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Gig ReviewsReviews

[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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[Review] The Darkness, Festival Hall Melbourne 03/02/2024

Celebrating the 20th anniversary of their debut album Permission to Land sees The Darkness back on Australian soil for an impressive string of dates. With singer Justin Hawkins going down with illness just before their arrival we have all been waiting with bated breath, but never fear The Darkness are here and ready to rock. They are no strangers to Australia being greedily lapped up with every visit, now it was my turn to see what all the fuss is about.

The iconic Melbourne stalwart Festival Hall is back up and running after a dubious period in no mans land, and I for one was glad to get back down to Dudley Street and rock out where so many music legends have graced the stage. The openers were plentiful giving punters great value for money, as Melbourne’s Cry Club and Brisbane’s DZ Deathrays got the party started. It was then up to Sydney lunatics You Am I to give the final warm up session. Treating us to a Spinal Tap set that opened up a world of nostalgic memories from the quintessential piece of fictional history. Tim Rogers was the perfect fit to pull off the The Majesty of Tap, he enveloped the role to perfection along with the perfect accompaniment in You Am I. Their musicianship and theatrics were the key to this set going next level, add to this Tim wearing silver flares and a black hooded cape it really set the tone. Stonehenge was delivered with faux stone appearing from the roof, keeping with the theme of the movie, it certainly enveloped the mocumentary with gusto. Hell Hole was another welcome additional and had the crowd up and about as Tim said “Open you cheeks to the sight and smell of the Tap!” as only he could. A wonderful addition to the show and a perfect fit for The Darkness.

The atmosphere was electric to say the least, green lights resembling a landing strip flashing down each side of the stage as The Darkness took full flight to an erupting Festival Hall. This show was their biggest in Australia to date and Melbourne music fans turned out in droves to witness this most prestigious celebration. Justin donning a red and black jumpsuit in his trademark fashion as they jumped into Black Shuck to get the party started. Working through the album in no particular order the fans were 100 per cent committed to making the show one for the memory banks with phones put away and everyone living in the moment. It felt like stepping back in time just people going nuts, hands in the air, clapping on command, dancing, singing and have a bloody awesome night.  Get Your Hands Of My Woman, Growing On Me, Givin’ Up were all slotted in as they worked through this cracker of an album. The punters singing the ‘oh, oh’s’ and ‘Givin Up, Givin Up Givin a Fuck’ with unabashed enthusiasm. Justin had now stripped the top half of his jumpsuit down saying “I didn’t think it would be this hot up here!”  But we all knew it wasn’t called ‘Festy Hall’ for nothing. Crowd engagement was second to none as Love Is Only A feeling and Stuck In A Rut played out, Rufus Tiger Taylor was smashing the skins to within an inch of their life and kept the set running like clockwork.

Dan Hawkins is really a jack of all trades when it comes to musical instruments, his guitar work is of the highest calibre as he strutted his stuff and worked the stage like a true professional.  Frankie Poullain kept pace with the bass, this four-string slayer did not miss a beat, so at home on the big stage as Friday Night saw the fans ready to sing. A sneaky little snippet of Led Zeps Immigrant Song was a worthy addition as super shredder Justin even noodled the intro of AC/Dc’s Thunderstruck before he launched into I Believe In A Thing Called Love. With Melbourne finally throwing up a summer day, good old Festy Hall started to really feel the heat, living up to its nickname in spades as the sweat drenched punters screamed for the one they had been waiting for. Arms aloft clapping in time it really was a sight to behold, Justin still hitting the high notes with faultless precision of a man many years his junior. With the roof well and truly raised the boys left the stage to cool their jets for five minutes but the Melbourne maniacs were having none of it as they stomped and clapped, and if you have been to Festival Hall before you would know those timber floor do love a good feet hammering. It was no surprise when The Darkness returned that Justin said he could hear the stomping from downstairs. With their outfits changed to bedroom attire, all four sporting silk robes or PJ’s of choice, even guitar tech extraordinaire Ian Norfolk sporting a robe. With Justin having more guitar changes than I have had hot dinners he was certainly kept on his toes, and he did not miss a beat. I can see why they call him the fifth member of the band.  Speaking of the band, Justin went on to do introductions to the tune of In The Air Tonight made famous by Phil Collins, with his brother Dan on the drums, mixing things up a bit. Once again I reiterate, super talented musicians!!

