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Gig ReviewsReviews
April 23, 2024
Terri Nas

[Review] Pandemonium Rocks Fesitval @ Caribbean Gardens, Melbourne 20/04/2024

Now it’s no secret that there has been a LOT of negative talk in the months leading up to the Pandemonium Rocks Festival, and not without good reason. What was initially marketed as a ‘too good to be true’ line up, turned out in fact, to be just that. 13 bands with multiple stages were eventually dwindled down to one stage housing just 7 bands for the day, and then throw in the extremely poor handling of refunding of tickets (or lack thereof) which understandably left an extremely bitter taste in the mouth of some punters. It was going to be an interesting day indeed, and I was intrigued to see what the day would have in store for me in terms of the organisation, crowd numbers and overall vibe. 

The festival was held at the Caribbean Gardens in Scoresby, which after exploring my transportation options, dawned on me that the this wasn’t an ideal location for a festival, and it was going to be a pain in the proverbial just to get there. There was limited onsite parking available for an additional fee, which was sold out prior to the day. Bookings for the designated shuttle buses closed a couple of weeks before the festival, and public transport was a couple of trains and then some bus hopping – forget it. I thought it a bit unfair to cut transport booking options off so early in advance to the event, as I’m sure there weren’t any refunds given for those cancellations. Not knowing the area, I took my chances and drove and ended up in a side residential street not too far from the site. With the site being tucked into the back of a big industrial estate, it was still a hike to get in there and I felt for those unable to physically walk that far. 

The sun was out and the temperature was comfortable, but I knew that the cold would be fast-approaching once the sun packed it in for the day. As I wandered through the gates, The Cosmic Psychos – donning wifebeater singlets, hard yakka and footy shorts – were in the midst of their set belting out some of their songs including Nice Day to Go to the Pub, Fuckwit City and Dead in a Ditch. Before me a sea of camping chairs and picnic rugs were laid out with people mulling about and setting up their camp for the day, with others wandering around checking out the merch and their surrounds. An abundance of portaloos – tick. A good variety of food options – tick. So far so good. I ventured toward the bar area and noticed a HUGE line of thirsty patrons waiting patiently, and it was then I was thankful that I was my own designated driver and wouldn’t have to line up for years to get a drink. 

I decided to grab a bite to eat before the next set and with only a small handful of tables and chairs available for use, some kind strangers at a table were very accommodating to this girl who just wanted to sit down for 5 minutes and chow down on her burrito bowl, because I was going to need my stamina for the night ahead. I ventured on down toward the front of the stage to get a prime position for Aussie rockers, Wolfmother. One elderly music lover had walked down to the front of the stage with her zimmer frame, and I marveled at her dedication to the cause. Wolfmother hit the stage, and the crowd were pretty damn excited. It’s been about 15 years since I’ve seen them live, and they’re a band that I forget how much I love and miss them and their sound until I hear them again. They’re just a great, no bullshit Aussie rock band, and their playing was sublime. They played through a number of their hits including Woman, Dimension and Joker and the Thief. A select few people around me were getting into it, however I feel the band didn’t get the reaction they deserved due to their early time slot and probably the sobriety levels of the crowd at that time of day. Singer Andrew Stockdale declared “Rock and roll ain’t dead yet, and we’re living proof”, before rounding out their set and departing the stage. 

Chatting to a few concert goers and even a fellow reviewer whilst waiting in line for the portaloos, it seemed apparent that a lot of the crowd there had purchased their tickets in anticipation of seeing the bands on the original line-up who had eventually pulled out. Wheatus were next to hit the stage, and even though I’m old enough to remember them hitting the big time and owning their CD single (go ask your parents, kids), I couldn’t remember them releasing any other songs during that time, so I wondered if they were going to fill their set with a 40 minute extended version of Teenage Dirtbag. Surprisingly, they filled their set well with songs like Fourteen, Leroy & Hey, Mr. Brown and although I didn’t know them, I did recognise a cover of AC/DC’s Rock and Roll Damnation before they finished off with the only song anyone cared about, Teenage Dirtbag. The crowd were loving it sick and singing along to every word of the early 2000’s anthem. 

Dusk was upon us, and it was at this point that I got led toward the front of the stage by a friend of mine, when my intention had been to watch from afar without people breathing down my neck. It was more of an opt-in situation rather than opt-out, so this is where I realised I would stay for the remainder of the evening. English rock band The Psychedelic Furs hit the stage, and their fans seemed to be getting into them. Unfortunately, the mix was off which meant the sound wasn’t great from my vantage point. It also seemed to be affecting the band as numerous times singer Richard Butler asked to have the levels changed, and even had to stop a song halfway through because he couldn’t hear himself. They played one of their most famous tracks, Love My Way, as well as a number of other tracks like Wrong Train, The Ghost in You and Pretty in Pink. 

We were now getting to the business end of the night with the 2 bands I was most looking forward to. A police siren soundtrack rang out from the stage and 70’s rockers Blondie entered, with lead singer Debbie Harry rocking a green pant suit and black Zorro-like mask. They opened with X Offender and then led into Hanging on the Telephone. One Way or Another and Call Me really got the crowd amped up and singing along. Once again, the sound was a bit of a letdown and with Harry’s vocals not being overly strong anyway, they were completely lost amongst the music at times. I did wonder if it was because I was so close to the stage, but in my experience the sound should still be decent whether you’re 10 metres or 100 metres from the stage. Blondie still put on a great and entertaining show, and when the stage was drenched in neon green lighting, Atomic blew us away with the addition of guitarist Tommy Kessler’s ripping solo on his Flying V. Blondie played for over an hour and included In the Flesh, Rapture and The Tide is High in their set. Heart of Glass had Harry donning a mirrored cape with a hood, before they finished off with Dreaming.

Darkness was well and truly upon us now, the air was chilled, and as I looked up to the sky in amongst the dark clouds was a near-full moon shining through. I couldn’t help but think how eerily cool and appropriate it was, given the act we were about to see next. There had been a little movement in the crowd which now mean I was about 6 people deep from the stage, and in a prime position to see shock rocker, Alice Cooper. The props were rolled on stage and a huge double drum kit was lugged on in 2 parts. My excitement was growing as it had been 19 years since I’d seen Alice Cooper, and I’d been front row squished on the barriers for that show. More movement on stage and a black curtain was in place, shielding us from the happenings behind it. The lights go down and 2 characters in creepy old fashioned plague masks with a long beak cross the stage ringing a bell. The intro plays out and Alice Cooper busts through a banner in all this black, leather-clad glory. The crowd were going mental by this point as he opened the show with Lock Me Up which was followed by Welcome to the Show. No More Mr. