Better Man & Come Undone and their lyrics certainly hit a lot differently than they did previously. The lyrics are obviously raw and confronting and despite following his career for a long time, the doco really was an eye opener into his mental state over the years and the struggles he’s encountered, putting everything into a different light. 

It was time to pick the pace up again, as the intro to Kids started to play out. I did turn to my friend and say, “oh my god I wonder if Kylie is in town??” Sadly she wasn’t, so Robbie’s talented back up vocalists rotated the female vocal part of the smash hit. Robbie then ‘had a proper giggle and was quite polite’ as he then led into Rock DJ, in which the crowd were well and truly going off by now. Just to clarify, the crowd were psyched for the show’s entirety, but there were just some songs that amped them up even more. Robbie then departed the stage to indicate the end of the show, however of course he was just playing with us because there would’ve been a riot had there not been an encore. 

The stage lights went up again and the music started. It was now time for everyone to stand for the national anthem, as the intro to John Farnham’s You’re The Voice played out. The 3 cubes at the back of the stage rose again, revealing Robbie wearing an Australian Cricket Team t-shirt. John Farnham in all his mulletted glory appeared on a screen behind Robbie singing along, and it wasn’t until Robbie pointedly turned around to show us, that we realised the back of his shirt was emblazoned with WARNE 23 on the back. Cue goosebumps, tears & and an overwhelming response from the crowd for this lovely tribute to an Australian legend. Robbie then singled out a lady in the front row to dedicate She’s The One to. In a hilarious interaction, there was another woman standing there who was so overwhelmed with emotion and was trying to get in on the action too. Robbie’s cheeky banter with them both made it extra entertaining, and I truly envied the woman in which the song was dedicated to. 

To top off the night Robbie rounded out the set with his usual finale of Angels. This time he dedicated it to the lady who tragically passed away after having an accident at one of Robbie’s Sydney shows. Once again it was a touching moment, and with a sea of phone lights before him (gone are the days of the old lighters swaying in the crowd), it was a magical sight to behold and be a part of. Robbie and the band then took their bows to exit the stage, but it seemed Robbie was just having too much fun to leave. Long after the band had departed, he hung around singing the start of a few of his songs acapella and then encouraged the crowd to finish it. He of course had to get one last cheeky quip in, and asked who in the audience were Carlton supporters. You can imagine the response that got with a lot more boos than cheers, and Robbie found it hysterically funny and said, “I love asking that, that is fucking hilarious”. He then started singing the first few bars of Better Man in which the crowd continued as Robbie then snuck off stage and into his waiting van side of stage to whisk him away. 

“I just wanna Feel, real love” … and Robbie, real love is what you gave us. Robbie’s charisma alone is a show in itself, and his extended interactions with the crowd throughout the night were nothing short of entertaining & hilarious. He also has the uncanny ability to stare straight down the barrel of a camera, and have you believe he is looking and singing directly to you and you only, which is how I felt every time I watched the big screens. I may be bias, but you really can’t dispute the fact that he is a brilliant showman and knows exactly how to get the audience eating out of the palm of his hand. I truly didn’t want the night to ever end, and I was a mix of elation and sadness leaving the stadium with my raspy throat from singing and screaming, and my sore cheeks from the permanent smile that was plastered to my face for the night. The first song to play in the background after the show was finished was Time Of My Life from Dirty Dancing, and the audience were singing along with it even after they’d departed the stadium. Once outside the stadium I could still hear the crowd singing it and thought it was quite poignant, given that each of us really did have the time of our life that night. 

If you’ve never seen Robbie Williams live then he definitely needs to be added to your bucket list, as he is one singer even the most minor of fans need to see at least once in their lifetime. We love you Robbie, Australia loves you, and I hope you come back to our shores sooner rather than later!!   

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[Review] Joji @ Rod Laver Arena, Melbourne 20.11.2023

No one loves an artist the way Joji fans love him. On Monday night, Rod Laver Arena is a swarm of people in pink morph suits, their Nike best and excited chatter. It’s a school night, but still the kids are out. Ready for a night of high-energy debauchery and soul-sucking ballads.

Joji, or George Miller, started his career on Youtube, way back in 2008. Making videos under the pseudonym, Filthy Frank, Miller’s videos were confronting dark-comedy that took the internet by storm. During his time as Filthy Frank, he started releasing music, including an album called Pink Season. His musician alter-ego at the time, was a weird little guy in a pink morph-suit, aptly names Pink Guy. And then, suddenly, Miller retired from YouTube and his music. The edge lord king had fallen. Three-ish years later, he was back with the absolute gut-punch that is BALLADS 1. Joji was his new identity, and he had shed that strange exterior, for the squishy insides of a heart-broken twenty-something, spoken over the driving heartbeat of an R+B track.