Justin launched into I Love You 5 Times, almost a cappella with the fans singing along until he strapped on his guitar and ramped it up a level or two.  Love On The Rocks With No Ice saw out the show and had the rabid crowd in a right frenzy as Justin took to the shoulders of one of his team and made his way in and around the floor of Festival Hall. All while shredding up a storm and not missing a single note, fans very respectful of him with the odd pat on the back as he made his way from one side to the other. After being delivered back on stage he showcased his skills again playing, jumping and even hopping on one leg as he played like his life depended on it.  Forever the showman and a moment forever etched in our hearts. The Darkness really are the complete package and if are yet to see them do not delay, with just a few shows left on this Australian tour it would be a cardinal sin to miss out.

Celebrating 20 years in the biz is no small feat but here’s hoping there will be many more years in the tank for The Darkness. Gauging on tonight’s performance Melbourne Airport will not just grant permission to land but dedicate a runway in their honour. Thanks for the thrills boys, here’s to seeing you back in Aus real soon!

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SKILLET Announce Australian Tour

SKILLET Announce Their First Australian Tour Since 2018!

Not every rebellion gestates in darkness. As one of the best-selling rock bands of the 21st century, SKILLET continue to rebel against conventions, doubts, expectations, and rules with the intent to uplift in light. SKILLET have never compromised their integrity or their faith. Instead, they have travelled their own path to unprecedented heights with an urgent sound, undeniable energy, and unbreakable spirit.

The Wisconsin quartet have embodied rock ‘n’ roll’s evolution from day one, selling 12 million albums worldwide to date. Landmark Triple Platinum album Awake, featuring the 2x-platinum track Awake & Alive, 3x-platinum track Hero and 4x-platinum track Monster (one of the most-streamed rock songs in history with over 4 BILLION global audio streams) went on to pick up the Billboard Music Award. The band’s 2019 album, Victorious, marked the group’s fourth consecutive Top 20 debut on the Billboard Top 200. Their brand-new album, Dominion, is a testament to the band’s enduring appeal, charting strongly and with sales that truly defy the international trend of declining album sales.

John Cooper (lead vocals/bass), Korey Cooper (guitar/keys), Jen Ledger (drums/vocals), and Seth Morrison (lead guitar) —create epic, expansive and anthemic music: the type of rock that is tailor made for a live setting; and Australia will have an all too rare chance to experience the glory that is a Skillet live show this April.

SKILLET April 2024 Australian Tour Dates:

4th April SYDNEY, Metro Theatre (Licensed All Ages)

5th April BRISBANE, Eatons Hills Hotel Theatre (Licensed All Ages)

7th April MELBOURNE, Northcote Theatre

8th April ADELAIDE, Hindley St Music Hall (Mixed Licensed All Ages)

10th April PERTH, Astor Theatre (Licensed All Ages)

* VIP Meet and Great Packages Available

 Tickets

Presale: Wednesday 7th February, 9am Local time

General Public On Sale: Friday 9th February, 9am Local Time

Tickets From: https://metropolistouring.com/skillet-2024/

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[Review] Lord Huron @ The Forum, Melbourne 27/01/2024

Trying to find the words to describe Lord Huron is so difficult. They’re so much more than ‘indie-folk outfit’, ‘country sensation’ or any other combination of words rattling around in my brain. The show at The Forum proved to me that Lord Huron are so much bigger than a little box. I haven’t been able to get them out of my head, and that’s exactly what they were going for.

