[Review] Kip Moore @ Margaret Court Arena, Melbourne 15/03/2023
As the sun began to set on this warm Wednesday evening, Margaret Court Arena was enriched by a multitude of Plaid shirts, trucker caps, denim, cowboy hats and boots.
With most gigs, fans come dressed up for the event in attire that one would usually associate with that genre. But with a country music show I get the sense that the fans are coming dressed as their true, authentic selves – and authenticity is the perfect adjective to describe both Randy Houser and Kip Moore.
Randy Houser began his set by demanding our attention with his powerful and commanding voice, accompanied by the glassy tones of his Stratocaster. Randy is a big man with an even bigger presence and I think he would have quite adequately managed to make himself heard even without the microphone.
The stage was adorned with guitar amps and fold back monitors, something I haven’t seen at a live show in awhile. Such a setup is probably considered old fashioned these days but there was a noticeably organic difference in the sounds coming from the band and damn did they sound good. As the saying goes, If it ain’t broke, don’t fix it.
As they performed the infectiously catchy, Boots On, I witnessed the band display technical proficiency that was tastefully balanced with restraint. Note To Self, was an emotionally charged performance that encapsulated the heart felt lyrics of the song and moved us with its honesty.
Randy Houser has an undeniable earnestness about him and every time he addressed the crowd it was like a conversation with a dear friend. Playing in Melbourne is kind of like a home coming for Randy as his wife and extended family are locals, and Melbourne is without a doubt, overjoyed to claim him as one of us.
It’s easy for anyone to understand why Kip Moore is the Country music superstar that he is. A husky voice that soulfully regales us with relatable life experiences, a charismatic stage presence that demands devotion and I’m sure the ladies will agree that he’s pretty easy on the eyes too.
Country music is about the stories, but Kip takes it one step further and delivers a performance that is worthy of a stadium show. Beautiful light displays emanated from the stage, painting the audience in ornate colours and patterns whilst gnarly guitar tones echoed through the air, invoking more of a stadium Rock feel than what one would normal expect from country music.
Wild Ones, off Kip Moore’s second studio album was one of the crowd’s favourites of the night. As they sang along, I scanned the many faces in attendance and saw so much joy wherever I looked.
Somethin' 'Bout a Truck is quite possibly the best summary of all the things that make living in the country great, and from the way the crowd reacted, you’d be forgiven for thinking that they very well might be questioning whether city living really is as slick as it seems.
As a special treat for the Australian fans, Kip did a sensational cover of Am I Ever Gonna See Your Face Again by The Angels and the audience showed their appreciation by valiantly attempting to sing louder than the band.
Kip Moore and his band have a great chemistry, perfectly complimentary of each other while allowing individual members to have their moments to shine. It’s evident that they have honed their abilities through countless shows over the years and the experience shows.
Rock n’ roll had Los Angeles and Country had Nashville. Rock n’ Roll died or at best, is on life support – yet Country music is not only alive but thriving. Why is that? The reason is because Nashville cares and values its music, its artists and its traditions.
There are probably a million memes on the internet about country music and probably just as many jokes too. However, Country music is honesty and authenticity at its finest. Not qualities one would immediately associate with “cool”, but in my opinion – there ain’t nothing cooler than wearing your heart on your sleeve.
[Review] Lorde @ Sidney Myer Music Bowl, Melbourne 10/03/2023
Heading back up the hill yet again to Sidney Myer Music Bowl for another emotionally charged evening was not what I expected to be doing just less than a week after Bon Iver’s amazing set, but there I was. Ella Marija Lani Yelich-O’Connor, the Aotearoa/New Zealand born musician known to the world as Lorde, was here finally for her rescheduled half decade return to Naarm/Melbourne. I was lucky enough to catch her last time she was in town too, at the same venue, and I can happily say that she’s taking her live performance to the next level.
Opening for Lorde was MUNA, an LA-based indie pop three piece, known for their collaborations with the likes of The Knocks and Phoebe Bridgers. They delivered fun summer-pop, a perfect addition to Lorde’s Solar Power Tour. A fiery stage presence was led by lead singer/songwriter Katie Gavin, dancing across the stage and wooing the audience with sing-along moments. Favourite songs included Silk Chiffon, What I Want and Home By Now.