The Pandemonium tour is an homage to the Duality of Miller. A set divided up into three sections, it lets him croon, lets him misbehave and lets him drive us wild. Joined by US Rapper SavageRealm as both his support and “mix-master”, as well as a four-piece band who look straight out of a Weezer cover band, Miller is about to blow the roof of this arena. The stage looks beautiful. Five or six boxes rise out of the ground, bordered by LED lights. Each one of them is a projection screen. So is the floor. So is the back wall. Everywhere is awash with light and swirling imagery. It’s breathtaking.

To open up the night, we are hit with some of Joji’s more up-tempo songs. I can barely hear Miller sing over the top of the beautiful choir of voices pouring out of General Admission and the stands. From Sanctuary through to Yeah Right and Daylight, the crowd knows every word. They’re putting on a show of their own, desperate to put all their energy to good use. It’s like we’re playing a game of energy-tennis with Joji, and each side is hitting a grand-slam (I don’t know tennis metaphors). Moving towards the crowd, Miller smiles down at GA. “You. I know a pretty boy when I see one.” And in we go to Pretty Boy. The soy-boy anthem, it’s a personal favourite of the night. It’s funny, it’s catchy it’s a little sexy – it’s a nod to Miller’s days as Frank. It also represents one of the many energy shifts of the night. He pulls out a merch gun and starts firing it into the crowd. At only 5’8, he is getting some serious air on those shirts. What a pro. The night is gearing up to be something high-energy, and unlike anything I’ve seen before.

Miller understands the unholy grip artists saying the name of the city they’re in on their audience. I think during every song, and every interlude, Miller screams a guttural scream of “Melbouuuurneeeeee!!!!” and everyone goes ballistic. Every time. The first time, and the fiftieth time, are both set to make Rod Laver Arena’s sunroof fly open. I peer down and spot a couple on facetime with a middle-aged man in high-vis, he looks blank-faced but on the verge of tears. There’s a young couple in front of me, she’s looking at him, and he’s glued to Joji. There is something about the masculine experience Joji captures, and you really see that at his live shows.

In the middle of his set, Joji and his merry band return, as the absolute insanity that is Yebi Labs. My jaw is on the floor. What the fuck is going on? Blow up balls, pool straws and confetti are thrown onto the crowd. The lights have turned towards us and are moving through the air, covering us in strobe, green beams of lights and yellow dots. Yebi Labs is like… Hardstyle?? Covers of rap tracks. I don’t know my electronic music well enough to describe it, but trust that it’s deeply unhinged, unexpected and an absolute vibe. Once I’m done being shocked, I really lean into it. The camera is swirling around GA, and looking at all those beaming grins, dinner-plate pupils and friends moving around like they’re at the best festival none of us have ever heard of. Yebi Labs close out with a ridiculously fun version of a song that makes me want to stick my head under water and scream; a Joji original, Glimpse of Us. And on that note, they’re finished. To prove how amped up we’re feeling, the second they leave the stage, people groan and scream and beg so loud I feel it all the way up in the stands through my feet.

As they saunter back onstage, suddenly the tech crew have got a game of Super Smash Bros on the back projection. People shove a controller into Joji’s hands, and the hands of his keyboardist. “I always whoop your ass, man. Better to play without me.” SavageRealm brags, casually. Joji mournfully and earnestly agrees. As the game starts, I’m rooting for him. Of course. I love an underdog. And in a shocking turn of events, from only two wins out of their many tours, Miller clinches it. We go crazy, and Miller leans into his Australian roots to reward us with the ultimate symbol of love; the shooey. He slurps down a full can of beer in his shoe, more than anyone asked for. When it’s done, he just stands there, real quiet. “Oh…. Oh man…. Give me a second….” And looks wavey on his podium.

Once the shooey trauma has left him, we get the Third Act of his tour. My personal favourite, this final third is packed to the brim with Joji’s saddest and most heartbroken ballads, his crème de le crème if you ask me. Opening with Die For You, I am absolutely sucked onto the stage. I can’t tear my eyes away from him. His voice is so good it sounds like the recording. On Die For You, his vocals are perfect. They’re buttery and soft, yet decidedly assured. In another life, he could’ve been a crooner, but for now, he’s paving out his own genre. Winding his way through this final act, he leaves after Gimme Love, which of course has everyone out of their seats. Even those of us not in GA are standing and moving and letting it all out.

I hate encores, but Miller is self-aware. As he comes back, voice dripping with sarcasm, he leans into the mic; “I think I forgot a few songs. My bad.” Slow Dancing in The Dark is a showstopper. Handing the mic over to us for the chorus, it’s stunning to see nearly 15,000 people scream those lyrics at the top of their lungs. The backing track goes quiet as we yell, and the arena air bounces around our voices, like a choir in a church. Goosebumps.