Support act, Asha Jefferies, should be a household name already. Her lyrics are beautifully understated, melancholic, and yearning. Her vocals aren’t like anything else I’ve ever heard. This is the last day of the tour, and yet Asha still soars to these breathtaking heights. If there is a ‘calling’ – this is hers. I stop before the main floor of The Forum, spellbound. She’s like sirens, harpies, or something else that would sink unsuspecting music writers. She feels like something out of a fantasy book. “The sound guys here are like the coolest, funniest guys ever! Give them a round of applause!” There’s just a moment of hesitation from the crowd, we are shaking off a musical spell. But then we cheer and clap and hoot and holler before she launches into one last song. “I have a new album coming out in April, check it out if you can!” I have marked April in my calendar with a big ugly red circle as a reminder, and you should to. “This last song is about loving your friends. I’m dedicating this one to Genie and Isaac, who are here tonight. It’s called Spinning.” I might gasp, or cry, or shuffle off this mortal coil for a minute. Spinning is stunning, it’s angelic and mysterious. How does Jefferies manage to capture nostalgia and aching so well in a 3-minute song? I feel like my heart strings have just strung her guitar. Listen to Asha Jefferies, remember to lie down somewhere soft, and let her take your hand and guide you into a part of yourself long neglected.

After a 30-minute break, admiring the beautiful interior of The Forum, the lights go dim. We know what that means; Lord Huron making their way onto the stage. They’re all wearing suits, in earthy fabrics like tweed or linen or suede. Two of them have bolo-ties, the bassist has a neck scarf. I see two big, black-brimmed hats. They look like relics from a bygone American era. I don’t think the cowboy aesthetic is an act for them, it feels natural. I could be convinced they bought those hats in 1879 from Ye Olde Hat Emporium. There is something timeless, powerful, and enigmatic oozing from the band.  Front man Ben Schneider seems aware of the folkloric, mythic quality the band has. After a haunting opening of Time’s Blur and Love Like Ghosts, Schneider takes the mic gently between his hands – and you could hear a pen drop in a sold-out Forum.

“We’re going to try to sort of take you on a musical journey. There’ll be ups and downs and twists and turns. Heartbreak and redemption, laughter, tears, high-fives, pats on the butt, making out – everything in between, ok? So, if you find yourself bored, or thinking ‘This isn’t for me.’ Just wait a little bit. Something your flavour will come up.”

Immediately, the band comes to life again. The lights on the forum stage dance in sunset reds and oranges and golds. Meet Me in the Woods, Mine Forever and Dead Man’s Hand, all perfectly flow into each other as I am spellbound by those lights. The instrumentals are flawless, they’re better than the album. Intricate guitar work, mesmerising vocals and a perfect dance of drums and bass in the background – it’s musical bliss. There are moments in the songs that follow that feel like homages to Johnny Cash, Bruce Springsteen, Neil Young and countless other classics. Every song is Lord Huron listening, growing, and incorporating. Their entire setlist, their whole discography is a love letter to music. It’s written for those who came before then, and ferociously studied by those coming after them.

Wait by the River feels like a sermon. Schneider’s hands go above his head and he calls for us to do the same. Without thinking, my body obeys. But it isn’t just for this song, it’s the whole night. Every time they say clap, I slam my hands together involuntarily. They control every hair on my head, every muscle in my body. I’m not resisting the spell Lord Huron are casting. The band have themselves under a spell at times, like they’re mere vessels for something greater. The three guitarists in the back left drop their heads and sway, but somehow still play these beautifully intricate melodies. My jaw is still on the floor, if someone could pick it up as they passed – that would be great.

Towards the end of the night, is where we hit our high. Schneider leaves for a minute, and comes back wearing a comically large skeleton mask – el Día de los Muertos style. The World Ender and Ancient Names are both sung, played and demolished by skeleton-led Lord Huron. The mask adds to the feeling that these guys might be reincarnated, straight out of the Wild West. That they are mythical and mysterious and not of this world. The guitars are screaming, Schneider is strumming so fast his hands a blur. The vocals are the strongest they’ve ever been. I really struggled to describe this momento. It was so unexpected, so spooky, so perfect. A live-music best-of reel momento, for sure.