After our supports left the stage, the crowd was in a frenzy, having already exploded into waves of cheers every time anything remotely like Lorde moved around behind the curtain. The audience was full of old and new fans, young and not-so-young. Fans all three eras of Lorde’s career were clearly on display: the old Pure Heroine fans, the millennials and Tumblr kids, the Melodrama girlies, with their love of bisexual lighting and coming of age energy, and the Solar Power groovers, ready to ride the wave of an endless summer.
Opening with Leader of a New Regime, the dynamic slow burner deep cut from the most recent record, 2021’s Solar Power, Lorde introduced us to The Solar Power Tour. But of course, she wasn’t here to divide her fans, so immediately after this we were blessed with the back-to-back cuts of Homemade Dynamite, and Buzzcut Season. Dynamite was a true banger and crowd pleaser, but Buzzcut Season reminded me of days long ago, listening to Lorde’s debut on a road trip with my family, pondering what future laid in store for me when I finally grew up. These themes of aging, self-exploration and heartbreak became clearer than ever, hearing her full repertoire on display.
The stagecraft on display was captivating, with a long staircase in the centre of the stage, leaning against what appeared to be a glowing sun. This staircase would rotate throughout the show, sometimes having Ella climb up during heavier emotional moments. When the fantastic Liability, off 2017’s Melodrama played, she sat halfway up and told us stories for a few minutes before the song properly began, speaking softly over the repeated piano intro. She told us of how she’d finally fallen in love with our city, how she’d walked the streets and seen the spirit that guides us all. She then reminisced about the importance of the song, and the love she’s felt seeing how connected so many people have felt to it. A true tale of rejection, and coming to terms with one’s own instability, that’s become an anthem to so many people, especially those who feel left behind from the world around them.
During the track Stoned at the Nail Salon one line stood out to me and resonated heavily with the whole show. “Cause all the music you loved at sixteen, you’ll grow out of, and all the times they will change it’ll all come around”. Lorde’s music transcends these rules, as shown by the demographic present. It just keeps coming back again and again, and to be listening to songs, some written when she was just fifteen, and still resonating in new ways, that deserves a legacy.
Rounding out the set with many tracks off the new album, including Hard Feelings, California and Oceanic Feeling, the only new track I missed was Mood Ring, which did leave me a little disappointed, but I was more than happy to have this compensated by the sheer volume of classics from the previous albums. These included Green Light, Perfect Places, Tennis Court, the amazing Ribs and a victorious encore of Royals and Team. Lorde might be “Kinda over being told to throw my hands up in the air” but we were not. The energy and maturity of the performance was a lifetime ahead of my last time catching the superstar, and I’m so excited to see what she has in store for us next time she visits.
[Review] Florence & The Machine @ Rod Laver Arena, Melbourne 08/3/2023
Melbourne’s Rod Laver Arena is in the top 10 busiest venues in Australia and New Zealand. Tonight, it is home to opening act King Princess and headliner, Florence and The Machine
Queer icon, Michaela Straus, known by stage name King Princess, played a powerhouse set, all while dressed in a lace dress over baggy jeans – an obscure choice that felt so natural on the Brooklyn native. About halfway through their set, King Princess turns to one of her musicians and says, straight faced, “Uh-Oh Antwon, it’s pussy time” before launching into certified banger; Pussy is God. While the arena is only half full – people are filling the whole of the space, dancing at the back – spinning with each other and jumping. King Princess is entirely self-aware of the genre changes her set provides; ‘Now for juxtaposition, who wants to hear a sad lesbian song?” If I was picturing a ‘Sad lesbian song’, Change The Locks would be it. Heartbreaking and full of yearning, it is a beautiful ode to lost love and youthful melancholy. Coming out of the ballad, Straus has noticed a lull in the crowds’ energy. Grabbing the mic, they command our attention; “Guys you have to get more excited, I don’t care if you fucking like me or not. Get crazy! Get loose. Let’s get crazy.” And so, we do. The crowd starts jumping, hooting, and hollering. Straus goes from shredding guitar, to grinding and dancing on the ground – pulling out all the stops, without breaking a sweat. In the middle of major hit, 1950, they stop. Almost teary, they take a moment. “Australia’s always been a place that’s supported me. Shout out to the Queer community in Australia.” Looking through the crowd and seeing Queer couples of all ages kiss each other, hold hands, sway together – it is a beautiful moment of community, love, and connection. Finishing the set strong, King Princess is back with a smirk; “Let’s praise the rock lords!” Let Us Die is the perfect closer. Finishing the set by throwing a pick into the crowd – we are primed for the main event.
