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Frontier Touring

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Gig ReviewsReviews
October 21, 2023
Nikki Eenink

[Review] Earl Sweatshirt @ Northcote Theatre 17/10/2023

Thebe Neruda Kgositsile has been in the rap game since 2007. At only 29 years old, he’s a veteran, and his show at Northcote Theatre proves just how much he’s a master of his craft. Kgositsile, or as he is better known, Earl Sweatshirt, rose to prominence as the prodigé of fellow rapper, Tyler, The Creator. Sweatshirt’s early days were spent as part of powerhouse rap collective, Odd Future, under the sculpting gaze of his contemporaries, including both Tyler, The Creator and Frank Ocean. It’s easy to see the lasting impact on his live work, bur dare I say that the student has become the master? Or, at the very least, the student has become a wicked good-time and unrivalled craftsman.

Despite his support cancelling due to illness, Sweatshirt is determined to give us our money’s worth. He comes on early, energised and with a drive I’ve never seen in another artist. I’ve seen Sweatshirt perform before, but it was outside at a large festival. Here, in such an intimate venue, you can really see that hunger in his eyes up-close. These are the venues he was born to play.

The projector screen behind him scrolls through everything from abstract, pulsating shapes, to Keith Haring style animations to old films, in a sketchbook style. Every song is a different visual track, each of them more beautiful and more alive than the last. The lights at the front of the stage face outwards, shades of orange, purple, blue and white, wash over us. It’s visually stunning, and borderline genre-bending, rivalling bands like Slowdive for visual prowess.

For hardcore fans and casual listeners alike, this current tour boasts some delicious treats from the LA-native. Within the first half an hour, Sweatshirt spits out two unreleased tracks. But you wouldn’t know that. His crowd is eating every crumb out of his hand, and whether or not they know the words is irrelevant. He’s filled the room with so much energy that no matter what, we’re going to be loving it.

But it’s not just the unreleased. I’m at the back of the room, groups of guys with cross-body bags and girls in tall platform sneakers crash into each other and cheer louder and louder for each song Sweatshirt pulls out. And, he pulls out a lot. His setlist for the night is nearly 30-songs long, and never does he let the energy drop. It’s an unbelievable display of musicianship, showmanship and self-discipline – I’ve never seen anything quite like it.  But no two songs go harder than the back-to-back combo that is Geb into Sirius Blac. The crowd is already going nuts after Geb, with cheering and applause so loud I feel it in my feet. But Sirius Blac is next level. All I can see are hands, heads and drinks held up above the crush of people. It’s a tidal wave of energy, clinging onto every word.

Tabula Rasa is beautiful, the sound mixing bringing out the soulful vocals in a way that’s so sublime. A very different vibe comes over the room, it’s a crackling, electric stillness. Time stops passing as we focus on nothing except Sweatshirt. As it comes to an end, he addresses us directly. “Put your hands up if you’re having a good time!” We put our hands up. “Y’all up the top, looking like John Wilkes Booth, put those motherfucking hands up so I know you aren’t about to shoot me like y’all shot Abe Lincoln.” The mezzanine puts their hands up. “There you go.” And then he throws us into EAST. Our hands start moving in unplanned synchronous harmony, and it’s magical.

We follow him on a winding journey through his discography, and when we hit 2010 he takes to the mic; “If I don’t play this, everyone’s like Play it! So you all better keep the same energy.” We don’t even need to think about it, and yet again come crashing back together. We are a ferocious wave of energy, and Sweatshirt smiles as he raps – he’s loving it just as much as we are.

By the tail-end of his set, he’s clearly letting his guard down. He’s shown us what he can do, so he eases up and talks to us again. The way he addresses the crowd, it feels like we’re old-friends hanging out in someone’s garage after the party’s ended. “Do you remember when that one girl (Katy Perry) was like

Do you ever feel? / Like a plastic bag?

We start singing the rest of the cultural icon that is, Fireworks.

“No don’t keep singing! Just process that. Like that’s crazy. That’s a lot. Do you ever feel like a plastic bag? We’re gonna talk about that in a second.”