Glimpse of Us is such a gut-punch of a song. But Miller has decided that he’s been a little too earnest with that last tear-jerker, and first major hit, so he’s going to be a little silly to finish off. The lyrics normally go:

A Glimpse of us

Tonight, they go more like:

A Glimpse (Of WHAT Melbourne?!) Of uuuuuuussssssss

Even as he add-libs, the camera is floating through the crowd again. Men in bear hats, minion costumes and morph-suits stare up at the stage, tears brimming. Phones are mostly down as an audience is spellbound, and people embrace. Joji can’t disguise the power of his music. And we are all the better for it.

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[Review] The Original Wailers @ The Triffid Brisbane, 16/11/2023

What a strange life it must have been for members of Bob Marley’s band The Wailers.  Thrust into international stardom from their humble beginnings in Trench town, Kingston, the reggae royalty are said to have sold in excess of 40 million albums. And whilst few could understand the kind of shadow Bob Marley– legend, prophet and poet -must cast, if the band members touring today feel daunted by that, they certainly don’t show it. Al Anderson, one of the last people to speak with Marley before his passing, brought new members Chet (Lead Vocals / Guitar), Omar (Bass Guitar), Paapa (Drums), and Adrian (keyboard) with him to Australian shores this month and I was fortunate enough to get along to their Brisbane show.

Almost immediately, during their opener, I Shot The Sheriff, The Wailers let punters know that they’re not out to duplicate those old times, nor to try to replace Bob. Wise choice. The sound is fuller than one might expect of a reggae set, and though later in the night Chet allows himself to channel some of Bob’s canonical tone and articulation, in the first few songs he sings purposefully with a higher pitch, again letting us know this is about respect, not replication.  His use of ululation early on though also signals that he’s here for a good time. Stir it up comes next and dreadlocked Chet is heartened by the near capacity crowd echoing every lyric. He tells us “the singalong continues”. I was so glad to see Brisbane come out actually – it had been a scorcher of a day. 34 degrees at some point  and I, like many I suspect, couldn’t remember if Triffid’s old airline hangar was airconditioned.  It is … but the warmth of the night emanated regardless. A warmth that comes from Bob’s enduring message of peace and love, one love in fact; a message the world feels like it needs right now. Indeed, at one point Chet stresses that they’re all about love – still , not just romantic love, but brotherly love, neighbourly love, love for your family and friends.  He asks us to come together and share that love “grab the person next to you and tell them you love them” he implores.  We do. 

Could You Be Loved conveniently follows. Here, each of the guitarists is let stray a little and I start to really notice their uncharacteristic use of overdrive pedals. Though the echoey effect – a near constant throughout the set- is quite different to Marley’s own guitar tone that was fatter, chunky even, it somehow works. During Three Little Birds the band again suggests the crowd “sounds wonderful”.  My girlfriend laughs and says she’s not sure but… at a gig like this, it’s hard not to believe at least that, every little thing is gonna be alright.  In some ways, I wish Adrian’s keyboard was foregrounded more in this and some later tunes and the absence of some reggae staples like the single strumming and stripped back tone are noticeable.  But when Is this Love starts, any at all doubts and fears fall by the wayside and the message of the music is tangible in the room; smellable even.  Like many songs, this one is extended to allow individual members, this time American born Al Anderson, to showcase their skills.  It’s easy to see why Bob Marley, and later Peter Tosh, picked Al so many years ago. His skill as a lead guitarist are unquestionable and he uses the spotlight in this song to veer off track, taking us on a mind-altering journey, more psychedelic rock than reggae. Though next year, Al tells us, will mark 50 years of playing with or for Bob, he is far from a ‘has been’.  The lead guitarist, has also worked with the likes of Ben Harper and Lauren Hill and has received multiple Grammy nominations, including one in 2013. 

At this point, I am not sure if the daze in the room has gotten to me or if the trancey echo of the hangar has simply been misplaced.  Everything seems slower- a relaxed Jamaican pace takes over.  During Legalize It, a track recorded with Peter Tosh, it is Paapa Nyarkoh’s turn to take centre stage.  He does so with ease, reminding us, oddly that drums are utterly pivotal to reggae music, its heartbeat if it were.  The ultra relaxed Hypocrites off the Songs of Freedom album is next and helps to highlight Bob’s undeniable lyricism and genius for word play.  Anyone who knows the original track will also appreciate that this was the sound of the night – a more dub sound with amp-reliant guitar.  During No Woman, No Cry, the original Wailer himself, Al, extends the song with another brilliant guitar solo.  It’s starting to feel like they are wrapping up – they have played for an hour and certainly no one would leave disappointed. The reggae royalty leave the stage. 