Something I never thought I’d see, was a theremín being played live. The stage goes black as Schneider changes out of his skeleton mask, and a single spotlight illuminates the neck-scarf wearing bassist; Miguel Briseño. He stands perfectly still, moving his hands into the instrument, and playing the most heartbreaking introduction to Way Out There. My heart almost can’t take it. I thought it would just get this solo at the beginning – oh, how wrong was I. For 4 beautiful minutes, we are treated to haunting theremin. His hands move with precision, melancholy, and appreciation for the strange instrument. He is a master. My friend keeps whispering “omg a theremin.” Over and over. Words can’t do the moment justice, yet again.

And of course, The Night We Met. One of the biggest songs of recent memory. This song is beautiful. It’s perfect, really. It’s so heartbreaking, so hopeful, so hopeless, so human. Listen to it. It makes my heart feel like it’s been chewed up, spat out, reinflated, and sent to find me. Everyone is singing at the top of their lungs. For that final chorus.

I had all and then most of you. Some and now none of you. Take me back to the night we met.

We sing and we scream, and we cry a little, and so do they. This was a special, intimate moment for everyone there that night. No notes, perfection. Now excuse me while I go cry and yearn in peace.

Schneider leaves us with some closing words, and a promise to come back soon. I’ll leave you with them, too.

See you next time, folks. Until then, live until you die.

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InterviewsTour Interview

Interview with Ville Valo (VV)

Click above to see Mitch chat with Ville Vallo ahead of his tour downunder in just a few weeks!

Brimming with charisma and gothic melodrama, Ville Valo commands your full attention both on and off the stage. Perfectly fusing the melodic and the melancholic, Valo is the embodiment of Johnny Cash, The Sisters Of Mercy, and Elvis with the lyrical elegance of Lovecraft, Poe, and Bukowski. He is truly one of a kind.
 
Being original does not come easy and creating an entire genre is next to impossible, yet with HIM, Valo did just that when he came soaring out of land of the midnight sun, hypnotising the globe with an enchanting mix of dark rock anthems and emotionally charged ballads.
 
With his distinguished baritone five-octave crooner voice, Valo's vocal prowess is unparalleled; equally at home making Chris Isaak and Neil Diamond classics his own or wearing his heart on his sleeve on HIM hymns, Funeral Of HeartsRight Here In My Arms or Wings of A Butterfly. In fact, VVN Music has ranked him as possessing the eighth-highest vocal range of any known singer in popular music and Loudwire ranked Valo as one of the greatest frontman of the 21st century. 
 
Valo’s evolution from the vampiric leader of HIM to the solo artist known today as VV is represented perfectly via HIM’s iconic Heartagram logo. Something Valo gifted the world when he created it on his 20th birthday. The truly iconic image perfectly captures the juxtaposition of the music with the heart representing its softer side, while the pentagram conveys the heavier, darker elements.
 
With VV, the Heartagram has been updated to include two extra lines to form the moniker VV at its centre. Ville playfully comments that, “Artistically speaking, the main difference between HIM and VV is the extra line in the Heartagram, but what an exquisite line it is!
 
VV’s debut solo album, Neon Noir was released in early 2023 and it further exemplifies his storytelling prowess and the ability to contrast darkness and light.
 
VV is performing select shows featuring a perfect mix of solo and HIM songs.

Metal Wani captured the mood of the London show back in March of this year:
When the house lights are killed, the venue is engulfed in a haunting emptiness. As strands of pink and purple begin illuminating the stage, a bright, cold heartagram appears from the darkness – accentuated by the updated VV at its core. Like a lighthouse beacon it cascades across the audience and as Ville Valo appears the reception is akin to a hero’s welcome. Delivering an holistic set that spans the entirety of his career. 
 