He’s so funny, in this casual, laid-back, deprecating way. And before we get time to talk about it more, “Y’all would open up a pit for anything, so open up.” And I have to quell my laughter as I prepare to wrestle for my patch of ground again.

NOWHERE2GO is an absolute crowd favourite. And honestly, we kind of look like plastic bags, drifting through the wind. Erratically moving, making waving patterns with our bodies. I didn’t think such a left-field gag would be so fitting for this crowd of rowdy misfits, but it was.

We’re out of breath, sweat running down our faces, but Sweatshirt doesn’t look any different, he’s not even out of breath. “Honestly, bars! Like, do you ever feel like a plastic bag? Bars, man. I could never write something that good.” And, to prove how very tongue-in-cheek that point is, we get treated to, Shattered Dreams. God, this song is delightful. It showcases Sweatshirt’s past as a poet, shows he’s his father’s son, show’s he’s everything to us.

The rest of the set is a blur. Finishing with his encore, a Mac Miller cover, an emotional tribute to the late rapper. New Faces V2, isn’t what I expected, but it’s an amazing finish. It’s vibey, it’s got this driving beat live. Immaculate.

Grinning, sweaty, with aching feet, I am desperate for the cold night air. But already, I’m aching for more Earl Sweatshirt.

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Gig ReviewsReviews
October 18, 2023
Emily White

[Review] The Chicks @ Rod Laver Arena 16/10/2023

It has been six long years since country music royalty, The Chicks, last graced Australian shores. Returning in the light of their 2020 studio album, Gaslighter; The Chicks once again echoed their routine sell-out of Melbourne’s Rod Laver Arena. Coupled with Ohio’s country-pop royalty Elle King, this Monday night hoedown played out as a dream come true for eagerly awaiting country music enthusiasts.

From the first beat, Elle King had transformed Melbourne’s inner-city arena into an all-American bluegrass festival. Carrying such strong Midwest influence in both her musical performance and stage persona, Elle’s presencewas intoxicating. Not only do her classic americana vocals bring an authenticity to the set, but so do her incredible four-piece band – who played a rhythmically flawless catalogue of upbeat hits.

Elle comes across to audiences as a multi-dimensional performer. At once being a bright, pastel Barbie sweetheart, before seamlessly tapping into a raw and unapologetic female powerhouse persona. Although, after spending the better part of an hour with her, it is likely Elle’s ‘persona’ is less of a façade, and more an upscaled display of her gorgeous, bubbly personality. The most anticipated moment of the set was experiencing the chart-topping hit Ex’s & Oh’s live. Perfectly positioned as an audience vocal warm-up, the single also acted as a way of signalling an obvious post-virality change of pace in the songwriter’sdiscography. Since 2014, Elle has retained her angsty lyrical undertones, whilst leaning into a more authentic bluegrass, country-rock sound.

Showcasing her latest LP, Come Get Your Wife, bluesy keys and guitars played out the set. Bouncing around the stage, the performer boasted about the joys of being a mother, eventually bringing her gorgeous two-year old son to the stage – the inspiration behind her 2023 single Lucky. The warm, homely energy mustered on stage acted as an easy sell for fans of The Chicks, who at their roots are a fanbase built upon female strength and empowerment.

Counting thirteen GRAMMY Awards, six Billboard Music Awards, and four American Music Awards is only the tip of the iceberg when considering the huge success The Chicks (formally Dixie Chicks), have amounted over their more than three-decade long career. Returning to Australia for the fifth time, Melbourne fans were more than ready to experience The Chicks once more, but this time with a fresh name, and an even fresher sound. Gaslighter is a ground-breaking album for country listeners – pairing the best of bluegrass instrumentalism with country-pop lyricism, and bound by bold, feminist undertones and branding. This new era of The Chicks has broadened the scope for the band’s fanbase, reinforcing them as a household name year after year. 

