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Destroy All Lines

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Gig ReviewsReviews
November 20, 2023
Tammy Walters

[Review] Bloc Party / Interpol @ Sidney Myer Music Bowl, Melbourne 16/11/2023

In what can only be described as A Y2K indie rockers wet dream, Manhattan force, Interpol, and London legends, Bloc Party team up for an epic amphitheatre takedown. Both groups soundtracked the early noughties with masterful debut albums and their sets on this cool November evening were showcases of their longstanding double decade careers.

Having just returned from a two-week European and UK tour,  Awabakal Land / Newcastle post-punk five-piece, dust settled the crowd with playful power-hits Joy (Guilt) and Ward 52. 

“We’re dust from Newcastle. This is a lifetime experience.”

As tight and energetic as these young guns were, notably, the rolling green hill of the Bowl was met by ill panning and compression issues on the sound, an unfortunate error that slid into the first half of Interpol’s set and reappeared throughout Bloc Party’s set, seeing the larger-than-life stylings of both indie greatest fractured. Muffled and muddied, the guitars stuck together like chewing gum and vocals were drowned. Gut-punches from the heavy set drumming celebrated throughout both artists’ discographies were non-existent in this fader faux pas but both bands made up for the production problems with intense delivery and enthusiasm.  

Paul Banks strides to the stage mic, his look coming straight out of Don Henley’s ‘Boys of Summer’ – “that hair slicked back and those Wayfarers on baby”. He is joined on-stage by Daniel Kessler, and Sam Fogarino, and touring members Brandon Curtis and Brad Truax all donning head to toe black ensembles and a New York coolness. 

They launch into the mammoth opener of‘Untitled with the first half of the set topped with classic cannonballs including C’mere, My Desire, Roland, and crowd favourite Obstacle 1. 

The lighting techs excelled in elevating the show. Interpol lived in red lighting states throughout majority of their set with pops of blinding whites and reflections from the low-hanging mirror-ball behind Fogarino, echoing their 2002 debut Turn On The Bright Lights album title and cover art, and a palette that has been threaded through their entire discography of artwork. 

The screen relay was set to black and white, making use of delays, fading transitions and slow mo effects for a real rock and roll vibe.

To a shifting blue light, Rest My Chemistry from the 2007 Our Love To Admire was a Pixies delight at the time of release. Live, the drifting melody of Kesslers guitar with Banks’ prosaic vocals is transportative.  

Sitting largely in their first three albums, Interpol catered to their mostly middle-aged audience, offering only two recent tracks from last year’s The Other Side of Make-Believe, Into The Night and Toni. They closed out with a chorus of “Rosemary”’s for the highlight Evil, rounding out a quality set with The New and Slow Hands.

The impact of this monumental co-headline tour was not lost on either Banks or Bloc Party’s energetic frontman, Kele Okereke. 

“It’s amazing being back in Australia. It’s been a while so it’s nice to be back with you after so long and sharing the stage with Bloc Party,” Banks acknowledged.

“Good evening Melbournia. We are Bloc Party from London and we are heaps excited to be here tonight. That’s the true,” Okereke quipped as a lead into You Should Know The Truth after slamming in with last year’s Alpha Games hit In Situ. Later in the set, the euphoric This Modern Love was also dedicated to their co-headliners; “They took us on our first ever tour so this song is for them.” 

Kele Okereke’s vibrant green and black cardi, paired with a cream headband, only lasted three songs before being discarded. Bloc Party were here for one reason only. 

“Let’s get this party started,” Okereke exclaimed as the eerie descending notes of Hunting For Witches launched.

Okereke kept the set lively with his contagious stage presence and general hype-attitude. From some cheeky quips to the stage crew “Thank you John that’s enough. He wants his own spin-off show. Now get out of here”, to pumping up the crowd with lines like “Let’s keep it rolling”, his infectious energy rolled into the crowd. 

Offering epileptic strobing, Kettling from the 2013 FOUR brought some pop punk power whilst Song For Clay (Disappear Here) was prefaced by Paul Kelly classic Dumb Things. 

The middle aged crowd of indie rock ‘n’ rollers were blessed back in 2018 with hearing the game changing debut Silent Album in full on Bloc Party’s last tour and it shows that the album is still as beloved. While only four songs made the bill this time around they were all met with explosive sing-alongs. Banquet was the first in the set with drummer Louise Bartle elevating the track with a smashing tempo building to a huge “I’m on fire” screaming match.

Okereke’s energy did not dwindle, incorporating fancy footwork into Different Drugs and playing with the vocal pedals on the ground. He also never missed a beat with the banter.

Ahead of the latest track from The High Life EP, Blue was introduced with a dig at our weather, “If I wanted a cold summer evening I may as well have stayed in London”.

The final leg of the set was one of epic proportions, not just for the song choices but for the audience’s liveliness, which had thus far ebbed and flowed throughout the evening, spiking for nostalgic songs. The brooding So Here We Are saw Bartle back on the fire, a hard task considering Matt Tong’s original drumming was intense and dynamic. Guitarist Russell Lissack came to the party in this section. Whilst a bit of an enigma on stage, he makes the guitar sing the heavenly builds, catapulting the revelatory, “I figured it out”.  

Swapping to cutting guitar lines, Lissack led in a crowd chorus for Helicopter. There is nothing quite like 13,000 people singing the line “As if to say he doesn’t like chocolate”. Flux followed for a dance floor epic. Okereke hugs his guitar to his chest during the second verse before leading a clapping army from front to the back of the hill, leading perfectly into The Prayer.

Revealed as a song about a boy from St Kilda, the Interpol dedicated This Modern Love started off on a high note. A favourite all round, the build in the recorded version is monumental but live it fell flat in the crescendo. The pummelling “This modern love, breaks me” repetitive bridge lacked guts with Okereke singing down an octave. Not quite the euphoric moment experience of their last Australian tour but still the ultimate Bloc Party belter.

Ending on a high note was what Okereke referred to as a certified banger. “We have one more rocket in our pocket. Back home we call this one a banger but I don’t know what you call it in these parts. Do you like a banger Melbourne?”, he questioned, going out with the rambunctious Ratchet.

Whilst both Interpol and Bloc Party sets suffered sound-wise, both 2000’s giants both put on a show set to invigorate the indie dream and the crowd lapped it up.