An installation, mimicking a pile of half-melted candles in some old European cathedral, is moved onstage. Microphones are scattered around the periphery. There is a buzz in the air.
My housemate turned to me; “Have you ever seen Florence live?”
I shook my head.
With a smirk, he turned back to the stage; “You’re in for a treat”.
And, my god, what a treat it was.
The lights go black, and underneath the candles, a strobe goes off. There is nothing for a moment, and then Florence comes onstage; draped in blue lace, shoe-less, red hair flowing over her lithe frame. There could not be a more perfect opening track; Heaven Is Here. She moves in a way somewhere between rhythmic and jagged. She is possessed by the sound. So are we.
She moves seamlessly into a haunting rendition of I Am King. She stands tall, arms spread out wide, lace sleeves filtering the purple light now filling the stage. This feels more like a Church sermon than a concert; this is The Gospel According To Florence Welch.
Suddenly, the energy shifts, and we are swept into Ship To Wreck. The crowd goes nuts – free from their trance. They are jumping and screaming and singing, and so is Florence. The next few songs, Welch dances around the stage, gliding from one end to another, motioning for her captive audience to sing even louder. In a moment between songs, she laughs a little into the microphone – “To those of you who know me, and those of you who’ve been dragged along tonight and are wondering, ‘What the fuck is this?’ – welcome to the show. It is so much better if you just give into it. I promise. If you do everything I say, you’ll be fine.” Who are we to disobey? While performing Free, she simply raises her hand on the lyric ‘as it picks me up’ and lowers it ‘puts me down’, and the whole crowd follows her, as if under a spell.
When it is time for one of Florence and The Machine’s biggest hits – The Dog Days Are Over, she tells all of us to put our phones away, to “Be here, connect with each other.” There is not a phone in sight and everyone, even those of us in the seated area of the arena, jump together and sing together in beautiful, free catharsis. Her voice is unbelievable; she is a Kate Bush, a Stevie Nicks, and yet, something else entirely. It rings smooth and clear and fills up the entire stadium with ease.
Welch then makes her way offstage and into the crowd for Big God. She approaches the crowd and holds a fan’s face with gentle hand. As she sings to them, she wipes away their tears, and then pulls away to stand above the barrier which holds back the crowd. The lights onstage stop their changing from red to purple and go black once again. She is lit by a single spotlight, and as she sings, fans clamour to touch her. Reaching up to hold her hands, her arms, anything. In the darkness, all you can see is hands reaching up through the spotlight. They are desperate to be bestowed with some of their Messiah’s goodness, to be washed clean of their ills by this religious figure which stands above them.
Florence Welch is a master of tone-shifting without breaking focus. Jumping immediately into What Kind of Man, the stage pulsing with red light that bathes all 14,000 of us. Her body moving with every flash. The stage and her are one being. And then, suddenly, she is speaking again, the stage lights a gentle violet. Her voice is cracking, as if she is about to cry. “I invite you all now to hold onto each other”, and so we embrace or hold hands or press our feet together. The father and daughter in front of me, the older lesbian couple, the high school best friends – all wrapped up with each other. We are treated to a song that was not played at all on the tour before her closing Australia and New Zealand leg, The Bomb. She dedicates this one to her support act; King Princess, because it’s her favourite song.
Choreomania brings another run into the crowd. This time she sprints to the back, the crowd parting for her like the Red Sea. She stands above them, and once again they desperately reach for her.
You said that rock and roll is dead/
But is that just because it has not been resurrected in your image.
The crowd is screaming these lyrics back to her, people coming out of nowhere to gather around her.
Like if Jesus came back, but in a beautiful dress.
The arena lights up as Florence raises her arms to the sky, and the crowd follows in perfect, mirrored synchronicity. I’m not a religious person, but I was covered in goosebumps. She was delivering a sermon. Her crowd her devoted followers (one man had been to 42 shows). It was like the most beautiful, loving, joyous cult you could imagine.