Sparkling cowboy boots and wide-brimmed hats filled the arena floor, as the night’s main act took to the stage. Anticipation filled the air, and was completely devoured by a trippy, television-static visuals on stage. Disorientating the crowd with the hums of instrumental tuning, radio segments, and distorted snippets of their discography; we were in for not only a musical concert, but a high-production spectacle. Hypnotic imaging and artistically skewed feminist propaganda of the past joined the iconic opening harmonies of title track, Gaslighter. Suddenly dropping the halfway curtain on stage to reveal a multi-level six-piece band, along with three freestanding mics for the leading ladies. Dressedto the nines, founding bandmembers Emily Strayer and Martie Maguire made their way downstage, maintaining the pace of the upbeat, country heartbreak anthem. Soon after being met by lead vocalist Natalie Maines; the band had once again been reunited, ready to treat fans to a two-hour ‘best of’ special.

Sin Wagon was a major change of pace, fulfilling the crowd’s need for some classic country dance music. Accompanied by fast-paced banjo and fiddle, the musical talents of The Chicks is beyond belief. Playing with such versatility and effortlessness, it was impossible to take your eyes off the trio dressed in gorgeous, classy black and bejewelled leather. Performing their new album in close to its entirety, Texas Man and Julianna Calm Down continued to serve bad bitch, cowgirl energy, whilst showing-off Natalie’s incredible vocal range. A standout element giving continuity to the show was the ethereal feeling violin accompaniment, played beautifully by Martie throughout. Even in the darkest of lyrics, the upbeat and hopeful fiddler gives the tracks a signature ‘Chicks’ sound.

Diving deeper into their impressive and extensive music catalogue, the band gave us all there was to be desired. ‘We are The Chicks, and we are going to attempt to entertain you this evening’ and entertain they did. Filling the first half of the set with hit after hit including The Long Way Around, Ready to Run, and Wide Open Spaces.

A change of pace came as the band moved downstage, breaking the fourth wall in a more intimate, campfire-jam style. A standout for fans was the ladies’ several covers from their early archives including Beyonce’s Daddy Lessons, Fleetwood Mac’s Landslide, and Miley Cyrus and Dolly Parton’s Rainbowland. The clever meme-style humour of The Chicks was not lost on audiences either, as the screens behind introduced the band members using videos tapes of them as small children, and displaying song lyrics using a bouncing unicorn teleprompter.

The singalong came to a jarring end as seemingly random numbers flashed on stage – which became apparent were signifying numbers of mass-shooting fatalities, which mainly resided across the US. March March, For Her, and Everybody Loves You created a striking, politically driven segment of the show – displaying images of early LGBT and women’s movements, as well as recent riots and protests. There was no one issue which stood out as more significant than another, yet these demonstrations through music signal a need for global change, for peace and equality. Everybody Loves You is another painful, gory truth. A heart-breaking, personal insight into the mind of a survivor of sexual assault, battling with wanting to overcome their oppressor, but struggling for forgiveness; ‘It’s my body and I’m trying to forgive you, I don’t want to… Why does everybody love you?’

‘It’s time to get serious’, exclaimed Natalie, before the band ironically breaks out into a banjo-led, high energy, square-dancing track, White Trash Wedding. After such emotional ups and downs, it was refreshing to end the show with strong feminist-led narratives; Goodbye Earl, being the bookend. With the entire arena on their feet – the superstar trio played out the night with electric guitars and a rockstar personas. Leaving the stage with a standing ovation, there was no hesitation in the room when Natalie shouted, ‘We hope you’ll have us back Melbourne!’

I doubt there would be a soul who would not be back for another round of The Chicks. Though it may be years into the future, the trio have truly stood the test of time, and are guaranteed to pack out venues across Aussie shores for decades to come.

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Gig ReviewsReviews
October 16, 2023
Nikki Eenink

[Review] Peach Pit @ Northcote Theatre 11/10/2023

For me, no band, ever, has better captured the feeling of nostalgia, of warm summer days, of platonic love and the happy-go-lucky experience of solo travel quite like Vancouver indie-rock powerhouse, Peach Pit.