But the crowd’s roar, spurred all the more by keyboardist, Adrian, coming out to psyche us up, entice the 5 piece crew to grace the stage again. Jamming begins the list of encores and ends with bassist and drummer, brothers in arms and in real life, joining for an impromptu jam themselves. Their improvisation turns jazz-like at one stage and the Brisbane crowd were certainly enjoying it, screaming their support. At this point, original Wailer Anderson reflects with us. He describes Australia and New Zealand as having always supported the band. The U.S and U.K were slower to appreciate us he explains. “We were too slow.. and they were hesitant to give up their disco”. Anderson also takes the opportunity to encourage the crowd to show their support on social media, where they’re looking forward to giving away lots of merch, Stratocasters even. Speaking of merch, we’re reminded too that fans can grab albums, t-shirt and more outside. “It’s not a hustle” he stresses, but can help them continue touring. Though he toured more during Bob’s time, a love for the stage is still visible. Anderson tells us he loves Australia and prays for our first nations people, for all people in fact. Song of the divine, released in 2022, comes next. This is a very spiritual song, Anderson has said, its laid back floating sound cannot help but relax the crowd further. The set ends with Buffalo Soldier. Though only posthumously released in 1983 after Marley’s death, it has become one of his most revered tracks. It is perhaps no coincidence that this was the only really political song of the night. With war and famine, hate and division persisting today, The Original Wailers chose instead, at least primarily, to remind us of love and light. The entire hangar shakes when the crowd join in to Buffalo Soldier’s chanted hook “woe yoy yoy, woe yoy yoy yoy”.  What a treat to have our voices rise with- at least one of- the legends Bob Marley created with. This ska, come Rastafarian reggae tribe have undoubtedly changed the music world forever.  Let us hope it is not too late for their message of love to change the world too. 

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[Review] Steve Vai @Hindley St Music Hall, Adelaide 8/11/2023

As a serious music fan, I became obsessed with rock music as a kid, thanks to the likes of Kiss and Alice Cooper and their theatrical brand of rock and roll. This, in turn led to my love of Van Halen and the ‘hair bands’ that followed, so, of course I first discovered Steve Vai through his work with David Lee Roth. The way Steve’s guitar ‘talked’ in DLR’s Yankee Rose to open 1986’s Eat ‘em and Smile album, his flamboyant style and moves, his triple-necked heart shaped guitar in DLR’s Just Like Paradise video…clearly my tastes were more about the entertainment factor rather than the technical wizardry of a guitar virtuoso.

Despite me never seeking out instrumental technical music to add to my music collection, one of the first CDs I owned was Steve Vai’s Passion and Warfare. After attending an information session at a high-end hi-fi store in Adelaide many years ago, to promote the latest trend in audio (the CD), I got to choose a bonus CD with the purchase of my first player. I randomly chose that particular CD. It’s the only instrumental rock album I’ve ever owned, and I loved the way the guitar was able to take care of the melodies you would usually expect from the vocals.

Heading to Adelaide’s Hindley Street Music Hall, I had no idea what to expect from this gig and I suspected it could be challenging to write a review for such a show without being overly well-versed in all things technical. If you’re here to read a report on Steve Vai’s techniques and musical hardware, you have come to the wrong place!

As there was no support act, I arrived shortly before the headliner’s two-and-a-half-hour set began. Straight away, I noticed that the crowd was predominantly male and seemed to be lacking the usual drunken rowdiness before a typical rock show. I suspected many were here to see a master at work and wanted to focus, rather than to stage-dive and sing along.  

The set started with Avalancha from Steve’s latest album Inviolate. This was a great groove-driven tune that showed off the famous Steve Vai signature sound perfectly. Joining Steve on stage was his new side-guitarist Dante Frisiello. Initially Dante appeared to be here to simply lay down some basic rhythm guitar behind Steve’s dynamic leads, but as the night went on, Dante was given more space and time to showcase his own incredible lead playing (‘Dante Unchained’ as Steve put it). On bass was Philip Bynoe. Like Dante, Philip was a solid backing for Steve’s leadwork but was also given plenty of opportunity to showcase his own incredible bass skills with solo stage time later in the set. Completing the rhythm section, and the band, was drummer Jeremy Colson, proving that every member of Steve Vai’s band is a top shelf musician. Jeremy’s double-kick drum solo during the set was as incredible as the guitar work shown throughout the show by the other members of the band.

I did notice when the band started the set that there were no mic stands to be seen. There were obviously no singing vocals to be heard tonight but I hoped to hear some interaction between Steve and the crowd. Thankfully, after a few songs Steve was handed a microphone and was able to converse with the crowd. This continued every now and again. He mentioned how long the tour had been and told everyone that when they played the Brisbane show before this one, Steve had been mixed up and greeted the Queensland crowd by saying ‘Hello Adelaide!’ (at the end of this set Steve finished the show by jokingly saying, ‘Goodnight Melbourne!’).