Be still our jet black hearts..

TOUR DATES
Wed, March 13: Powerstation, Auckland
Fri, March 15: Northcote Theatre, Melbourne
Sat, March 16: The Metro, Sydney
Sun, March 17: The Tivoli, Brisbane

Tickets on sale Thurs, August 10 @ 9.00am Local Time
ThePhoenix.au

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InterviewsTour Interview

Interview with Wednesday 13

Press play above to see Cass killer chat with Wednesday 13 recently about the Australian Tour!

WEDNESDAY 13 and his current band – which features former MURDERDOLLS alumni Roman Surman and Jack Tankersley – will be performing a full set of MURDERDOLLS songs, taken from the band’s celebrated 2002 debut album, ‘Beyond The Valley Of The Murderdolls’ and their triumphant 2010 return, ‘Women And Children Last’, which won them the Revolver Golden Gods Comeback Of The Year Award.

Amid a 2002 musical landscape full of baggy pants, backwards caps and tracksuit pants rose a metallic glam punk band that defied the prevailing trends and brought back hard and fast rock ’n roll. Murderdolls dug up the corpse of rock, defiled it and injected pure unadulterated undead life back into it. And it was glorious! 

'Beyond the Valley of the Murderdolls’ and its successor, 'Women and Children Last' were like nothing else. Fast and dirty, raw and macabre. Drawing lyrical inspiration from classic horror, each tracks is full of tongue-in-cheek horror done to perfection. Led by horror-punk icon, Wednesday 13 and the late great Joey Jordison, Murderdolls slithered their way to the top of the horrendous heights of rock amassing a colossal cult-following along the way. 

The sinister, sneering vocals, huge hooks, gang vocal choruses, pounding rhythms and some of the best riffs ever penned, the Murderdolls wrote songs for arenas and played them in theatres, making their adrenaline-fuelled odes to darkness that much more thrilling. 

For the first time in well over a decade, Murderdolls' frontman and songwriter, Wednesday 13, will resurrect his songs from the twisted depths of their dual album discography and unleash an unforgettable set when they descend on Australia, breathing fire into the raucous anthems that have defined an entire subculture. 
 

“After 21 years since its release, and the recent sad and premature passing of Joey, it only feels right to go out and celebrate these songs. We made two amazing albums that I was very proud of, and unfortunately much of the world didn’t get a chance to hear the songs live. In 2018, we all got together at Joey’s house and discussed plans and possibilities for the future, but we both had other immediate plans, We will be performing tracks from both MURDERDOLLS albums on this upcoming tour and celebrating the legacy of the band.” – Wednesday 13
 

TOUR DATES
Friday, Feb 2: The Triffid, Brisbane
Sat, Feb 3: The Metro, Sydney
Sun, Feb 4: Max Watts, Melbourne
Tues, Feb 6: Lion Arts Factory, Adelaide
Wed, Feb 7: Rosemount Hotel, Perth

Tickets on sale Thurs, July 27 @ 9.00am Local Time
ThePhoenix.au

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PANDEMONIUM Hits Australia with Alice Cooper, Blondie, Placebo, and Deep Purple!

Some of the most iconic acts in rock and roll will make history at the inaugural
Pandemonium festival as it sweeps across Australia’s east coast this April!

Pandemonium is a rock fans dream come true, with an unparalleled lineup of rock legends including: 

Alice Cooper
Blondie
Placebo
Deep Purple
Wheatus
The Psychedelic Furs
Dead Kennedys
Gang Of Four
Palaye Royale

plus Australian icons
Wolfmother
Cosmic Psychos
Gyroscope

and introducing Thai solo artist Petch;

A dozen bands across two giant stages will be busting out countless hits that have become the soundtrack to our lives over the last half a century.