During the depths of COVID lockdowns, I’d seen them play a “live” show through zoom. But I’d given up hope they’d ever travel down under. But then, on some glorious weekday – they announced their tour. Instantly, I scarfed up tickets. Since then, it’s been an exhilarating wait, that honestly made me a bit nauseous with excitement. Clearly, I wasn’t the only one. Their first show sold out so quickly, even with a venue upgrade. And their second show was essentially sold out as well, with a mere straggler of tickets left. We were certainly showing the 5-piece our appreciation.

The energy at Northcote Theatre was absolutely infectious. There was a buzz in the air that made the hairs on my arm stand up straight. Australian up-and-comers Eliza and The Delusionals played an ultra-short, ultra-punchy set. Ripping through some excellent tracks from their new album; Now and Then, as well as their superb collection of singles. We were in the mood and absolutely ready to rumble.

The next hour and a half have made writing a review nearly impossible. It’s rare you see a perfect set. But there is no better word for it than, perfect. Neil Smith on lead vocals and rhythm guitar, Chris Vanderkooy on lead guitars, bassist Peter Wilton and drummer Mikey Pascuzzi have come such a long way, even in three years. They are not the same band now as the band I watched, cooped up in my room, playing thousands of kilometres away. The addition of multi-instrumentalist Dougal Bain McClean (some people have all the luck), has undeniably helped push them into new heights of “chewed bubble-gum pop” perfection.

As the stage turns red, and spotlights flicker over the crowd, I see Smith’s bouncing mane of hair before anything else. Quickly, he’s followed by Vanderkooy, The Moustached Maestro as I affectionately call him. The rest of the band appears onstage, and we are faced with 5 dudes, in t-shirts and jeans. Not too baggy, not too tight. They’re Just Some Guys. But don’t let looks fool you. These averages Joe’s are about to do something crazy to my brain chemistry.

For context, Peach Pit have a melancholic take on surf pop. Their songs are heavy with slow, soulful vocals and driving lead guitar breaks. So, I was a little shocked when the fellas launch into a cover of Slayer’s Raining Blood. Smith steps up to the microphone and in his best metal voice growls for us to “get the fuck up motherfuckers”. He is a whirling dervish of curly hair and devil-hands as the instrumental cover rages. Suddenly, it stops, and we are taken into Being So Normal. There are perhaps no two songs less compatible. But god does it work. Instantly, I’m taken somewhere else. “Show ‘em Chris!” Neil moves over to let his high school friend work his magic on that fretboard.

The volume of songs Peach Pit have in their repertoire, is unbelievable. For a band less than a decade old, the setlist is 22 songs long, and there isn’t a weak link amongst them. Having released their third album, From 2 to 3, last year, I was expecting that to be the track list for the evening. I was wrong. “Because this is our first time here, we’re going to be playing lots of older stuff! For all of you who’ve bought our merch and waited so patiently. Thanks, so much guys! We love you!”

The next hour is a blur. From driving drums and twinkling guitars of 17-year-old Nikki’s favourite song, aptly named Seventeen, to the shredding guitars of Psychics in LA – this set has it all. Old fans, new fans, stragglers off the street – everyone is jumping around, waving their hands in the air, transported to another plane of musical ecstasy. Go with your friends! That was when Smith says “This song is for when your best friend really pisses you off” you can share a look and laugh through the opening notes of Vicky. Go with your heartbroken friend, so you can scream the permanently-stuck-in-my-head hook of Shampoo Bottles. Go with your stoner friends so you can sway to the stoned lullaby that is Tommy’s Party arm-in-arm. Remember the better times. Be like the two guys in front of me, hugging and looking into each other’s eyes.

I’m so glad you’re alive!

I’m glad I’m alive too!

Fuck yeah, dudes. It’s hard not to be with Peach Pit as your soundtrack.