Following the opening number was the heavier Giant Balls of Gold which really brought the whole band in to create a bigger sound and get the crowd moving. Having said that, for most of the night I noticed a difference between this gig and a regular rock show with vocals. The crowd watched the stage intently and nodded their heads along in appreciation rather than really moving in time to the music. Nobody seemed to want to miss their view of Steve Vai’s fingers on his fretboard.

The set went on with a mix of tunes from Steve’s solo albums, all with accompanying visuals on the big screen behind the band, to compliment the audio. There were psychedelic images, dramatic images…whatever suited the song at the time. My personal favourite was the very detailed and mesmerising video of the conception of a child from the wiggling sperm, to the growing foetus, to childbirth, ending hilariously with the close-up image of a very young Steve Vai’s face. Another highlight of the use of the screen was when some of the film Crossroads was shown before Steve launched into some of his music from his appearance in the film.

Later in the set, Steve revealed his 3 neck Ibanez guitar on which he played his track Teeth of the Hydra from his latest album. This involved Steve playing twelve-string, six-string AND bass guitar, all in the one song! This is just one of the reasons to see Steve Vai live!

As the set drew to an end, there were a couple of tracks from Passion and Warfare covered. For the Love of God covered more laid back and soulful territory, while Liberty was more Epic in vibe. As Steve launched into these closing tracks, he said, ‘If you know the melodies, sing along!’ Despite this show being instrumental in nature, it was this comment that sums up Steve Vai for me. He plays the guitar as though he is singing through his instrument. Not only is it possible to sing along to his guitar melodies as though they were vocals, but watching Steve’s face and his mouth move, as he plays guitar, it’s clear that his very expressive playing is his way of singing. 

 Despite playing for over two hours, when the band left the stage they were recalled loudly for an encore, which they quickly returned for before the house lights came on and everybody filed out of the venue onto Hindley Street again.

I’m certain a lot of the crowd at this gig were aspiring guitar heroes who wanted to see one of the world’s best rock guitarists in action but even for those who weren’t, Steve Vai and his band certainly had enough charisma and talent to keep the entire room entertained for the duration of this show.

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[Review] The Corrs @ Rod Laver Arena, Melbourne 6/11/2023



For those that have known me for a very long time, know that I am a huge fan of The Corrs. HUGE. Even borderline obsessive when I went through a stage of wanting to be them! So, when the opportunity arose for me to finally see my childhood idols in the flesh for the very first time, you bet I was counting down the days until their arrival. The Irish pop group have been touring Australia & New Zealand, and Melbourne was the last stop on their Australian leg of the tour before heading over the ditch to visit our Kiwi cousins.

Headed to Rod Laver on a beautiful balmy 28-degree night, I was met with fellow revellers of all ages that were hyped by a combination of the magnificent weather and anticipation of the night ahead.

Adelaide sister act Germein were the first of the three support acts of the evening to hit the stage. The trio entertained with their fun and heartfelt pop songs, and their inner beauty and humble nature, along with their musical talent, really made them shine on stage. Next on the bill was American-born singer-songwriter, Toni Childs. Toni came out on stage to a quiet reception from the audience, but then proceeded to completely blow everyone out of the water with her distinct sound and powerhouse vocals singing one of her biggest hits, I’ve Got To Go Now. Despite the years gone by and her age, not only does she look amazing, but her pipes are still absolutely incredible and they never faltered once. Toni sang a few of her other older hits including Stop Your Fussin’ and Don’t Walk Away, which had the audience well and truly eating out of her hand. As she ventured into some of her newer material, the audience were thoroughly enjoying themselves, and even more so when she came down into the crowd for her final song. Toni ventured through the audience shaking hands as she delivered her final song which was full of hope, encouragement, and reminding people that they are beautiful, intelligent and worthy.    

Australian sweetheart Natalie Imbruglia was the last support act of the night to warm up the punters – and that is exactly what she did. Natalie kicked off with some older hits Wishing I Was There, Wrong Impression Shiver, before leading into a small catalogue of her newer stuff. The crowd were loving every minute of her amazing vocals and high-energy set, but you knew everyone was waiting to hear THE song. When the opening bars of Torn started, the crowd erupted and sang along to every word of the 90’s hit. Natalie then finished off with my personal favourite Big Mistake, and it was at this point in the night that I realised I had actually entered a time machine and was now well and truly planted back in 1997.    

It was now that my heart rate started to increase, and my excitement was making me nauseous because I knew it was time for my favourite Irish band to hit the stage. Now when I say that I used to be obsessed with The Corrs, I’m not lying. Growing up, my musical weapon of choice of was the flute(these skills are easily transferable to a tin whistle), and my best friend who loved The Corrs equally as much was a violinist. So, we would spend our weekends covering their songs and doing our own arrangements, and when we weren’t doing that, we were watching their live DVD’s over and over again for inspiration. You get the tragic picture now?    