Finishing with a mix of My Love and Restraint, she begins pulsing, raising her arms, moving her body in almost inhuman ways. Then, pushed out of her trance she begs – “This is the Dance Fever tour! For years we couldn’t gather like this. This is the resurrection of dance. I want you to leave everything you have here, in this room”. And the crowd goes ballistic. After 2 hours of songs, they are still going with as much vigour as they did for the first track. She is infectious.
Previously, Florence hasn’t played Never Let Me Go, at her live shows. “It was written at a time where I was very sad, and very drunk. And if you could imagine in terms of Florence and the Machine songs, what has to be the Saddest and Drunkest? That is very sad and very drunk. So, it sort of hurt too much to sing it. But I’ve had a lot of time to think about what performance means to me, and connection with you means to me.” And as things go quiet before she sings, voices scream at her “I love you!” and we all cheer. Voices sing alongside her, tears well up in all of us. It’s heartbreaking. It is a reclamation.
Finishing with Shake It Out and Rabbit Heart, I left feeling very much lost for words. It was more than just a show. How could I possibly capture the energy left in that room?
Welch has been very open about her history of anxiety and depression, as well as alcoholism. Clean and sober for several years, you can feel a weight is lifted from her. As she dances around stage – effervescent, ethereal, divine, she reminds us that there is a simple divinity in being alive. There is so much joy, along with the pain. That no pain is too great to overcome. “I gave my hard emotions to you, to protect. Thank you.” Just as we keep her pain safe, we keep each others pain safe. This was a show about connection, to ourselves, to loved ones, to strangers. It was a beautiful reclamation of femininity, queerness, truth, and selfhood. That despite all the hurt, all the heartache, all the grief – we can still dance, barefoot, sharing our fear, our hopes, our doubts, and people will be there to scream and sing along with us. Florence holds us with her music. It was as cathartic for us as it was for Welch, who seemed so happy, lost in the moment, fully present and alive. She is a symbol of overcoming, of community and of love. I left, teary-eyed, feeling closer to myself, excited to face a new day and rejoice in being alive.
I have seen God. She is a woman. And her name, is Florence Welch.
You can still catch Florence & The Machine’s Dance Fever Tour
Tickets available here
Mon 13 Mar 2023
Qudos Bank Arena
Sydney
Joined by King Princess
Fri 17 Mar 2023
Brisbane Entertainment Centre
Brisbane
Joined by King Princess
Tue 21 Mar 2023
Spark Arena
Auckland
Joined by King Princess
[Review] Richard Marx @ NEX, Newcastle 01/03/2023
Back in 1987, when Saturday morning tv was filled with the latest music videos, a handsome young man appeared on the screen. He was the epitome of a late 1980s pop star with a flowing mane cut into a designer mullet and the voice of an angel. Young women’s hearts melted for this lad (including mine), but he was so much more than just another pretty face, he had real talent, too. Single after single reached the Top 10, and this success followed through into the 1990s (and beyond). Even grunge couldn’t dim this man’s star. And to this day, he is the only male artist to have written songs that have reached the number 1 position over the past 4 decades. A song of the year Grammy Award winner in 2004, Triple Platinum status, in excess of 30 Million in record sales, 26 Top 20 singles, 17 Top 10, 14 Number 1s, this man is a powerhouse. So when I woke up to the news that I was going to be attending his concert in Newcastle (my hometown) tonight, I was more than just a bit excited. What a way to start the month!
Introducing Mr Richard Marx, an Adult Contemporary Pop-Rock American Singer / Songwriter / Musician / Producer. He has written and co-written hit songs for artists like Kenny Rogers, Nsync, Luther Vandross and our very own, Keith Urban, as well as a slew of chart-toppers of his own.
Arriving at the NEX complex in Newcastle, NSW, the line to enter was long due to this concert being sold out, but the staff did their best to get us all inside and seated quickly and efficiently for an 8pm sharp start.
Right on time the support act entered the stage, acoustic guitar slung across his body. He introduced himself as Dandelion Head, otherwise known as J Blynn, an American, now Melbourne-based guitarist / singer / songwriter who was recently a featured artist on Rage.
J is also Richard Marx’ guitarist. As Dandelion Head, he played a 5 song acoustic set including his latest song, Sad Eyes.