Private Presley has been in my top 5 favourite songs since its release. Wedged between the melancholic love-song that is Figure 8, and the summer picnic banger to end all summer picnic banger’s, Up Granville, it’s a surprise. Those early, gentle guitar notes slide over my eardrums, and I’m spellbound. Vanderkooy’s guitarwork and Smith’s pitch-perfect, dulcet vocals lull me into a dream. McClean comes out on fiddle, and the way he plays is so mournful, so beautiful, so heavenly it makes me want to scream. As we hit the climax of the song; all messy guitars, feedback, and flying hair, I realise this show is going to be one for the ages. Peach Pit is many people’s first introduction to the band, it’s slow, it’s sad, it’s iconic. Smith barely has to sing as the crowd carries us from verse to verse, chorus to chorus. A high school anthem for some, breakup song for others, and something else entirely for most – it’s an absolute showstopper.

Undeniably, and unsurprisingly, one of the highlights for the evening is Alrighty Aphrodite. The lights go orange, Smith abandons his guitar for his iconic, stoic dancing and I pick my jaw up off the floor. This song is So. Fucking. Sexy. It starts slow, with delayed guitar so it sounds like it’s wafting through fog. It’s gentle drumming feels like footsteps. The bass is present and driving. Smith’s vocals are haunting, gentle and sturdy. Exactly like the goddess for which it’s named; it’s magical, mysterious, thalassic, beautiful, and hot as hell. It infects my arms and legs, and my body is no longer mine, I follow where Peach Pit take me, and I happily resign myself to my fate.

As our penultimate finale, Chagu’s Sideturn is so high-energy, so fun, that the ache in my legs from standing is gone, and all I can think about is summertime. It’s so quintessentially Peach Pit. It reminds me of growing up in Seattle. I taste the ocean air of the Pacific Northwest; I stand under those blue skies. I want to curl up in a lawn chair with a Carlton Dry. Chris is an absolute God on the guitar. A force of nature. These guys are proof that simple, skilful musicianship can never be beaten. They dance together, hug while playing and are grinning ear to ear. They might be more stoked to be here than us.

We do a cheer for their Aussie guitar tech, Adam, and with another laugh and lick of the guitar strings, they’re off. Immediately, I’m aching for more. Luckily for me, I had bought tickets to experience the joy, the mystique and the indescribable resonance that is Peach Pit. Whatever it is, these guys have it. Go on and get a taste for yourself. But be warned, once you try some, it’ll become your favourite meal.

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Gig ReviewsReviews
September 20, 2023
Nikki Eenink

(Review) Morgan Evans @ Palais Theatre 14/09/2023

Walking into the iconic venue that is The Palais Theatre last Friday night, we were met with a sea of people, flashes of bright lights and waves of sound. Guitars, singing, gleeful screaming – the foyer was alive with the sounds of tonight’s support act, James Johnston. I had no idea what to expect from the night, I was asked whether I wanted to cover this gig because of my love for country and folk music. But this sounded more like stadium country than the melancholic yeehaw I frequent. I was intrigued, nervous and eager to hear more.

Australian Idol finalist, James Johnston has come a long way since 2009. He’s moved from the living rooms of Australian families and is playing to nearly 3,000 people. The Palais is at full capacity. All I see when I peak in, is a swath of bright-wide strobes. James Johnston is wearing a simple singlet and jeans and has the crowd going NUTS. People are standing and swinging their shirts around. “I’ll be out in the foyer signing anything you have and taking photos!” He exclaims happily as his band takes a bow and exits the stage. His backup vocalist’s amazing shiny silver cowboy boots glitter in the lights and dazzle the senses as she walks off. The usher turns to my housemate and I, who had left the heat to get a drink, “You’ll have to move to the foyer, sorry.” We’re confused, why are they so frantic to free up space? We were fine a minute ago. But almost instantly, I understand. We wind our way upstairs as a thousand people flood the foyer and grab a place in line to have their bags, books and arms signed by the Mid-Coast legend.