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Gig ReviewsReviews
November 9, 2023
Nikki Eenink

[Review] All Time Low @ Margaret Court Arena, Melbourne 4/11/2023

Saturday was an absolutely massive day for anyone who hated high school, made questionable Omegle calls, or had a Tumblr between 2009 and 2016. Pop Punk royalty All Time Low and Mayday Parade have arrived in Melbourne for a double act of debauchery, moshing, and one hell of a trip down memory lane.

I remember hearing my first Mayday Parade song on a So Fresh! Hits of Summer 2009 CD. So, I have to admit, I was a little nervous to hear them play live. I was sandwiched between some of the rowdiest concert goers of living memory, and we were hungry for a show. Were they going to be able to provide? It seems wrong to say a group of guys who haven’t yet hit 40 are in their ‘twilight years’, but Mayday Parade was formed in 2005, for God’s Sake. That’s nearly two decades of performing and touring. That is the twilight years! But I should’ve known better than to be nervous.

Oh Well, Oh Well, is quieter than I expected for an opening song. But the violin is beautiful, it’s haunting and delicate and washes over our expectant grins. And then Jake Bundrick comes in with those drums on the chorus. And I’m taken all the way back to 2011. I’m kicking rocks as I wait for the bus, I’m changing math class again, I’m at Margaret Court jostling as much as I can in my seat to keep rhythm with the women either side of me. Every word flows out of me, Mayday Parade have just unlocked something in me. Derek Sanders takes our hands, holds them lovingly, and guides us through the rest of their setlist. He is quiet, gentle, and absolutely Earth-shattering. His voice is so good, so good. Pain, love, loss all come out of him fully formed and I find myself grieving every song as soon as it’s finished. Sanders shows us how much of a master of his craft he is, in the acoustic version of Miserable At Best. Margaret Court is awash with phone torch light. This song was born to be played acoustic, born to be played live. I have never felt more lucky.

It’s clear the band have been a unit for so long. Bassist Jeremy Lenzo and guitarist Brooks Betts wind their way between each other without thinking. They’re two parts of the same whole. Everyone has this beautiful, innate understanding of the others. As individual players, their skill cannot be understated. They play to not only match the recorded version of the songs, but to destroy it. The Tallahassee natives absolutely blast their recordings out of the water. Driving, pounding, relentlessly rhythmic bass, shredding, treacle-sweet guitar licks and delicate, precise, endlessly engaging drumming keep my eyes glued to the stage for their whole set. And god, it’s too short. At only 10 songs long, I am positively gutted when it comes to an end all too soon.

But at least we get to finish on Jamie All Over. I watch GA shake off all of the emotions from the set. They’re grinning, bumping into each other, as the fellas onstage give it everything they’ve got. Guitars turned up to the max, Bundrick is slamming on the drumkit so hard I’m worried the skins will break. Everyone looks so alive.

And then it’s time for the illustrious return of Maryland emo-Rockers, All Time Low. This will be their first time in Australia since 2017, and to say it’s nostalgic – is the understatement of the fucking century. All Time Low are the high school anthem makers. In harsh contrast to Mayday Parade’s setlist – we’re in for 22 songs from a nearly 20-year career from this band of agents for chaos. If any band was going to be a parody of medieval travelling bands – these guys would be hit. They’re all energy, humour, and an endless stream of increasingly elaborate bits. They’re horny, nostalgic and angsty. They’re a delight in every sense of the word.

Nothing can describe the absolute tidal wave that is Lost in Stereo into Damned if I Do Ya (Damned if I Don’t). All Time Low sucker punch you to welcome you to the set. Unbelievably high energy, pumping lights and new takes on beloved riffs – this is an opening impossible to forget. Everyone is up. There are no seats, they’ve turned the whole fucking place into a moshpit. The control they have over us and the room is impossible to replicate.

“Holy fuck there’s a lot of people here”. Front man Alex Gaskarth is met with a tsunami of applause and cheers. “This is the biggest show we’ve ever played in Australia. And that’s all thanks to you. We’re four guys from Maryland who started this shit nearly 20 years ago – in high school, and we never, ever thought we’d be here.”

After several more songs punctuated by flashing purple lights, Rian Dawson’s inimitable drumming and Gaskarth’s unbelievable vocal power, our front man takes to the mic again. “This is a song about love.” And we launch into a mashup between, Modern Love / Stella and Tell Me I’m Alive.

God these guys are a unit. The amount of stage guitarists Jack Barakat and Zack Merrick can cover while getting these intricate runs note-perfect, is unlike anything else I’ve ever seen. All Time Low do high-energy better than anyone else in the business. They are proving, with every sensational second they’re onstage, why they’re pop-punk heavy-weights. The musicianship, the effortless banter, the charisma – all of it is what puts All Time Low on top. And they’re dishing everything out for us at Margaret Court.

New touring member to the band, Dan Swank, is having a birthday! “Not only is it his first time in Australia, it’s also Dan’s birthday! Let’s all sing Happy Birthday 3 or 4 times.” Gaskarth chirps happily into the mic. We’re having none of it. There’s only one thing we want him to do.

Starting as a dull drone, and growing to a yell, the room is full of;

Shooey! Shooey! Shooey!

“You guys are fucked. You know that right? This is so completely depraved. Who the fuck thought this was a good idea?” Gaskarth might be appauled, but Barakat has already whipped off his shoe (suspiciously fast), and Swank has filled it with beer. Down the hatch. The applause is next-level.

And then we are thrown back into it. Winding our way through bagner, old and new, I have to stop us at Fake As Hell. As he absolutely tears up his vocal chords delivering us spine-tingling belts, Gaskarth takes a minute to thank the queen of pop-punk. The one. The only. My first musical hero. The other-half of the poppy, sardonic tune; Avril Lavigne. “Make some noise for Avril Lavigne. Here in spirit. She’s eternal.” Fuck! Yes! As the punchy, tongue-in-cheek tribute comes to a close. Gaskarth takes a minute to address us, after a heckle from the front row.

“I’m 15!”

“Oh fuck yeah dude! No, seriously, that’s great. Who here saw us when they were 15?” A bunch of twenty-somethings hiding purple hair in the corporate world cheer. “Thanks for growing up with us guys.”