The houselights go down and we’re met with vision on the screens of The Corrs walking down a long corridor, as the goosebumps on my skin are nearly busting right through the surface. Pre-recorded celtic instrumental music accompanies the footage and keeps building up and up into a crescendo. Once the music hits that peak, an almost tribal-like drumbeat kicks in and that’s when The Corrs’ drummer Caroline appears in the singular spotlight on an otherwise dark stage, beating those drums as if her life depends on it. The beat stops abruptly, and the electric guitar intro to Only When I Sleep kicks in and that is when we get our first glimpse of the Corr siblings. By this stage, the tears have well and truly started flowing and all I can think is “Thank god it’s dark in here so no one can see me being a blubbering idiot”.  

With Andrea’s beautiful soaring vocals in this opening number, I knew then that this was going to be an incredible show and that the band haven’t lost a single thing. Give Me A Reason Summer Sunshine got the crowd bopping along, and everyone was in their absolute element. With a now dark stage, the spotlight was on violinist Sharon, who started playing the iconic instrumental Erin Shore. The crowd went mental not only for her stunning playing, but for the fact that they knew this was the introduction for The Corrs early smash hit, Forgiven Not Forgotten. Jim’s keyboard hit us with that iconic piano riff, and it was on. I’ve probably heard and even sung this song approximately 406,282 times in my life, but hearing it live in the flesh was like hearing it for the first time and loving it all over again. This was also the first song of the night where Caroline’s bodhrán made its appearance, and I’m always completely in awe watching her play it.   

Next on the list was the unrequited love track,What Can I Do. Andrea joked that singing this always worked in getting the guy, however Sharon hilariously retorted that in doing so meant “you usually got the wrong dude at the end.” It’s no secret that The Corrs have covered Fleetwood Mac tracks in the past, and even collaborated with Mick Fleetwood. So, it was only fitting that they covered Fleetwood’s Little Lies, in tribute to the late Christine McVie. After Don’t Say You Love Me, we were treated to their stunningly beautiful cover of Jimi’s Hendrix’s tune Little Wing. Despite also being a die-hard Fleetwood Mac fan, I would have to say that this is probably my most favourite song that they have ever covered. With the poetic lyrics and their Celtic touch, the song really is a moving and emotional journey. It was time for Andrea to take a quick break from the stage, leaving Sharon & Caroline on lead vocals to sing the Jimmy MacCarthy song, No Frontiers. Their rendition of this has always been a favourite of mine, and it has to be said that you can be the most talented vocalist in the world with the ability for killer harmonies, but nothing beats the smooth butter-like sound of siblings harmonising together(It’s also scientific fact!). This song is a stripped-back prime example of this, where both Sharon & Caroline’s voice blend so well that they sound like one.   

It was then time to get up and have a jig around to the instrumental Joy of Life, before being led into one of their newer tracks about immigrating called, Ellis Island. We were back into another instrumental number with Haste To The Wedding, and it is seriously impossible not to move around and feel happy when listening to these pieces. Radio was next which then led into another of my favourite’s (and also my bestie’s favourite too), Queen of Hollywood. It’s such a beautiful and sad song and the lyrics get me every single time. We were then treated to another Fleetwood cover of Dreams, and despite being a sucker for the original, I just adore this arrangement and their little Irish spin they put on it to make it sound even more incredible. My gut was telling me that we were nearing the end of the show, but I was hopeful for an encore as they fired up with So Young. This got the whole crowd up and dancing and there was just so much love and happiness in the room. The band struck while the iron was hot and kept the crowd up dancing and singing along with, I Never Loved You Anyway.   

We went through the motions of a fake goodbye before we welcomed them back for an encore. No Corrs gig would ever be complete without hearing Runaway, so that was the first song waiting for us in the encore. However, the crowd took it upon themselves to give Andrea a break and provide the lead vocals for this track, and every single person in the place was singing along. Everyone was left Breathless for the next track, before they rounded out their encore with the iconic instrumental piece Toss The Feathers. It was a sad farewell as The Corrs wished us goodnight and left the stage, and I was left wondering what I was going to do with my life now that the show was over.  

If I had to sum up this show in one word? Flawless. In every sense of the word. The Corrs are an incredible talent, and time has certainly not aged them or their music. This gig was an absolute dream come true for the chubby little 12-year-old girl who loved playing the flute and listening to The Corrs on repeat, and for the now 34-year-old body and mind in which she now resides. A truly magical night all round with a huge array of talent. You’ll be sad that you missed it!   

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InterviewsTour Interview

Interview with Tony “Nail” Vincent (Devilskin)

Get ready to rock and roll at LAGERFEST 2023, the ultimate fusion of heavy metal and Oktoberfest revelry! Presented by Kegstand Productions, Music Management Inc., and Wall of Sound, this extraordinary music festival is set to take Australia by storm. Prepare yourself for a mind-blowing experience as we bring you world-class bands, delicious beers, and an electrifying community atmosphere like never before.