Schools Out, Call Me, Highway Star, Every You Every Me, Teenage Dirtbag, Love My Way, Holiday In Cambodia, Lonely, Damaged Goods and sooo many more. 

You know the bands, you know the songs. Pandemonium gives you the opportunity to experience some of the worlds' greatest bands – all in one day and night of incredible rock and roll!
A truly unforgettable experience.

PANDEMONIUM 2024
Saturday, April 20: Caribbean Gardens, Melbourne
Thursday, April 25: The Domain, Sydney (ANZAC Day Holiday)
Saturday, April 27: Doug Jennings Park, Gold Coast
Sunday, April 28: Sandstone Point Hotel, Bribie Island*
*Blondie not performing

PRE SALE TICKETS
Monday, January 22 from 9.00am until Monday, January 29 at 12.00pm local time

PUBLIC ONSALE
Tuesday, January 30 @ 9.00am local time

Tickets and Information for all events can be found at
www.pandemonium.rocks 

 

Pandemonium is proud to partner with some very important charities.
Their work with our Veterans and our Youth is essential.

In Sydney, Pandemonium takes place on ANZAC Day and both Legacy and Wounded Heroes will be on site. Top Blokes who work tirelessly in support of the prevention of Youth Suicide will be on site at the Gold Coast event.

Money from each ticket sold will be donated to all three organisations.

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Lord Huron announce second Sydney show

Indie-folk troubadours Lord Huron are bringing their transcendent live show to sold-out rooms across the East Coast this month, today announcing a second Sydney show at the Factory Theatre due to popular demand.

Tickets for the second Sydney show at the Factory Theatre are on sale now, with all other shows now sold out while limited tickets remain for Melbourne’s second show at the Croxton Bandroom.

Performing anthems from across their catalogue, fans will get to soak up favourite gems like “Ends of the Earth”, “Not Dead Yet” and the much-loved hit “The Night We Met”, which currently stands at over 1.6 billion global streams on Spotify.

Making waves with their 2012 debut Lonesome Dreams, Lord Huron have since become a certified platinum selling phenomenon, playing major festivals such as Coachella, Lollapalooza and Austin City Limits, all while garnering a devoted fanbase worldwide.

Their fourth and most recent album Long Lost was released in May 2021 and sees the band continue to win hearts with their profound storytelling and songwriting style. The band’s leader Ben Schneider also recently provided the score for the film The Starling Girl, which featured a new Lord Huron song “Ace Up My Sleeve”.

Lord Huron will be gracing stages across the East Coast with support Asha Jefferies, heading up the Croxton Bandroom in Melbourne on Monday 22 January, The Tivoli in Brisbane on Wednesday 24 January, Sydney’s Enmore Theatre on Friday 26 January, Melbourne’s Forum on Saturday 27 January, and the Factory Theatre in Sydney on Sunday 28 January 2024.

A captivating evening too good to miss, catch Lord Huron on a stage near you in January 2024.

LORD HURON 

AUSTRALIAN TOUR 2024

Supported by Asha Jefferies

Monday 22 January 2024 SELLING FAST

Croxton Bandroom

Melbourne, VIC

Wednesday 24 January 2024 SOLD OUT

The Tivoli

Brisbane, QLD

Friday 26 January 2024 SOLD OUT

Enmore Theatre

Sydney, NSW

Saturday 27 January 2024 SOLD OUT

Forum

Melbourne, VIC

Sunday 28 January JUST ANNOUNCED

Factory Theatre

Sydney, NSW

TICKETS

On sale now via Destroy All Lines here

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Gig ReviewsReviews

[Review] Metal Church @ The Croxton Bandroom, Melbourne 14/12/2023

It has been a few years since Metal Church have graced our shores last travelling here in 2019 and quite a few things have changed since then. With the tragic loss of their frontman Mike Howe, which was a massive loss to the music industry and devastating to fans worldwide. After the initial shock Metal Church regrouped and came together with new singer Marc Lopes and a killer new album Congregation of Annihilation in 2023. Fans have welcomed Marc with open arms and embraced the new album excited for the band to be on the road celebrating the new songs and singer. 