It’s a very sweet moment and reminds me of why I loved bands like All Time Low in high school. They’re messy, they make mistakes, they’re human. They understood what growing up was like.

“Alright now for something less sappy. This is the horniest song All Time Low have ever written. And I won’t apologise.” The song in question is, of course, New Religion. The stage is bathed in purple and red light. It’s just sensational. Gaskarth purrs into the mic, accompanied by the hypnotic drum work of Dawson. The song is extra hot, and extra heavy.

The set goes by in a dream. It’s alive, it’s electric. Each song is punchier than the last. And I’m not entirely sure how we ended up with the band stopping, Barakat taking the mic and asking Gaskarth; “Hey, have you ever? Ever felt like this?” Zack Merrick chimes in, “Where strange things happen?!” And suddenly, they’re playing Round The Twist. They’re dancing to Round The Twist. All Time Low, are playing Round The Twist. What the fuck is going on. We’re losing it. Some people are trying to film it, but laughing too hard, others are headbanging. Barakat was absolutely right when he said; “Glad to know you all still stand for your national anthem.” All Time Low casually pulling out maybe the most iconic live music moment of 2023. Go off boys. Their commitment to the bit is second-to-none.

And as teenage Nikki favourites like Weightless play out, I get a little teary as we hit the last song of the encore. “Take us home everyone!” And in perfect unision, fuelled by patriotism and teen angst, we sing out the end of Dear Maria, Count Me In. And it’s over. The lights come up and it doesn’t feel real. We were somewhere else. A delightful time capsule of a bygone age of hairspray, shitty bangles and musical perfection. And god do I want to go back.

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October 31, 2023
STM

Slash Ft. Myles Kennedy & The Conspirators The River Is Rising – Rest Of The Wold Tour ’24 With Special Guests

SLASH FEAT. MYLES KENNEDY & THE CONSPIRATORS will be heading to Australia in February 2024 as part of The River Is Rising-Rest of the World Tour ’24 with special guests THE STRUTS and ROSE TATTOO.
 
A decade and four albums into their career, the universally acclaimed album 4 -which charted at #2 on the ARIA album chart also debuted as the #1 Most-Selling Hard Rock Album–is SMKC like you’ve never heard them before. A vibrant rock album fuelled by memorable guitar hooks and compelling melodies, big choruses, and even bigger riffs, 4 hits on a wide range of sounds, styles, and moods in 10 songs, and does it all with laser-sharp musical focus and a lightning-in-a-bottle sense of immediacy.
 
The fourth studio album from SMKC and SLASH’s fifth solo album overall, SLASH and his bandmates MYLES KENNEDY (Vocals), TODD KERNS (Bass & Vocals), BRENT FITZ (Drums), and FRANK SIDORIS (Guitar & Vocals), partnered with producer Dave Cobb (Chris Stapleton, John Prine, Jason Isbell, Brandi Carlile), on 4 resulting in the band’s strongest album to date. Recorded at RCA Studio A in Nashville, Cobb shared the band’s desire to lay down the tracks live in the studio–including guitar solos and vocals–revealing a stunning, vital sound and style all captured live.
 
The album kicks off with opening track The River is Rising is one of the band’s toughest and most dynamic compositions to date, unravelling via a menacing, tightly-coiled riff and deep-in-the-pocket groove. April Fool followed the successful first single The River Is Rising. SMKC performed The River Is Rising which Rolling Stone hailed as “raucous” and Billboard acclaimed as “euphoric” with “a surging main riff, dissonant hooks, an infectious chorus, and a guitar solo that conjures images of a rowdy bar brawl” on Jimmy Kimmel Live!.
 
4 is a standout album that grabs hold, and never lets go, from the deliberate stomp rock of Whatever Gets You By, the bright-toned, heart-on-sleeve pop-rocker Fill My World, to the talk box-drenched guitar hooks of C’est La Vie, exotica-tinged psychedelic fever dream of Spirit Love, the anthemic swell of The Path Less Followed, to the cowbell-inflected boogie-shake of Actions Speak Louder Than Words, the grimy Aerosmith-esque funk of April Fool, to the rampaging attack of Call Off the Dogs, and climaxing with the epic, six minute album closer Fall Back to Earth.
 
4 has generated some of the most positive critical accolades in the group’s history including:

“musically stinging crunch-rock… beautifully melodic.”- USA Today

“On 4, the fourth record by Slash Featuring Myles Kennedy & The Conspirators, he [Slash] captured the mojo he was after by recording most of the album live in a mere 10 days at Nashville’s RCA Studio A… For Slash, recording off the cuff was as liberating as he had hoped it would be, and not second-guessing himself contributed to the album’s eclecticism. There’s the heart-aching power ballad ‘Fall Back to Earth’ the glam-banging ‘Actions Speak Louder Than Words’ and the euphoric first single, ‘The River Is Rising,’ which features a surging main riff, dissonant hooks, an infectious chorus and a guitar solo that conjures images of a rowdy bar brawl.” – Billboard

“From the insistent churn of the opening track and first single ‘The River Is Rising,’ to the slippery funk rhythms of ‘April Fool,’ the dinosaur-sized stomp of ‘Whatever Gets You By’ to the off-to-the-races sprint of ‘Call Of The Dogs,’ 4 hits with the immediacy of a great live show. …Slash & Co color outside the lines on tracks like the slinky, Eastern-tinged ‘Spirit Love’ and the uncharacteristically major-key pop-rock workout ‘Fill My World,’ as well as the widescreen epic ballad ‘Fall Back to Earth’ which closes the record in dramatic fashion. Overall, it’s a leaner, harder and more expansive take on the SMKC sound.” – Guitar World

“The whole album is a masterpiece. If you want to know what real rock-and-roll sounds like, crack it up nice and loud.”  – Metal Insider

“The ‘River Is Rising’ marks the first new music in three years from Slash and his band, and it doesn’t disappoint. There’s a metallic stomp to the track, which opens with a tremolo riff that would be at home in a black metal song. From there, quintet lock into a four-on-the-floor groove as Kennedy alternates between epic singing and cleaner melodies during the chorus. Overall, there’s plenty to satiate both hard rock and metal fans”. – Consequence Of Sound

 
Special guests are British rockers, THE STRUTS. They have been a live sensation since they first erupted onto the scene with their certified Platinum anthem, Could’ve Been Me, introducing the world to their triumphant, timeless rock sound. Following the release of their critically-acclaimed debut, 2016’s Everybody Wants, they set out on the road, bringing their energetic tracks alive on stage with larger-than-life performances and cementing their reputation as a must-see live act.
 
They’ve opened for the likes of The Rolling Stones, Foo Fighters, and Guns N’ Roses, while selling out shows across the globe and leaving a trail of unbridled rock collections. Their on-stage prowess and perpetual musicality have allowed them to reach the No. 1 Spot on Spotify’s Viral Top 50, more than 850M on-demand streams, and put them in the studio collaborating with Kesha, Tom Morello, Robbie Williams, Def Leppard and more.
 
ROSE TATTOO is one of Australia’s most revered rock bands fronted by Angry Anderson. Hailing from the late ‘70s and eight studio albums under their belts, their first four albums yielded the hits Bad Boy For Love, Rock ‘n’ Roll Outlaw, Nice Boys and Scarred for Life and have persisted with many changes over the decades. They were inducted into the ARIA Hall Of Fame in 2006 and in 1993 re-formed to open for Guns N Roses on their Australian tour.
 
Grab your ticket and catch SLASH FEAT. MYLES KENNEDY & THE CONSPIRATORS, THE STRUTS and ROSE TATTOO live in action when they bring their powerful, explosive, and high energy at a show near you.

 Early Bird Pre-Sale Tickets On Sale: Thursday 2nd November @ 12pm local time
 
Sign up to access early bird pre-sale tickets – https://daltours.cc/SLMKC24

General tickets on sale: Friday 3rd November @ 12pm local time
Tickets from destroyalllines.com

About Beasto Blanco

Destroy All Lines and TEG MJR Presents
 
SLASH FEAT. MYLES KENNEDY & THE CONSPIRATORS:
THE RIVER IS RISING – REST OF THE WORLD TOUR ‘24
WITH SPECIAL GUESTS THE STRUTS & ROSE TATTOO
TOUR DATES:

THURSDAY 22 FEBRUARY 2024 – ADELAIDE ENTERTAINMENT CENTRE, ADELAIDE
SATURDAY 24 FEBRUARY 2024 – HORDERN PAVILION, SYDNEY
SUNDAY 25 FEBRUARY 2024 – RIVERSTAGE, BRISBANE
TUESDAY 27 FEBRUARY – JOHN CAIN ARENA, MELBOURNE
 

General tickets on sale: Friday 3rd November @ 12pm local time
Tickets from destroyalllines.com

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October 31, 2023
STM

Bring Me The Horizon Add 2nd Sydney & Melbourne Shows To Down Under Tour With Special Guests Sleep Token

Sydney and Melbourne, we have some great news for you! You sold out BRING ME THE HORIZON’s Rod Laver Arena and Qudos Bank Arena shows in under 24 hours and due to the huge overwhelming demand, we are thrilled to announce a 2nd show in Melbourne at John Cain Arena on Wednesday 10 April and Friday 12 April at Qudos Bank Arena in Sydney. Tickets for these shows will be on sale at 12pm AEDT time today.

BRING ME THE HORIZON‘s NeX GEn tour will head Down Under in April 2024 with special guests SLEEP TOKEN, MAKE THEM SUFFER and DAINE. Tickets are selling fast for Adelaide and 2nd Brisbane show. Purchase now to avoid disappointment as tickets won’t last long!

On the back of unleashing brand new single, DArkSide, BRING ME THE HORIZON have been touring the world since their triumphant headline performance at Good Things Festival 2022. They headlined Download Festival in June 2023 to over 100k fans and have been adding the finishing touches to their highly anticipated new studio album, POST HUMAN: NeX GEn.
 
DArkSide follows singles LosT, AmEN!,DiE4u and sTraNgeRs, part of the globally acclaimed Post Human series, which have been streamed over a massive 310 million times to date.
 
BRING ME THE HORIZON have an impressive string of accolades under the belts including BRIT and Grammy nominations, multi-platinum selling releases, over 1 billion YouTube views, are the top 500 most streamed artists globally on Spotify and have had 4 x #1 ARIA Albums over the last 10 years. They kicked off their POST HUMAN era in 2020 with the release of the first of four EPs aptly titled POST HUMAN: SURVIVAL HORROR. The critically acclaimed release debuted at Number 1 on the UK Album chart and #3 in Australia on the ARIA chart. 2022 saw them appear at the BRIT Awards where they joined Grammy award winning singer-songwriter Ed Sheeran for an electrifying performance of Bad Habits. 
 
With fan worship more intense than ever, worldwide interest and intrigue growing at runaway speed, SLEEP TOKEN blew Australian audiences away on their anticipated first Australian headline tour in April which saw all shows sell out with a huge demand for more. Their acclaimed third studio album, Take Me Back To Eden debuted at #3 on the ARIA album charts and had fans and critics raving across the globe.
 
The record features some of SLEEP TOKEN’s heaviest material to date; yet stands out as a confident and explorative collection of music that highlighted the band’s stunning chemistry and connection to music itself. It’s a chemistry that has been replicated brilliantly live, leading to wildly successful the world over, including selling out their December show at London’s iconic Wembley Arena in 10 mins.
 
Perth’s MAKE THEM SUFFER have had their busiest and most successful years to date. Celebrating the tenth anniversary of their debut album Neverbloom with a sold-out Australian tour, the band have balanced touring with the release of some new music, with the arresting track Ghost Of Me arriving earlier this year.
 
Having just finished the Monsters of Oz tour of North America with Parkway Drive, The Amity Affliction and Northlane, the metalcore five-piece are lining up a return to the U.K. next, supporting Stray From The Path, before returning home for the summer and finishing off their year performing at the Good Things Festival 2023.
 
BRING ME THE HORIZON fans will already be aware of genre-bending artist and songwriter, DAINE. A key early introduction to the performer’s unique style and sound was in the Oli Sykes-featuring track SALT; a song that put their stamp on the scene, generating excitement for more music and directions to be explored. Since then, DAINE has continued to elevate across two EPs (2022’s QUANTUM JUMPING and 2023’s shapeless), with their latest track BITE BACK demonstrating yet another exciting vision forming for the Melbourne performer, still to come.
 