Then it was a quick outfit change and he returned to the stage with a drummer, bass guitarist and Mr Richard Marx himself, in tow. Showtime!
The main event started with a video montage of Richards achievements, and then the band opened with a song from the latest album, Songwriter, titled Believe In Me, which led into Rush Street hit, Take This Heart, followed by Endless Summer Nights. At this point a lady from the audience approached the stage in front of Marx, holding a sign saying that it was her birthday and could she get a selfie with him. He obliged happily, also signing the album cover she handed him. He told the crowd that he got into the music business to get attention so please take photos and videos, upload them to you tube and social media, do whatever makes you happy, this is your night. Then he crooned the popular ballad, Angelia. Marx then introduced Same Heartbreak, Different Day, telling the audience that it is a special song to him as he co-wrote it with his second son, Lucas, it’s from the latest album and then Marx remained on stage while his band left. He explained that he had written a song for his 2014 album Now And Forever The Ballads that all 3 of his sons had individually told him that they liked, so he had asked them to play this song for this tour via a video recording. He spoke proudly of his talented sons and then a video of them playing When You Loved Me began while Marx accompanied on guitar and sang the song. Afterwards he stopped to take a sip of a strange lemon concoction drink and told another amusing story this time about Canadian singer Bryan Adams and this same drink which apparently is great for singers but also is used as a detox. The crowd laughed and next up were hit songs Too Late To Say Goodbye, which Richard suddenly added to the setlist on the fly – I guess he felt this audience was a Repeat Offender kinda crowd. Following that he played Hold On To The Nights, and Now and Forever. Richard stopped to chat with the crowd again, telling us how he had co-written one of Keith Urban’s popular songs and had worked with American Boy Band, Nsync in the early 2000s, which was the segway into him playing Long Hot Summer by Urban and This I Promise You by Nsync. The set closed out with Marx’ ode about the music industry, Don’t Mean Nothing.
The band left the stage and the crowd clapped and called for an encore. I mentally counted at least half a dozen more “hits” that were yet to be played so I waited for the band to return. First up was a song from the 2020 album, Limitless, accompanied by a video montage clip of Richard and his wife, Daisy Fuentes. The sweet and romantic Front Row Seat. Marx introduced the popular chart topping, Hazard accompanied by the original video clip being played on the screen, moving seamlessly into Satisfied where the audience sang along loudly as Marx asked us to sing back to him. Should’ve Known Better got the crowd up and out of their seats and dancing in the aisle and singing along. Then it was time for the final song of the night, Marx sat at the keyboard and began to play Right Here Waiting, everyone was singing along with him, not wanting this night to end.
Richard Marx is an artist who knows and understands his fanbase. He’s here to promote his new album, Songwriter, released on September 30, 2022, but he also knows we’ve all come along to hear certain “hits” and he doesn’t disappoint. During the show, people in the audience yelled out thank yous, cheers and encouragement as Richard entertained, performing a cracking setlist made up of fan favourites from the 1987 debut Self Titled album right through to 1994s Paid Vacation and peppered the setlist with some newer content, engaging with the audience by telling funny anecdotes, using self-deprecating humour about ageing, and heartwarming stories about his family. His show included several video montages that included his family which added to the presentation while also telling the story of the songs. Marx spoke often during the show, regaleing the audience with stories and mentioning his Australian friends Keith Urban and John Farnham, and wishing his old friend well. Richard Marx fans are their fans, too and Marx is savvy enough to realise that and elicits the response he desired. Connection made. His main audience are fellow GenXers who have grown up, and older, with Marx, they “get” him. The whole vibe of the night felt different to most other shows I’ve attended. It was pretty low key, laid back, and relaxed, a safe space. Maybe that’s just Newcastle, maybe it was the 75/25 female to male ratio audience, but I believe that it also had a lot to do with Richard and his band. And hearing these old songs again, it felt like a familiar place, a warm hug from my past, from a simpler time, come to revisit. 24 hours later and I’m still smiling at the new memories of last night, and getting to share this experience with my brother made it even more special to me. He loved the show, too.
Marx is the original Mr Nice Guy, he playfully accepted wolf whistles from the audience with good humour, obliged a fan with a selfie and autograph during the show, and encouraged everyone to have a good time, and to sing loudly with him. You go to a Richard Marx show to have a fun time and you get it – in spades, walking away at the end of the night with a big ole smile on your face. And it’s not just Marx that brings that joy, his band clearly love their job. They smile the whole time they are performing, it’s a contagious happiness.