The lineup is nothing short of legendary, featuring THE HALO EFFECT, a powerhouse composed of past members of In Flames and Dark Tranquillity. This will be their first-ever performance in Australia and New Zealand, making it an absolute must-see event! Their raw yet melodic performance will leave you breathless and craving for more. Joining them are BEYOND THE BLACK, the German symphonic metal shooting stars who have taken the world by storm with their chart-topping albums and awe-inspiring live performances. And let's not forget DEVILSKIN, hailing from New Zealand, and featuring the incredible vocal prowess of Jennie Skulander, whose unerring gift for melody will captivate you from the first note.

But that's just the beginning of the epic lineup! Prepare to be blown away by LAGERSTEIN, the Australian party pirates who have taken their unique and fun stage show to an astounding 22 countries. With a reputation for delivering an explosively energetic and debaucherous live performance, this will be the 6th time they host LAGERSTEIN, and it promises to be the wildest and most unforgettable yet!

Mark your calendars for the following dates:

11/11/2023 – Auckland – The Powerstation

12/11/2023 – Christchurch – The Ngaio Marsh Theatre

15/11/2023 – Brisbane – The Triffid

16/11/2023 – Sydney – the Manning Bar

18/11/2023 – Adelaide – Froth & Fury Festival

19/11/2023 – Melbourne – The Northcote Theatre

Tickets from: https://www.lagerfest.net/

Secure your spot now and be a part of the Lagerfest legacy! Tickets are available exclusively at www.lagerfest.net. And remember, this year's festival will also feature a thrilling competition where fans can compete for 'The Lagerfest Cup.' So don't miss out on the metal mayhem and epic party vibes—grab your tickets today and let the countdown to Lagerfest 2023 begin!

If you want to take your experience to the next level

Introducing Lagerfest 2023 Premium Ticket – 🎟🤘:

🎟️ General Access Ticket: Your pass to the ultimate heavy metal Oktoberfest fusion!

🍻 Captain's Cocktail Hour: VIP access with 1 Hour Early Entry and a refreshing Lagerfest Lager.

🛍️ First Access to Merch Shop: Shop before the crowd during Cocktail Hour.

💰 15% off Official Lagerfest Merch: Enjoy 15% off on a range of Lagerfest merchandise.

Premium Bar Line Access: Skip lines with a separate service area.

🥃 Lagerfest Flask: A limited-edition functional memento.

🍺 4-Pack Lagerfest Lager: Order early and enjoy Lagerfest Lager at home before the big day.

👕 Lagerfest Premium Shirt: Elevate your festival wardrobe with style.

🎗️ Premium Lanyard: Wear your festival pride.

🎸 Set of 2 Lagerfest Stickers: Stick it to the ordinary.

🛍️ Lagerfest Tote Bag: Carry essentials in Lagerfest style.

🎵 Lagerfest Poster: Bring Lagerfest back home.

Or Discover Lagerfest 2023 VIP Tickets 🎟🤘:

🎟️ General Access Ticket: Your gateway to the ultimate heavy metal Oktoberfest fusion!

🤝 Meet & Greet: Get up close with 1 band of your choice.

📸 Professional Photo:with your chosen band—our official photographer captures the moment.

💰 15% off Official Lagerfest Merch: Enjoy an exclusive 15% discount on Lagerfest merchandise.

🎗️ VIP Lanyard: Wear your VIP status with the Lagerfest VIP Lanyard.

🖼️ Signed Poster: Take home a piece of the festival, a poster signed by your chosen band.

Elevate your Lagerfest experience at www.lagerfest.net! 🎸🍻

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InterviewsTour Interview

Interview with Richard Patrick (Filter)

Platinum-selling alternative-industrial rockers FILTER announces their first headline shows in Australia and New Zealand since 2000 as part of The Algorithm World Tour.

“Australia and New Zealand are two of the most beautiful and welcoming countries I’ve ever been to. Every time we tour, I push our reps to try and get us back there. Unfortunately, due to circumstance beyond our control like a global pandemic, it’s been way too long,” Filter main man Richard Patrick said. “Rock fans there are a very loyal and devoted bunch, and I know we will bring it when get Down Under. I really cannot wait.”

This year marks the 30th anniversary of the band’s birth. In 1993, founder and lead vocalist Patrick placed an ad in Scene Magazine in Cleveland, OH, shortly after leaving Nine Inch Nails as their touring guitarist, looking to form a band that would eventually evolve into Filter.

Patrick has spent three decades pushing the boundaries of musical expression. Filter’s debut album, Short Bus, achieved platinum status, propelled by ‘Hey Man Nice Shot.’ The success continued with Title of Record, also going platinum thanks to crossover hit ‘Take A Picture.’