Line ups like this don’t come around often and tickets are flying outta the door!
 

Tickets for 2nd Sydney & Melbourne shows are on sale 12pm AEDT time today.

Tickets for other shows are available now https://daltours.cc/BMTH24

Destroy All Lines & triple j Present

BRING ME THE HORIZON
DOWN UNDER TOUR
WITH SPECIAL GUESTS
SLEEP TOKEN
MAKE THEM SUFFER
DAINE
TOUR DATES:

WEDNESDAY 10 APRIL 2024 – JOHN CAIN ARENA, MELBOURNE NEW SHOW
FRIDAY 12 APRIL 2024 – QUDOS BANK ARENA, SYDNEY NEW SHOW
SUNDAY 14 APRIL 2024 – QUDOS BANK ARENA, SYDNEY SOLD OUT
WEDNESDAY 17 APRIL 2024 – ENTERTAINMENT CENTRE, ADELAIDE
THURSDAY 18 APRIL 2024 – ROD LAVER ARENA, MELBOURNE SOLD OUT
SATURDAY 20 APRIL 2024 – RIVERSTAGE, BRISBANE SOLD OUT
SUNDAY 21 APRIL 2024 – RIVERSTAGE, BRISBANE NEW SHOW

Tickets from https://daltours.cc/BMTH24

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October 16, 2023
STM

Bring Me The Horizon Down Under Tour With Special Guests Sleep Token, Make Them Suffer & daine

The undisputed hottest and most successful rock band in the world, BRING ME THE HORIZON will be heading down under in April 2024 with their biggest Australian headline tour to date with an ultimate stacked line-up supported by SLEEP TOKEN, MAKE THEM SUFFER and DAINE.
 
On the back of unleashing brand new single, DArkSide, BRING ME THE HORIZON have been touring the world since their triumphant headline performance at Good Things Festival 2022. They headlined Download Festival in June 2023 to over 100k fans and have been adding the finishing touches to their highly anticipated new studio album, POST HUMAN: NeX GEn.
 
DArkSide follows singles LosT, AmEN!,DiE4u and sTraNgeRs, part of the globally acclaimed Post Human series, which have been streamed over a massive 310 million times to date.
 
BRING ME THE HORIZON have an impressive string of accolades under the belts including BRIT and Grammy nominations, multi-platinum selling releases, over 1 billion YouTube views, are the top 500 most streamed artists globally on Spotify and have had 4 x #1 ARIA Albums over the last 10 years. They kicked off their POST HUMAN era in 2020 with the release of the first of four EPs aptly titled POST HUMAN: SURVIVAL HORROR. The critically acclaimed release debuted at Number 1 on the UK Album chart and #3 in Australia on the ARIA chart. 2022 saw them appear at the BRIT Awards where they joined Grammy award winning singer-songwriter Ed Sheeran for an electrifying performance of Bad Habits. 
 
With fan worship more intense than ever, worldwide interest and intrigue growing at runaway speed, SLEEP TOKEN blew Australian audiences away on their anticipated first Australian headline tour in April which saw all shows sell out with a huge demand for more. Their acclaimed third studio album, Take Me Back To Eden debuted at #3 on the ARIA album charts and had fans and critics raving across the globe.
 
The record features some of SLEEP TOKEN’s heaviest material to date; yet stands out as a confident and explorative collection of music that highlighted the band’s stunning chemistry and connection to music itself. It’s a chemistry that has been replicated brilliantly live, leading to wildly successful the world over, including selling out their December show at London’s iconic Wembley Arena in 10 mins.
 
Perth’s MAKE THEM SUFFER have had their busiest and most successful years to date. Celebrating the tenth anniversary of their debut album Neverbloom with a sold-out Australian tour, the band have balanced touring with the release of some new music, with the arresting track Ghost Of Me arriving earlier this year.
 
Having just finished the Monsters of Oz tour of North America with Parkway Drive, The Amity Affliction and Northlane, the metalcore five-piece are lining up a return to the U.K. next, supporting Stray From The Path, before returning home for the summer and finishing off their year performing at the Good Things Festival 2023.
 
BRING ME THE HORIZON fans will already be aware of genre-bending artist and songwriter, DAINE. A key early introduction to the performer’s unique style and sound was in the Oli Sykes-featuring track SALT; a song that put their stamp on the scene, generating excitement for more music and directions to be explored. Since then, DAINE has continued to elevate across two EPs (2022’s QUANTUM JUMPING and 2023’s shapeless), with their latest track BITE BACK demonstrating yet another exciting vision forming for the Melbourne performer, still to come.
 
Don’t miss what promises to be one of the hottest tours of 2024! Line ups like this don’t come around often and tickets won’t last long. Don’t say we didn’t warn ya.
 
 

Early Bird Pre-Sale Tickets On Sale: Thursday 19 October @ 9am local time
To Gain Early Ticket Access Register Here -> https://daltours.cc/bmth

General Tickets On Sale: Monday 23 October @ 9am local time
Tickets from destroyalllines.com

Destroy All Lines & triple j Present

BRING ME THE HORIZON
DOWN UNDER TOUR
WITH SPECIAL GUESTS
SLEEP TOKEN
MAKE THEM SUFFER
DAINE
TOUR DATES:

SUNDAY 14 APRIL 2024 – QUDOS BANK ARENA, SYDNEY
WEDNESDAY 17 APRIL 2024 – ENTERTAINMENT CENTRE, ADELAIDE
THURSDAY 18 APRIL 2024 – ROD LAVER ARENA, MELBOURNE
SATURDAY 20 APRIL 2024 – RIVERSTAGE, BRISBANE

General Tickets On Sale: Monday 23 October @ 9am local time
Tickets from destroyalllines.com 

 

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Gig ReviewsReviews
October 13, 2023
Nikki Eenink

[Review] Weezer @ John Cain Arena, Melbourne 06/09/2023

With PAX Aus and Weezer’s headline tour in the same week, it’s an absolutely showstopping few days in Melbourne for white guys aged 27 to 50. And showstopping perfectly describes what greeted me onstage at John Cain Arena, Friday night. Californian indie Golden-Boys Weezer need no introduction. A perfect combination of meme-culture, unbeatable musicianship and perfect pop-banger to rock-solo percentage; they really are the upper echelon for anyone who enjoys teen movies from the 90s (or was a teen in the 90s). And so, before I introduce the cheese, the steeze “The Weeze”, let me tell you about their support.

Regurgitator follow in the highly coveted Brisbane tradition of fuck-off punk rock. Their sound is somewhere between Kraftwerk and Limp Bizkit. The Smiths meets Grunge. Two entirely separate forces that shouldn’t come together, but when they do – musical nuclear fusion. The guitars are howling, the guys are bantering and we’re all completely enamoured by the Brisbane trio and their shit-eating grins. As is customary, they begin a chant immediately after their second song of; Oi! Oi! Oi! An Australian classic. A cultural must. “Are you guys ready to hear a song that goes faster than the last one?”  (Bong In My Eye – an absolute tune, of course) “Yeah this one goes so hard” One of them moans; “Uh! So hard!” And with a cackle that would make Jack and Jill run back up that hill, they throw us headfirst into Polyester Girl. After the guitars simmer a bit, ultimate Bass-dad Ben Ely asks us a question that really needs no answer; “We’re so excited. Are you excited?” We cheer, but clearly not enough. “It’s fucking Weezer, man!” Quan Yeomans, our ever-charismatic front man chimes in, “Weeeezer!” And so, of course, we cheer. And now that our excitement is excited enough, the show continues. Blubber Boy into Fat Cop into I Wanna Be A Nudist, it’s just out of control how many tracks these guys can deliver at full energy with no faults. Even when they are forced to restart on Blubber Boy, they’re still masters. The reason for the restart, is because the old adage that “White People Have No Rhythm”, was proven at John Cain that night. They get an entire crowd to clap along – no two of us had the same rhythm. The people of the Caucus Mountains were struggling to participate in the musical madness and wonder of Regurgitator. So, they get us to start. We clap, they follow; and they blow that stereotype back out of the water. After a really good bit “How many more songs do we have left? Are we out of time?” Runs it’s natural course, we are asked one final, tantalising question; “Should we do a naughty song?” But before they have time to deliver on this, Yeomans takes the mic. “My daughter should be here somewhere! She just moved to Melbourne! Where is she?” A sea of men shove their hands in the air. “You’re not her! You’re a fella!” when one of his Regurgitator brothers asks him, “Mate, are you even wearing your glasses?” And so, they give up. I hope she was there and had as good a time as the rest of us. The World of Sleaze and ! (The Song Formally Known As) take us perfectly into the World of Weeze. (These aren’t my words, I promise. Read on to find out who said that! Intrigue!)

Teal Album is one of Weezer’s more forgotten albums. A compendium of covers spanning 3 decades, it’s miss-able, but unforgettable. In what I like to consider an homage, they play us into the dimming lights, the unmistakable hush before a show, with Africa by Toto. An iconic song, an iconic cover, an iconic show is imminent.

To save you the read: I can, without a doubt, say Weezer’s Indie Rock Roadtrip is one of the best shows I’ve seen in years. Whether you’re a hardcore Weezer fan, a casual enjoyer or a Pinkerton defender – this tour has it all. These songs are so a part of the cultural zeitgeist that it’s impossible for the whole show to not feel nostalgic, treasured, and significant.

Rivers Cuomo, Patrick Wilson, Brian Bell and Scott Shriner are in an echelon all of their own. For the next two hours, we will be lovingly chauffeured through all of the bands biggest hits – and some of their smallest. With this foursome behind the wheel, you know it’s gonna be one hell of a trip.

Starting out strong with My Name Is Jonas, we are introduced to the vibe of the trip.

Picture this:

A cartoon, semi-idealistic version of America. We are Jonas, some kid living in the outer stretches of Los Angeles, completely lost in the world of our headphones. We jump in the car with some of our friends and start our long winding road North, and East. Turning the radio, The Good Life comes on. Out the window, we can see signs for American restaurants, but it’s all fantasy. “Jamie’s In The Box” “Bran Bell” “Up N Down Burger”. And the biggest fantasy of all, Weezer is on tour. Except that’s now. That’s us! This is fantastical. Immediately, we are on this trip with them through all these things that are impossible, fantastical, but oh-so real. Pinch me.

I will never understand what it is about hearing a singer mention the town their singing in that makes crowds go feral. But they go feral. Finishing Beverly Hills with “Living in Melbourne, Australia” set the crowd off. It’s like front-man Cuomos threw us gold pieces, we were loving it.

As In The Garage comes to a close, and 11,000 people sing-shout ‘No one hears me/ No one hears me’ Cumos speaks over us. “Have you guys heard? We’re opening for KISS tomorrow!” There’s some light applause. “HEY! WE’RE OPENING FOR KISS” and he hits a mean chord on his guitar. We respond with what Rivers decrees as a worthy level of cheer for the 1970s Rock-Gods. And, in their honour, they play a punky, high-energy, guitar-forward cover of Strutter. The way lead Guitarist Brian Bell moves his hands along the guitar is spellbinding. The fretboard is an extension of his arm, the sounds leave his hands and sit in the room in perfect harmony with all the other noise. It’s impossible to tell where that skilful ends and the hot-air of GA begins. Oh, and Bell whips out the double-necked electric in true KISS spirit – what an homage.

As a Green Album girlie until the bitter end, I swear I nearly popped a blood vessel when they launched into Photograph. This is the first full-band performance of the criminally underrated release since 2015. And it’s even better live. The insane visuals, Cuomos off-kilter vocals, and the pounding drums provided by Patrick Wilson bring this track to life. I feel like I’m in IMAX, but for sound.

Undone (The Sweater Song) is one of THE Weezer tracks. Starting out of nowhere, the melancholic, drifting, delayed opening notes are barely heard under the guttural screams of excitement for one of Blue Album’s most coveted. This song isn’t short, but it flies by. The foursome never seem to tire. They can just keep playing, perfectly, never easing up on themselves (or us). The energy never drops even for a moment. Cuomos and bassist Scott Shriner jump along the stage, one leg stretched in front of them, as Bell shreds the ultimate shred. Cuomos arms are a blur of strumming, he is absolutely caning his pale-green strat – but the pain is so worth the reward. The crowd is all hands, clapping predictably out of time, and people dance-shoving. As the music swells to its predicted finale – Cuomos puts his guitar to his mouth and starts playing with his teeth. Once he’s decided to give his enamel a break and the song finishes, he plants a big, loving kiss on the green body of The Little Guitar That Could.