It was no surprise to see black t-shirts lined up awaiting entry to The Croxton Bandroom. It has become a stalwart for old school heavy metal gigs and always has a terrific vibe as you are waiting to nab prime position. With lots of excited band banter being had as we counted down to doors, it is always a fun time to reminisce with like minded fans. With a steady stream of people finding their way to the front and beers flowing across the bar opening act Firing Squad started to warm up the crowd. They gave us a quick fire 25 mins of thrash metal, engaging the crowd and getting heads nodding in approval. Some fans wearing their merch and head banging on the barrier with gusto, it was great to see an early turn out and support for them. They had a substantial crowd by the end of their set and one of the guitarists even joined the punters on the floor to shred out the last minute or so.

Next up were thrash five piece Nothing Sacred, a name well known in the scene, these guys have been plugging away for 30 years and their experience showed. They powered through a thirty-minute set delivering some tasty tunes and wicked riffs. Singer Chris Stark has a most powerful set of pipes and I was left in awe just watching. With punters up and about they had a massive audience and the vibes were nothing but positive. Ending the set with Deathwish we were more than warmed up and ready for Metal Church.

The merch desk was kept busy with lots of cool stuff on offer, and things started heating up as the sea of black T-shirts congregated up close to the front. The odd peppering of red or white tops stood out like a sore thumb as the old school rock brigade brought out their finest thrash metal regalia, battle jackets worn with pride and every man and his dog wearing a Metal Church t-shirt.  The demographic was a much older crowd, diehard fans still showing their loyalty to their old thrash favourites.  As the lights dropped a roar rang out as the band took to the stage opening with the blinder Ton of Bricks from The Dark album. It was one of four from the album and was definitely a great way to get the night off and running. Marc Lopes was in fine form belting out the songs with his trademark long screeching on point all night.

Start The Fire did just that as the crowd were up and about, fists punching the air, singing word for word back to Lopes. Kurdt Vanderhoof has shredding up a storm along with Rick Van Zandt, both keeping the big riffs coming all night. Gods of Wrath really got the bandroom pulsing, with a few of the younger attendees on the barrier head banging with fury. The punters chanting back ‘Gods of Wrath’ for the duration. Pick a God and Pray and Congregation of Annihilation followed both off the latest release of the same name. Stet Howland was a machine on the drums, being a part of the band since 2017 he was right at home, providing backing vocals and vicious hitting of skins, on many occasions playing while standing up showcasing his skills. His spanking DW kit was a shining light in the middle of the stage and he used every piece to his advantage, he really was joy to watch.

Burial at Sea, Watch The Children Play and Fake Healer were welcome additions to the setlist and got the crowd up and about. Steve Unger on bass also added backing vocals and looked all parts the rock star in his leather and studs. He had the bass line covered and worked the stage with the ease of a true professional. Badlands is a loved Metal Church song from the album Blessing In Disguise and the punters enjoyed every minute. As the night was coming towards its end you would usually see the odd grogged up wannabe rockstar try and crowd surf over the top, but the seniority of the crowd put that to rest. All in attendance happy to just head bang on the spot and even that was done with reserved spurts to save the chiropractic bill the next day.

Beyond The Black and Metal Church saw out this killer night of thrash metal finery, Lopes digging deep and giving it everything he had.  As he returned with his phone to capture the crowd, arms quickly were held skyward to showcase the love in the room. A quick photo with the crowd and that was it, the show was over with Steve and Rick handing out guitar picks and Lopes pulling up a setlist for one lucky fan. I think many were expecting and encore but at 11pm on a weeknight I was more than happy with the killer performance we had.

Metal Church were so appreciative of their fans with Kurdt taking the time to thank us all for our undying support and I for one would be more that happy to bow down at the altar of Metal Church should they decide to come our way again.

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