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Gig ReviewsReviews
May 25, 2023
Nikki Eenink

[Review] Mallrat @ Forum Theatre, Melbourne 20/05/2023

Review By Nikki Eenink

The Forum was host to one of the best girl-pop line-ups in recent Australian musical memory; Mallrat’s The Butterfly Blue tour.

 While we’re all here to see Mallrat, Brisbane-native Grace Shaw, opening duo Cat & Calmell get the crowd going so well you’d think they were the headliner. Relative newcomers to the Australian pop scene, this mini-skirt, fluffy-boot adorned duo released their debut single in 2020. Tonight, they are supported by their “sexy, hot, DJ, Asia” – who is so short you can barely make out the top of their bleached-blonde head as they mix track after tracks, perfectly complimenting C&C’s vocals. Describing themselves as “a charismatically, asthmatic pop duo”, I can only half agree. Charismatic? Without a doubt. Asthmatic? The jury’s still out. Their vocals are incredible; they effortlessly harmonise with each other, performing versions of their songs that completely outshine the recording. They never seem out of breath, even with their high energy dancing and unbelievable high notes.

“Does anyone else in here tonight like to cry?” A massive storm of noise comes from the crowd – they clearly know their audience. With a wink they launch into, Cry. As the song comes to an end Cat, all giddy, addresses the crowd; “I see some of you singing along and eee! So cool!”, Calmell adds to her statement; “You guys fucking rock!” After some applause, Calmell takes the mic again; “Our next song is about how sometimes you feel something and want to die”, Cat, constantly full of giddy energy, “Let’s talk about that!”, and we are blessed with a stripped-down version of life of mine. One particular member of the crowd is absolutely losing their mind, the duo stop and look at them – “That dude right there, you’re fucking awesome. This one’s for you.” Imagine having this performance of dramatic dedicated to you? We all wish we were that guy. Cat & Calmell should run a masterclass in audience engagement. When they ask us, “Who’s excited for Mallrat”, despite the enslaught of noise, they aren’t impressed. “I feel like you could be more excited for Mallrat!” And the Forum is filled with hoots and hollers. Now that they have us, they are going to keep us. And so, begins a game of call-and-response, C&C sing a harmony for us, and we sing it back – and all of a sudden we are active participants in get old. To close out the set, they free us from our harmonic trance and let us dance with reckless abandon to a soon-to-be-released track, tell me that you love me.

Our sadness at seeing them skip offstage is mellowed by the dimming of lights, and the knowledge that Mallrat is about to be hitting us with upbeat summertime party hit after hit. I’ve seen Shaw perform many times, and still I am surprised by how small her stature is. You can barely see her over the sea of heads and arms in the crowd – but then she sings, and she is everywhere I look. Opening with Wish on an Eyelash, Pt. 2, she is so captivating, even as she lounges on the stage. “These are the first big shows we’ve done since the album (Butterfly Blue) came out – so here’s a song from that.” The song in question is To You, heartbreaking, nostalgic – like a summer just gone by. Her voice is something beyond ethereal; it is gorgeous, spellbinding.

She then runs us through the members of her sensational backing-band; Gab Strong, on bass, Stella, on guitar and Frances Hong on drums. Mallrat is single-handedly trying to even the gender imbalance in Australian music with her bandmates, as well as her support acts. Speaking of her supports, she invites them all onto stage. “Can I get you guys all up here onstage with me? I want to show everyone how much I love you!” and they all embrace tightly, not letting go for many seconds. It’s such a beautiful display of friendship, admiration, and love. This is the final show of the tour, and you can tell they aren’t ready for it to end – the hug is bittersweet.

The crowd is so supportive, friendly, and happy to be there – and it doesn’t go unnoticed. “I fucking love you guys! I think you deserve a hit”, and what a hit we get. Groceries is one of the It-Girls of Australian Gen-Z pop. The Forum is lit up with purple and blue swirls that cover the walls, the ceiling and the sea of bodies letting loose and sinking into the track. As fast as Groceries is over, Mallrat says one quick thing before continuing; “Let’s keep dancing”. Such a simple line, and exactly the encouragement the crowd needs. R U HIGH, is a song by Electronic band The Knocks, which features Shaw. But tonight, we just get her and her band. This version is less electronic, more beach-pop – but she has absolutely nailed the vibe. Turning to the crowd again; “Is everyone still feeling good?” And she is met with a sea of heart-shaped hands and thumbs-ups.

Taking a minute to get personal with us, Shaw takes a seat on stage. “This time last year, I released my debut album. But I feel like I’ve been making music a lot longer than that… I’m glad to have had that time to include all the things I love and reference all the artists I love,” she laughs, “It’s really hard to combine your love of Dolly Parton with your love of Yung Lean and Charli XCX.” It’s true that Mallrat’s discography spans many genres, even within a single release. She’s clearly used her time wisely to truly embrace her diverse musical upbringing. “I only have a few songs left but thank you for coming on this journey with me”. This is the journey of the night, the journey of supporting her releases – it’s her journey, and we are just happy to be along for the ride.

It’s only fitting that on the Butterfly Blue tour, she plays Butterfly Blue. Turning to my right, I see a mom and dad huddled around a phone, reading off the lyrics so they can sing along with their, clearly mega-fan, child. I start to get teary. I see couples kiss, friends embrace and sway, people who are there solo put their drinks to the side and stand next to a stranger. We are all brought together by music, in this wonderful space. Community is illuminated by panning white beams in a pink misty haze.

Mallrat finishes strong, with For Real. The lightboard behind her flashing aggressively with blues and whites as she slowly walks across the stage – effortlessly captivating. She finishes sat in front of the crowd, cradling the cheeks of devoted fans in her hands. 

And then, it’s done. The Forum lights are up, and the crowd starts exiting swiftly, immediately freed from their trance. All anyone can talk about on their exit is how much they wish there was an encore.

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Gig ReviewsReviews
May 7, 2023
Lucy Paterson

[Review] L.A.B. @ Forum Theatre, Melbourne 05/05/2023

Review By Lucy Paterson

On the 5th of May I returned to the Forum theatre for the third time in my life. As the saying goes: third time is a charm, and little did I realise what a charming night I was in for. And what was the charming event of the night, you ask? Well, that would be a certain band that goes by a certain name:  L.A.B.

Myself and a sold out crowd of eager punters had ventured out into Melbourne’s cold to see the New Zealand reggae, soul, and roots infused band, and not a smile was out of sight when I looked up at the faces around me. The night’s support line up consisted of a sweet half hour set from the trio known as Masaya, and an hour set from the groovy, powerhouse band Summer Thieves. Both bands left me feeling humbled by the talent that were warming up the stage and crowd for L.A.B, and by the time Summer Thieves played Potions, one of the last songs in their set, I truly wasn’t ready to say goodbye to them. Like L.A.B, both Masaya and Summer Thieves hale from New Zealand. What united all three bands the most was the way that you could feel their love of groove and soul inspired music oozing through each of their songs. Each band brought a little piece of their hometown funk to their Melbourne show, and the audience ate it up as if it were the sweetest of treats. Masaya’s single Soda Dreams saw me drifting off into a blissful state of ease, and from this moment I don’t think my body stopped swaying until the night was at a close. Coming from New Zealand’s surf town of Raglan, Masaya’s music had me wanting to book a flight and experience the lively, surfer landscape that is so keenly felt in their warm lyrics, and deliciously vibrant sound.

Similarly to Masaya, Summer Thieves’ performance was so void of dullness, and so jam packed with joy, that I was truly starting to ask myself: what is in the Kiwi waters, and where can I find more of it. Humbly describing themselves on their Spotify bio as “5 lads who make music together”, these five friends from high school gave a ferociously passionate performance, and I could see how much they relished being on stage: owning their insanely energetic sound. Summer Thieves are the definition of unapologetic, unstoppable youth. They made me feel proud to be a loud young person in this sometimes stuffy, restrictive world. With songs like Paper Tiger, I was laughing at their playful, sarcastic lyrics like “I love to hate you like a pack of cigarettes” and the hook “you make me sweat”. With the grunge, alt- rock undertones that songs like Paper Tiger harnessed, I could feel the influence of artists like The Gorillaz, and so it was incredibly fitting when their follow up song to Paper Tiger was a cover of The Gorillaz’ Clint Eastwood. Lead singer Jake Barton absolutely stunned me with his gorgeous voice which was equal parts powerful and edgy, and also resonant and light. The versality was truly brilliant to hear. To me, Barton’s voice felt like wearing a thick woolen jumper, warm and comforting, but sturdy and strong.

When it was finally time for L.A.B to make their grand entrance, they certainly knew how to. Proudly walking out onto the stage to the iconic Ennio Morricone theme The Ecstasy of Gold, the energy in the crowd matched the magnitude of such a song. The choice to enter to a mid-west theme song most definitely foreshadowing one of the more unexpected but whole heartedly entertaining aspects of the night- but I get ahead of myself! More to come on that later.

Upon their entrance, people hollered and cheered, as each band member waved out into the sea of faces, and I could immediately feel the connection between the band and their listeners; one of immense pride and love. L.A.B formed in 2016, but it felt as if they had a legacy spanning decades. Only a mere 10 minutes into the show, the audience were already engaged in emphatically clapping along to their songs (rarely missing a beat mind you), and it was gestures like these that truly highlighted how L.A.B have captivated the hearts of their nation, and beyond.

 

Prior to the concert, I had listened to L.A.B’s hits online, but nothing prepared me for the soothing experience that is listening to lead singer Joel Shadbolt’s voice in person. If Jake Barton’s voice was the woolen jumper, Shadbolt’s voice was the velvet scarf that draped around all of us, in a loving embrace. Song like Mr Reggae showed off the bands remarkable harmony making abilities, and, as the title suggests, reggae influence. Meanwhile, songs like Yes I Do almost teased us with Shadbolt’s ability to make performing to a sold out venue look like a walk in the park. Performing their platinum certified hits like Controller, In The Air, and Why oh Why, it was evident that L.A.B are masters at blessing the world with catchy anthems that were made to move people; both physically and emotionally. If you have not had the privilege of seeing the L.A.B boys live, then let me just say this:

L.A.B are a picture of pure, natural, celebrated joy.

Between the way Joel Shadbolt’s could burst out powerful vocals with a guitar either in hand, or casually slung around one shoulder, and possible the happiest looking synth player, drummer, percussionist, and guitarist to grace a stage, watching these men perform was heartwarming. I don’t think I will get the picture of Stuart Kora’s funk synth playing out of my head.

 

As well as seeing the band indulge in the joy that music making brings them, we also got to witness their versality in sound. Not only were we witness to a rendition of the classic hymn Amazing Grace, and Toto’s anthem Africa, but we also saw a return of the mid west/country theme with a cover of Islands in The Stream by Kenny Rogers and Dolly Parton. In the space of a few minutes, The Forum was transported into a barnyard, and I saw multiple people bust out a few country moves. This whole segment of the show not only reflected the bands ability to play with different genres, but it united the audience together even more. By the end of the night it felt as if the audience were one happy family. After the show I got to speak with Dean Rodrigues, the percussionist who has joined L.A.B on their tours. He fondly spoke of the band welcoming nature, and praised the way that they treat both each other, and their crew, like one family. These comments solidified what I had already seen on stage: chemistry, connection, and admiration for one another.

 I am so glad this spilled out onto the audience. It was a privilege to dance and sing amongst a crowd of happy and content people. I think we all left that night a little lighter, and a hell of a lot groovier.

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Gig ReviewsReviews
May 1, 2023
STM

[Review] Nothing But Thieves @ Forum Theatre, Melbourne 27/04/2023

Review By Emily White

A truly iconic frontman is the cornerstone of all successful rock bands, and Nothing But Thieves’ vocalist Conor Mason fully embraced this role as he offered the audience a peak into his soul this Friday night. Making a triumphant return after a five-year Aussie hiatus, it was abundantly clear that fans of Nothing But Thieves are as loyal as they come – selling out their one-night-only Welcome To The DCC World Tour at The Fourm.

Sudden pounding drums began to fill the room as the heartrate of the crowd abruptly increased. Melbourne punk trio CLAMM took to the stage to warm up the sea of rock enthusiasts. The three-piece band’s incredibly tight metal riffs repeated in waves, followed by minimal, yet fierce vocals from guitarist Jack Summers. The songs following themes of rage and frustration in navigating ‘the nature of society today’, making them a highly relatable outlet for today’s young people.

The members of CLAMM are standout musicians individually – bassist Stella Rennes with her power stance and immovable glare, and drummer Miles Harding being the backbone of the tight and increasingly-paced songs. The band’s presence reached its peak in their final track – a complete blackout of the stage being decorated by individual golden spotlights – the glam-rock look that remained persistent as the set came to a close. The unique and impromptu signature sound left the crowd in an ominous buzz as Nothing But Thieves took control of the stage.

The Forum lit up as fans of the UK alt-rock band began to clap and cheer, far before they were set to take the stage. Having released their last record Moral Panic in 2021, and recently announcing their fourth album Dead Club City, this tour had a plethora of songs to get through in a seventy-five-minute set.

Sudden flashes of red strobe lit up the crowd as the band confidently wondered towards the stage. A total treat for the eyes, it was hard to know where to place my gaze as the five-piece band thundered directly into their first hit single, Futureproof. Front-man Conor Mason was born for the stage, belting through his unmistakably iconic vocal range with arms outspread – the band’s movement so fluid, slipping seamlessly between instruments mid-song.

The show powered along with hit after hit, each with slower paced verses building tension towards a soaring chorus.  It was impossible to stand still, with every track bringing the energy of an encore performance. The tight-knit grunge feel flowed directly into Is Everybody Going Crazy?, where choppy-sounding guitar met similarly paced lighting, creating a surreal and glamorous experience. Unlike their peers, the beats and melodies in Nothing But Thieves’ songs are so uniquely unpredictable, throwing you off balance at every opportunity.

A highlight of the band’s discography is the heart wrenching lyrics often of self-hatred, and the pains that come with life and love.  Lyricist and guitarist Joe Langridge-Brown is an absolute genius when it comes to the relatability of his words. The heart-breaking rock ballad Real Love Song was a standout; the mic being flipped on the crowd leaving every voice screaming ‘I cried so hard I died sad. Losing all that’s making me human inside sad’. There was no concept of a fourth wall for the entirety of the show, with the harmonies and backing vocals being a joint effort between the band and audience.

‘It’s such a fucking pleasure to be back’, Conor yelled as the house lights illuminated the faces that had come to see him. His crowd work so naturally comfortable, we may have been let in on a secret or two that night… one being the announcement of a 2024 Australian tour!

Soda was fan-favourite, a song filled with insane falsetto verses, bleeding into heavy, painfully relatable belting choruses; ‘I don’t wanna be myself, just wanna be someone else’. These words were sung by every person in the audience, with the band seeming so comfortably unphased by their impact. A beautiful, ominous instrumental played as Conor exited the stage, feeling spacey and reminiscent of an extended Pink Floyd guitar solo.

Upon the front-man’s return the band played out the night with all their greatest hits, filled with improvised jams and synchronicity of movement in the crowd. Golden lights filled the space, the warmth being felt right through to the back corners of the venue. Particles, a personal favourite felt like the perfect way to send out the night; ‘If I need to rearrange my particles, I will for you’. But it didn’t end there.

City Haunts, a new unreleased track off the upcoming album was teased to the crowd as ‘the best one we’ve done by far’, and it was truly spectacular. Fans can expect an upbeat, sultry, glam rock feel on the album – so totally fresh and likely to be accompanied by even more chilling live sets. 

The night played out on a high, with tracks including Unperson and Welcome to the DCC leaving the pit jumping uncontrollably to the heavy beats and rusty guitar. Ending the night with Impossible, the band’s harmonies paired with the crowd under gorgeous sweeping lights is an experience that cannot be replicated – perhaps not until their return down-under in 2024.

You can catch Nothing But Thieves on the final leg of their 2023 Australian tour, playing Groovin’ The Moo in Qld and WA next week!

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Gig ReviewsReviews
March 6, 2023
Kynan Arden

[Review] Heilung @ Forum Theatre, Melbourne 04/03/2023

The comforts of my solitude and slumber was suddenly interrupted, welcomely after months of waiting, by the call of the Valkyries, hence the ravens of Odin guided me not to the tall glorious door to Valhalla, but the Roman inspired architecture of The Forum. Tall branches and exotic decoration adorned the stage as the auditorium was bustling with a heavily varied arrangement of character, from patrons fashioning their quintessential metal black, to individuals going above and beyond for the show dressed in old cotton garbs, headpieces, masks, even painted with impressive bodily artwork. I expected nothing less for the first visit down under by the titans of amplified history, Heilung 

 

Right after a touching and well needed acknowledgment to the sacred indigenous land we stand on, we were greeted by Kai Uwe Faust, wielding a burning incense in which its sparks were blown onto all the equipment and microphones, concluding with the audience, as if to give the venue a blessing prior to the experience we were about to have. He was later joined by none other than Maria Franz, both donning their iconic antler headpieces, along with a fierce, incomparably talented ensemble that all gathered in circle to perform an opening ceremony before the show commenced. 

 

What followed after was 2 hours ritualistic, spiritual form of expression and storytelling that caused my mouth to remain wide open for the entirety of the show. The grim chants and steady, unrelenting beat of the tune In Maidjan was a perfect introduction. Kai’s flawless throat singing and Maria’s vocal range of a siren constantly sent ice cold shivers up and down my body, not to mention the accompanying instrumentalists and stage performers who transformed the modern world at that moment into a glimpse of medieval pagan culture. Alfadhirhaiti…..you truly need to listen to this track itself in order to fully appreciate the monstrous power behind it. The call and response chanting of the spear/shield wielding warriors fuelled a primal warrior instinct within me that made me wish to storm and pillage the shores of England and Francia. 

 

One aspect of this show that really stood out me was the expression of wild foundation of human nature, conveying the true independence of the human body and soul devoid of rules and guide lines delivered through a perfect amplification of our history through Scandinavian and Germanic culture. For this was a culture that did not discriminate or promote prejudice, for both men and women of the times shared all when it came to duty, sexuality, and spiritualism. Women bore their naked chests displaying their strength as much as men did. Women rode along men in battle. Men embraced activities that throughout recent history would be seen as “feminine”. This was both touching and liberating. This stunningly undomesticated spiritual awakening also captivated every soul in the ordinance to the point of almost acting like Germanic warriors at a feast. Hell, at one point I let out an animalistic scream that I never though could leave my thin body! 

 

Throughout this performance we were taken through many intense tales of pagan culture. With a handful and warriors thrashing the bottom of their spears in rhythm whilst chanting promoted the ferocity of battle, Druid-like characters performing animalistic rituals and ceremonies, and the use of such unique ancient languages in their lyrics taken from the stones such as Eggja. One aspect of history they heavily display is the band of warriors themselves, in which the band recites this specifically from the writings of Tacitus whom scribed the tales of the Warriors, named the Harii, painted in black to cause chaos attacking their foes at night. The entire idea of Heilung is for them to to demonstrate a beautifully wild and almost forgotten culture in history to the modern eye, and this unforgettable performance demonstrates this flawlessly.

 

The show concluded with what I can only describe as a full on pagan rave, as all the performers built up a monstrous 10 minute track to what I could only interpret as a celebratory ritual. The percussionists thrashed their drums in perfect rhythm, the vocalists chanted excitedly, and the ensemble performers danced in such a captivating frantic way that pumped the sold out venue with non stop energy. The Warriors themselves couldn’t help but grin though the ballet as us audience members clapped and jumped along to this wholesome conclusion. The historic party ended with a final ceremony, both mimicking but responding the the opening, before these unforgettable characters gracefully exited the stage.

 

And thus I remain, 1 hour after the finale, beer in hand at my local pub, but not ever drifting from the ongoing buzz I felt which was so strong it drown out the entire rowdiness and music around me. I do not think any words I write can do justice the magic I had just witnessed. Heilung had brought to me an art that I only now have become to fully appreciate and awaken to, and I truly hope that this band, and everything they represent, will continue to prosper for years on end. 

 

Fin  

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