Next up is an absolute highlight of the show. Rivers takes to the stage, alone. Armed only with an acoustic guitar, he starts to tell us a story of young love and heartbreak. The story goes something like this;

“I really liked this girl. She called me all the time, came to Christmases with my family- the whole thing. I thought she liked me too. One day, after we hung out she said she’s call me tomorrow. But she didn’t call. I waited by the phone the after that, too. And the next. By day 14 I realised she wasn’t going to call. So, on day 19 – I wrote this song.”

I didn’t recognise Waiting on You at first. Done just with an acoustic guitar, it sounded almost like a parody. Like Kill Me Please, from The Wedding Singer. It sounded like the very stereotype of sad 90’s Rock you’d expect. Where’s Matt Groening? Is this a Simpsons sketch?

Why? Haven’t you called me?

Did you forget me?

The Arena is alight with phone torches as Cuomos laments to us, fully aware of the comedy.

Mine, is the loneliest of numbers

Now, is the loneliest of times

You’re 19 days late

But still I sit and wait

The other three Weezer members come onstage and gather around the microphone. Barbershop quartet-style, they finish the lament. The house erupts with applause.

The next song is also a romantic lament of sorts. A ballad for Geffen Records Receptionist, Susanne hits even harder acoustic. Still gathered around the mic, it’s easy to see why Weezer disarmed and wooed this woman. They’re humble, talented, dressed in vans and baggy pants (Primo Skater Chic) at 55. Listen, Susanne, we get it,.Cuomos is beating out ‘Izzy, Slash and Axel Rose’ for her affections. This 5’6, hyperactive man is Geffen’s biggest Lover-Boy. As soon as they play, they transform. Roadies strap electric guitars onto Brian Bell, and we are treated to a wonderous ending of acoustic strums and electric licks. Suddenly they’re young again, somewhere else, and ultra-handsome.

We are showing them our appreciation. “Good on ya, Melbourne!” Some guy behind me, slurring and raspy screams back, “On ya, Rivers!”

“How is it? Chilling with The Weez at John Cain Arena.” The Weez. Said with such a tongue-in-cheek earnestness I can’t help but laugh. He’s an icom. The Master of The Shitpost.

Only In Dreams starts with River on acoustic for the first verse. Suddenly, they are all strapped with electrics again. And in a literal jump onstage – the tempo picks up. The visuals behind them are a waving red and purple. They are caning the shit out of their guitar strings. Shriner is a machine on bass. This song is so bass-heavy, and he has no issues being up to the task. Filling the room with warm, open, delicately layered bass with ease.

Of course, Island in The Sun gets a play. It’s so nostalgic, and wonderful. Everyone is out of their seats, swaying together, putting their arms up, singing. It’s like the final shot of a movie, where everything’s worked out. We’ve gotten into college, got the girl of our dreams and are watching fireworks on the beach. No notes, a perfect 10.

Growing up in Seattle, Washington. I am hard-wired to recognise Mount Rainier. And there it is. On the projection screen. We are driving through the cascades on this road-trip to the home of Grunge, of 90’s melancholia, of general antics and too-much noise. All My Favourite Songs gets Cuomos on keys. And he slaps them happily as we sing along. Lyrics that are so relevant, so painful. This 2021 release from Weezer shows that the band isn’t just a group of fossils peaking 30 years ago.

Cuomos openly hates Say it Aint So, so I was not expecting it to be played. But then that opening lick plays. And the sound that left my body was inhuman. He might hate it, but the song is one of the all-time greats. A Banger to End All Bangers. God-Tier. To save himself singing the chorus, he just stands – arms and legs spread, a starfish under 5 spotlights, as the pre-chorus lick goes and 11,000 of us, in perfect, ecstatic harmony scream:

“Say it aint so! Your drug is a heart breaker.

Say it aint so! My love is a life taker.”

My personal favourite part of the song, the bridge, is magical. The lights turn red and then purple and blue, and swirl around the foursome.

“This bottle of Stevens, awakens ancient feelings”

They start to slam on their strings and build until it’s all noise and 3 simultaneous solos that wind and weave and become alive together. It’s like nothing I’ve ever seen before. These songs I thought I knew, are so much more vivid in Weezer’s guiding hand.

“Are you guys enjoying the road trip?” Cuomos asks us. Does he even need to ask? He grins at the amount of noise we make in response. “It’s not a road trip ‘til dad takes a photo”. And he pulls out a polaroid. Referring to himself as Dad makes him even more likeable. If such a thing is possible. He snaps pics of all sides of the room and takes us into the end of the show.

Hash Pipe is such a phenomenal way to finish their main set. It’s aggressive, fast and punchy. The visuals of bats eyes, faded, bloodshot and spinning is such a great homage to the King’s of Stoner-Core. For the Guitar Hero friend next to me, it was a pretty huge closer.

Thank You and Good Night has our foursome standing on steps at the back of the stage, shredding together. I hate encores, but my fingers and toes are crossed for more.

And more is what we get.

The Waste Land is muddy, grungey and layered. They walk onstage and add to its layers one by one until we are carried on an almighty wave of perfect sound. Black Sabbath are pissing their pants a little with this one.

Surf Wax America is so quintessentially Weezer. It’s jumpy, fun and best shared at a barbeque. Blue Album remains one of the best in any genre, because of its versatility. This is not the same band they were just one song ago. But I am loving it. We all sing off-key, delighted and carefree.

A testament to the absolute mountain of songs Weezer has in their arsenal, is a major hit I had completely forgotten about in the fun and the fervour. Buddy Holly. Everyone’s favourite Spike Jonze music video. A staple in the Weezer canon. It’s amazing for one of a band’s major hits to have escaped my mind because I was so enraptured by everything they had going on. These guys could play one chord and I’d be spellbound. Another Blue Album staple, we are quick to show our adoration. The video in the background is of people roller-skating around. And while we can’t roller-skate, we can dance. And dance we do. With fun little licks, delightful harmonies and a beat that’s impossible not to move to – this song really has it all.