It’s a crowd of big hats, and bigger mullets. Some opt for cowboy hats, and others are adorned with large trucker hats. Boots of varying persuasions clink across the floor. One woman is wearing shimmery pink frills and knee-high pink cowboy boots, I love her. Someone is wearing a pink cowboy hat with an LED light trim. Three of the biggest mullets I’ve ever seen in my life walk past me. Mostly, the crowd is what you would expect from stadium-country fans, a far throw from the bluegrass enjoyers I surround myself with. But within the crowd, there are people dressed as if they’ve only listened to Joni Mitchell’s, Blue, and I feel a wave of calm. Tonight, will give everyone a little bit of something.

Armed with a Sprite and a Pepsi Max, we make our way into the theatre and take our seats. Without any warning, tonight’s headliner, fellow Novocastrian, Morgan Evans, takes the stage. After a flurry of frantic white strobes, there he is. Centre stage, he’s surrounded by one of the best backing bands in the country game right now. Let’s get to meet them, shall we?

 “All the way from upstate New York, he makes the best margarita this side of the Mexican border, and he plays drums alright too. Make some Big Melbourne Noise for Pete Wilson.”

“To my left, all the way from Knoxville, Tennessee. He’s a trained psychologist but he prefers to play on this thing (bass guitar), he’s on a mission to drink all the beer in Melbourne this week (of course, the crowd cheers), and he’s got a burgeoning love affair with Hungry Jacks (we cheer more). Make some noise for Andrew Brown!”

“And last but not least, on electric guitar, keyboards and more, the youngest member of the band. All the way from a little town outside Dallas, Texas. He’s taken such a liking to Australia, and he’s also single, might be looking for an Australian wife actually. Ian Bawley.” Ian, if you’re reading this, I’ll be your Australian wife.

And so, we have our guides for this evening’s journey through the Life Upside Down tour.

Morgan Evans might be from Newcastle, but he sings with a heavy southern drawl. Listening to the crowd drawl along with him as he opens with Young Again, I’m taken back to my time growing up in the US. This is like, the weirdest version of culture shock. It feels like a familiar culture to me, but in entirely the wrong venue. It’s all hoots and hollers, and I swear I can smell corn on the cob. This is the crowd who loves Monster Trucking, and who hold each other up when the going gets tough, and the tough gets going. Country music has become a global sensation, that much is clear to see. And the County Fair Community vibe belongs to no one nation, we’re adopting the colourful slang and drawn-out rhythms of our American brothers. Except his shoes are off. The dogs are out. Can’t take the Newcastle out of the boy. 

While this is not my genre of choice, I just lean into it. I embrace the cringe, and I sing along and whistle and cheer with the rest of them. Country Outta My Girl has me and my housemate singing along and grinning ear to ear. People are standing up, whipping their shirts around, fist’s pumping in the air and snapping photos, They’re a rowdy bunch for sure, but their energy is just too contagious. Evans seems so totally comfortable onstage. He radiates this effortless charisma, and we eat it up.

“Last night was good, but I can tell tonight is gonna get a little crazy.” Evans smirks into the mic. A sea of middle-aged women and mullets in caps cheers back at him. We launch into Kiss Somebody, and I just have to say it, what a banger. It’s still stuck in my head.

During his next song, I Do. My housemate says she’s going to make it her wedding song. And while it is a little Hallmark-y, it is undeniably lovely and oh-so romantic. The walls of The Palais are alight with projected roses, which swirl around the walls and dance over our heads as the lights onstage flicker from purple to orange to pink and back again.

Now, by this point, I’m completely onboard with whatever Mr Evans is serving. So when he suggests a competition, I’m immediately in. For Love Is Real, he divides the room down the middle, and we have a sing (scream) off to determine which side are the best and the brightest. East vs West, we dual to the death, to the glory. We sing,

I am Yours! You are Mine! Love is Real!

Evans high-fives some kids, sings back to us, smiles, and laughs and it feels like we’re hanging out with old friends. Speaking of old friends, it’s his guitar-swapping roadies’ birthday. And while we’re fired up, he gets us to shout, “Happy Birthday Jeff!” Into the wings. And so, of course, we do. And we do it loud.

Over For You is a change of pace. Slow, sad and beautifully played on the keys. “This is the part of the show where I can do whatever the fuck I want, because it’s just me and you.” Full of heartbreak, Evans really shows us just how good his vocals really are, without the strobes and the over-the-top drawl. He has beautiful control. And the entire crowd is still, for the first time that night. The stage is ablaze with individual lights, he is playing piano in front of a sea of stars. For any Didirri fans, this could be worth checking out.

Determined to never let us get bored, Evans changes pace yet again. And we jump along into maybe the most iconic heartbreak banger I’ve heard this month. It’s an unreleased track, but when I tell you, he’s SO REAL for this one. “This is a new song for everyone who has an ex they can’t stop talking shit about.” Absolutely feral shrieks leave people’s mouths. And the lyrics on this thing, scathing, funny and oh-so good to sing along with.

You’re fingerpainting, and thinking they’re Picassos / Say what you want about me / But what does that say about you?

My ex was working the bar upstairs, but I hope he put his ear to the door for this. I hope very bad ex ever puts their ear to the metaphorical door for this. Because it’s brutal, it’s sobering, it’s funny. Get ready for this release.

Out of nowhere, Evans pulls out a guitar and starts playing the instrumental opening to Waltzing Matilda. At first, I think it’s just a segue into another song. But oh-no, I’ve underestimated just how Okka this crowd is. Without missing a beat, the entire crowd is singing Waltzing Matilda – without Evans. He just strums as we sing so loud, and so out of tune.

YOU’LL COME A WALTZING MATILDA WITH MEEEEEE

Voices crack, people whoop, people stifle laughs. It’s an experience I literally can’t describe to you. It feels like something out of a book. It was wild.

And after a rousing cover of the Slim Dusty classic, his band comes back onstage. By this point, I have a full-blown crush on his guitarist, Ian. So, to that handsome, southern Cowboy with a moustache, I yet again sexily wave my Australian Citizenship. He sits down on a stool, with a fully steel guitar, a resonator, in his hands. “Take us on a little trip to Texas.” And he starts to play something so southern, so sexy, it immediately makes me think of Tumbleweeds and oil drilling. A guttural “Yeaaaahhhh!” leaves my housemates mouth and everyone whistles. “I think that only took us halfway to Texas, how about you take us all the way?” And everyone cheers. Next is the most insane display of instrumental talent. He absolutely rides that resonator to Dallas and takes us with him. Painting incredible landscapes with his strums, Evans sneaks up behind him and places a cowboy hat on his head. The lights turn orange, with gorgeous sunset-yellow spotlights illuminating our iconic 4-some. Andrew Brown joins in on bass and starts to dance his signature two-step. This is southern bluegrass cowboy realness at its finest.

The rest of the night continued this trajectory of outrageous fun, big whoops and hollers and lickin’ guitar solos. Apparently two people vomited in the foyer from too much booze. So, the staff may not have been having that much fun, but I sure was. The sound mixing was incredible, the energy unlike anything else I’ve ever seen, and I was so enraptured by Evans’ performance that I forgot he wasn’t wearing shoes.

So try something new. Go to that gig you think you might hate. Stick it out. And I promise, the Music will reward you.

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Gig ReviewsReviews
August 27, 2023
Terri Nas

[Review] Teddy Swims @ Forum Theatre, Melbourne 25/08/2023

Review By Terri Nas

A mild August night in the city led me to the Forum Theatre last Friday, to go and experience Mr Teddy Swims for the first time. The Georgia-born singer is currently touring the world and blowing away audiences on his “I’ve Tried Everything But Therapy Tour”, accompanied by his 5-piece band Freak Freely. For the amount of gigs I’ve been to throughout my life, this old music lover is ashamed to admit that she has never been to a gig at the Forum so it was a night of firsts all round for me.

The 94-year-old theatre is a beauty in itself, with its iconic ceiling and clever lighting that has you believing you’re star gazing under a night sky, which instantly sets the tone as soon as you enter its doors. Being a recently initiated Teddy fan myself and given the diversity of his music style, I was interested to see the demographic of his audience that flock to his concerts were predominately aged between 30-50. 