This year Patrick unleashed the new Filter album The Algorithm, which has delivered a sonic revolution for fans worldwide and has been called the band’s “best record in 20 years.”

Live Patrick hasn’t lost one iota of his in-your-face, punk-meets-rock persona. He still “belts out the lyrics with pure energy and aggression” and his band always deliver an intense, in-your-face performance.

“Richard Patrick had some mega energy and was right in the middle of the crowd…I mean literally. He was crowd-surfing while singing” (Media Mikes)

 “Filter, the great industrial rock that we come to expect is back” (Rock Revolt Magazine)

 “The live energy of Filter cannot be denied” (Rock N Load Magazine)

 “Hell of a show! Great set list, and Richard's voice still burns!”

FILTER April 2024 Australian Tour Dates

Friday 5th April – MELBOURNE, Croxton Bandroom
Saturday 6th April – SYDNEY, Metro Theatre
Sunday 7th April – BRISBANE, The Triffid
Tuesday 9th April – ADELAIDE, The Gov
Wednesday 10th April – PERTH, Magnet House

Tickets:

Pre-sale: Wednesday 13th September, 9am Local

On Sale: Friday 15th September, 9am Local

From: https://metropolistouring.com/filter-2024/

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InterviewsTour Interview

Interview with Johannes Eckstrom (Avatar)

We are just over a week out from AVATAR's Australian shows and the pace of the band's ascendency has not bated since the tour was announced. As well as a sold out European arena tour with friends, Gojira and a tour of South America with the mighty Iron Maiden, the band have delivered stunning sets across Europe's biggest festivals (Download, Grasppop, etc) and to top it all off their new album, Dance Devil Dance has made the list of the Best Albums Of 2023 in both Loudwire and Metal Hammer where they appear at the very summit of the list!
  
 Renowned for legendary performances, ludicrous levels of skill as musicians and a seemingly endless catalog of killer songs, many of which will be on display during three unmissable performances this month, the band are pleased to announce 3 outstanding Australian supports for the upcoming shows.
 
As Avatar are expected to perform a near 2 hour Best Of set at these shows, there will be only 1 support artist per show. 
 
Melbourne’s Teramaze have solidified their reputation as one of the country's most consistent and distinctive progressive heavy acts. They deliver cutting edge, modern metal built around the fretwork of two world class guitarists and dual powerhouse vocals.
 
Sydney’s Our Last Enemy are the embodiment of apocalyptic industrial metal. Methodical riffs embellished with synth overtones; dark, hypnotic rhythms and down and dirty vocals  with big singalong choruses that are primed for the live arena.

Brisbane’s Krave are a truly unique cross section of hard rock and alt metal with musical influences as diverse as Zeppelin, Sabbath and Pantera with a vocal delivery from frontwoman Siana Davis that’s somewhere between Paramore, Evanescence and Halestorm. Definitely ones to watch.
 
 
TOUR DATES
Friday, August 25: 170 Russell, Melbourne
Saturday, August 26: The Metro, Sydney
Sunday, August 27: The Triffid, Brisbane

Tickets available from

thephoenix.au

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Album InterviewsInterviews

Interview with Udo Dirkschneider

Hardline Media are very proud to announce for the first time ever in Australia, the man, the legend, Mr UDO DIRKSCHNEIDER, performing nothing but the best of ACCEPT, just the way we like it! Backed up by his long serving band that now features original ACCEPT bass player PETER BALTES.

Former ACCEPT lead singer UDO DIRKSCHNEIDER has a long career spanning almost five decades that helped to shape German Heavy Metal. His unique and raspy voice approach and his taste for huge choruses formed a huge part of ACCEPT's appeal and have made him the one of most recognizable characters in Heavy Metal history. Albums like Breaker, Restless & Wild, Balls To The Wall, Metal Heart… hear them live with UDO for the first time in Australia.

Two Exclusive shows only! All shows will sell out, so get in quick. There will be extremely limited VIP meet and greet tickets available – Meet Udo, Peter Baltes and the band.

Tickets via www.hardlinemedia.net

 

LIMITED VIP MEET & GREET with UDO and band, includes:

– Early access to the show and merch stand

– Get a photo on your phone/device with Udo and band

– Australian tour poster to get signed by Udo and band

– Exclusive VIP lanyard/laminate

– Bring along 3 personal items to get signed

– VIP TICKET includes entry to the show

Don’t miss seeing one of the most iconic voices of our Metal/Rock generation – Mr UDO DIRKSCHNEIDER!

TOUR DATES:

Thursday 6th April – SYDNEY – The Manning Bar

Saturday 8th April – MELBOURNE – The Croxton Hotel

 TICKETS ON SALE NOW FROM: https://hardlinemedia.net/

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