At this point, they’ve proven they’re an unbeatable unit with unbelievable, untranscribable skill. But it’s fucking ridiculous they played for 2 hours with no mistakes. Oh, what I’d give to bottle those 2 hours and live there.

Buddy Holly packs a punch, and so they leave us stunned, thrilled, desperate for another forgotten-hit. I’m in a daze, and this was 2 days ago. You could not ask for a better night.

If  Weezer have 1 fan it’s me if they have no fans I’m dead. I love you Weezer. And you would too. Buy tickets next time, I promise you’ll leave happier, bouncier and beachier.  And maybe just a little bit stoned.

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Gig ReviewsReviews
October 12, 2023
Jessie Fitzpatrick

[Review] Waterparks @ Forum Theatre, Melbourne 8/10/2023

Review By Jessie Fitzpatrick

Last Sunday, the line to the Forum snaked all the way into Hosier Lane and beyond, with no end in sight. Passers-by stared at the colourfully-dressed crowd and the endless line, as I saw first-hand the demand that Australian fans have for genre-blending pop/rock trio Waterparks.

The packed crowd was ecstatic, as support-act Lights (Canadian electro-pop/rock artist Valerie Poxleitner) opened in a sweeping, cinematic fashion with rock number Salt and Vinegar. Lights captured the audience immediately, with strong vocals and melodies that managed to feel both nostalgic and fresh (a talent shared with the headliner, Waterparks). Throughout her set, Lights seamlessly moved from electro pop, to rock, to alt pop. The following number, Siberia, was a distinctly early 2010s indie pop song – but her performance felt timeless, as she added in a new line to the lyric “we'll leave Canada for Siberia” – “or Australia”.

Lights excelled at bringing the audience along for a journey. She transitioned from guitar, to keys, and back to singing while dancing non-stop, moving straight into Dead End, which again captured a different side of her vocals. Even when a looped track of her voice played in the background of the song, her live vocals sounded phenomenal. An audience member handed her a flower, and she put it in her pocket, the red petals falling around the stage as she danced. After hyping up the crowd, Lights shifted to a sadder song, Beside Myself. People got out their phone lights and began to sway slowly, but the pace of the song gradually increased – leading Lights to comment that “people here have way better time than North America”. Her set ended in a crescendo of sound, and left the audience on a high, full of anticipation for the headline act.

Waterparks began their set in a flurry of energy, as lead singer and rhythm guitarist Awsten Knight arrived on stage in what appeared to be a Bunnings hat over his bright pink hair (foreshadowing a night of jokes about Australian accents and culture from the Houston-originated band), accompanied by lead guitarist Geoff Wigington, and drummer Otto Wood. Each band member’s energetic stage presence was immediately infectious, as the band launched into Rare, singing “I save my metaphors for rainy days……cause we're not seventeen, but you're my teenage dream”. The cleverness and self-awareness behind these lyrics highlighted a strong knowledge of their pop-punk and pop rock predecessors and influences. Otto paused his steady drumming to highlight a slow guitar riff from Geoff, and I felt the floor move as the crowd jumped in response to Geoff spinning in a circle on stage alongside Awsten, creating an electrifying atmosphere.

Waterparks (or in particular, Awsten) were one of the chattiest acts I had seen in a long time. Awsten reminisced about a previous concert in Australia where the band performed for about 100 people in a tiny attic (“now we get to play in air-conditioned venues!”), before they transitioned into fan-favourite, Stupid for you. Stupid for you is a song of a juvenile love, undercut with adult tones. With lyrics such as “you're a symphony, I'm just a sour note”, I felt like it belonged in an early 2000s high school comedy in the best way, maybe in the prom scene. When Awsten sang the chorus, the sound of the audience harmonising complimented his voice perfectly, and he joked “you guys sound great – have you been practising?”. It had been 6 years since Waterparks’ last visit to Australia (“I’ll take a boo for that…we had a tour planned for 2020, something happened but I forgot what” Awsten joked). The Melbourne show was their 4th show in a row without a day off, and although the band was upfront about being tired, you couldn’t notice – their energy remained unwavering, as Brainwashed showed off Awsten‘s vocal range, combining mellower instrumentals with verses that leaned towards being a rap.

 Waterparks continued to showcase their musical versatility, as they debuted their new song Sneaking Out of Heaven, “before America or Canada have heard it”. This felt particularly special for the adoring Melbourne audience. Sneaking Out of Heaven started strong and packed a punch. The snappy track seamlessly integrated into their discography – this is a new release to watch out for. This was followed by more of the band’s camaraderie on display, as they played Two Best Friends – an autobiographical song about the band’s friendship, as the three bandmates rocked out together to the sound of a steady bass drum.

Their performance of Magnetic took on a more intense turn, with the fast-paced vocals melding with the heaviness of the drums. Awsten’s deliberate movements and stage presence was captivating, as the sci-fi sound effects on the backing track added an eerie ambiance to the song.

“Do you want to hear a song I used to practise in the mirror at my parent’s house in Houston?”, Awsten asked the audience, as he launched into Royal. In another pivot from some of Waterparks’ more light hearted pop-punk tracks, this song commanded a focused energy. Awsten then conspiratorially told the crowd that “the percussion layer in the song is us [the bandmates] kissing Otto’s stomach – you can hear it if you listen to the song with headphones”.

Awsten seemed chuffed as he told the audience about the band's song Telephone being featured in an episode of the TV series, Heartstopper, as he coyly sang the hopeful lyrics. The set then pivoted to a short burst of acoustic numbers – 21 Questions showcased a different genre and mood , and called attention to Awsten’s guitar expertise. In Dizzy, Awsten haunted the stage alone, as he sang the lyrics “I don’t hear from my friends anymore”. Lucky People saw the crowd illuminating the venue with their phone lights. These solo performances were a poignant interlude amid many fast-paced numbers. Then, Geoff and Otto returned to the stage with cheers from the crowd, and the band jumped into the self-referential REAL SUPER DARK. Awsten pretended to stumble around the stage, as the lighting became dream-like. Waterparks certainly knew how to capture a mood.

The crowd had been waiting for the band to play their highest-streamed song, I Miss Having Sex But at Least I Don't Wanna Die Anymore, and Waterparks delivered. They sounded even better live, with the band in perfect alignment. The concert concluded on a high note, leaving the audience elated and relishing in the humour and musical magic of Waterparks.

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