The only real downside to the night was that it ended after about 2 hours of pure enjoyment and entertainment. It’s no wonder that this entire tour is sold out. I am definitely going to the concert the next time Richard Marx hits our shores again.
[Gallery] Alexisonfire @ Hindley St Music Hall, Adelaide 27/02/2023
Alexisonfire
Luca Brasi
[Review] Alexisonfire @ Hindley St Music Hall, Adelaide 27/02/2023
Making my way to the venue I am thankful mother nature has given us a reprieve from the heat. That being said I have a feeling that Hindley St Music Hall is going to be a sweat-pit tonight. It’s been a few years since Canadian five-piece Alexisonfire have played here and talking to people around the place over the last few weeks it seems that their fans are extremely keen for this gig. Releasing their latest album Otherness in 2022, the band have some new material to show us along with all the crowd favourites.
Hailing from Tasmania, Luca Brasi are up first performing their cool style of indie punk. Playing to a reasonably packed room of hardcore fans may have been a daunting experience for some, but it didn’t seem to deter the boys. Opening with Dying To Be Alive, we got a taste of the bands catalogue through songs like Anything Near Conviction, Aeroplane and Tangled; Content.
A laid-back stage presence, along with their catchy melodies was a pleasant way to start the night. Some one yelled ‘Tassie represent’ which enticed some banter between the crowd and the band. This was a prelude into the boys playing Let It Slip “a song about how fucking sick Tassie is”. Fans grooved along with Party Scene while Tyler Richardson’s vocals smoothly washed over us. One punter was over eager to see the main act yelling “Play some metal” to which the boys obliged with a quick AC/DC riff and a laugh.
I need to be honest here, I know who Alexisonfire are but haven’t really listened to them a great deal, much to the surprise of my gig date. Over the years I have heard the stories of Alexisonfire live shows. Monday night I witnessed it. Honestly, I don’t even know where to start and I don’t think words can even come close to describing it.
The venue is plunged into darkness. You can feel the atmosphere on the ground change. Blue light swathes the stage, some lovely symphonic music plays and five mates wander casually into our view. Grabbing their instruments, they shuffle around and strum a few notes. Screams erupt from the around the venue as George Pettit grabs the microphone. Next minute all hell breaks loose. Drunks, Lovers, Sinners and Saints assails our ears while absolute chaos reigns on the stage. Bassist Chris Steele resembles a man possessed as he twists and grinds his way around the stage, ducking and weaving around the other band members.
For the next hour we are taken on the most amazing journey, not only musically but visually. Alexisonfire are taking no prisoners tonight. Song after song is shot at us like a machine gun with no chance to catch our breath. Scanning the crowd, punters eyes are darting this way and that as they try to focus on each band member, which I have to admit was damn hard! Having three vocalists brings an amazing dynamic to listening to Alexisonfire. The voices of George, and guitarists Dallas Green and Wade MacNeil meld to form some of the most manically sublime sounds, which is just crazy when they barely stand still.
Each song took the crowd closer to the pinnacle of ecstasy, inducing a fevered pit where bodies of all ages appeared above the sea of heads. Boiled Frogs, Sweet Dreams of Otherness, Blue Spade and 44. Caliber Love Letter all led us to the first notes of Crisis when the crowd completely lost their minds, yep the pinnacle had been reached. Bodies that had floated became more frenetic in the air as the barrier came alive. This is what live music is all about, exchanging energies and feeding off each other. The Northern’s slower tempo gives momentarily relief, the crowd gather their thoughts and breath briefly. The familiar drum beat starts, and Young Cardinals spirals us back into the vortex. Honestly this is one of the highest energy gigs I have witnessed, this is five mates having the absolute time of their lives and we are privileged to witness it. Summing up our night, Happiness by the Kilowatt is an apt song to take us home. Walking out onto Hindley Street, apart from the odd car horn, the only sound you can hear in the street is the crowd singing the chorus of Neil Young’s Hey, Hey, My, My along with the band. My biggest tip from the night is that an Alexisonfire gig is something that everyone needs to experience once in their lifetime regardless of their taste in music.