There was a buzz throughout the crowd who were settling into position and  keenly anticipating having their socks blown off. To begin the sock-blowing process, young Aussie talent Mia Wray kicked off proceedings with a hauntingly beautiful acapella version of Work For Me. From the first note the packed theatre was in complete silence, mesmerised by the spell her incredible voice had cast on us. A collective case of hardcore goosebumps ensued, and this was one hell of a baptism into her music for me. Mia was absolutely brilliant and I’m now officially a huge fan and can’t get enough of her voice. Her entire set was incredible and included Never Gonna Be The Same, Evidence & Monster Brain.

The crowd was now officially warmed up and we didn’t have to wait long at all for Teddy to arrive. Thank god he opened the show with 911, because we needed the paramedics and fire brigade on standby for this shit-hot show. For The Rest Of Your Life followed in which Teddy promised to deliver an even better show, than when he was on Australian shores last year. When the iconic piano intro of Journey’s Don’t Stop Believin’ started up, the crowd went crazy and they couldn’t help but sing along passionately to every single word of the 80’s rock classic.

Naughty Teddy then told the story of when he got into trouble with his girlfriend over some ‘compromising’ photos on his phone, which inspired What More Can I Say. At this point, the crowd just wanted to keep upping their Dose of the drug that is Teddy’s voice. Teddy has a voice that reverberates throughout your entire core and will evoke a range of emotions within you in just a few brief notes. Devil In A Dress was a crowd favourite, which was followed by Someone Who Loved You which was written about Teddy’s “stupid ass ex-girlfriend” as he so bluntly put it.

When the opening bars of Lose Control fired up, that’s exactly what the crowd did, and this song being one of my favourites had me feeling all the things and getting completely lost in the moment. Amazing was next on the list and whilst still trying to recover from its predecessor, this heartfelt love ballad planted a lump in my throat and had all the couples in the room holding each other just that little bit tighter. With it’s beautiful lyrics and his mesmerising voice, I was simultaneously melting through the floor whilst trying to hold my tears back throughout the song’s entirety.  

Teddy then went on to remind us that the most important people in the world are mothers, and that we need to always treasure them. His Shania Twain cover of Still The One-which is one of the songs responsible for thrusting him onto the world stage- was next so as he led into it he beautifully dedicated it to all the mamas out there. We were then treated to a new song off his latest album, Some Things I’ll Never Know, which is about relationships ending and not getting the closure you need to move forward. Teddy was visibly emotional and overwhelmed at the crowd’s response and couldn’t have been more appreciative and humbled by the love and support he received from his fans.  

A rendition of Happy Birthday was sung to his best friend and tour photographer who was hiding side of stage, and Teddy gushed about how wonderful his best friend is and added that he is blessed to have the best job in the world. Emotions were still running high, and he was still trying to recover and “get his shit together” as he led into All That Really Matters.

At the conclusion of the song Teddy disappeared and we were left wondering if we would get an encore as the crowd definitely weren’t done with him yet. He reappeared a few minutes later to let us know that he was “about to piss his pants” which was the main reason for his sudden departure. When the band fired up the first couple of bars of the classic Tennessee Whiskey, the crowd went mental and I myself, nearly had a heart attack as it is one of my most favourite songs. Teddy’s voice really is as smooth as Tennessee Whiskey and is so well-suited to this song, and the crowd couldn’t help but sing along to the smooth country love ballad.  

Teddy’s departing gift to us was his hit song Bed On Fire, which left the crowd on a complete high. Despite his husky soul voice with a dash of falsetto for good measure, he manages to adapt himself seamlessly into multiple genres like soul, pop, country & RnB, broadening his talent and his fanbase. His fun-loving but humble personality makes him appealing, and you can tell that he truly appreciates his fans and the love that they show him. It was a bloody brilliant gig all round and if you’ve never heard of Teddy Swims, then I implore you to jump onto a streaming app and check out his stuff because I can guarantee you definitely won’t be disappointed.  

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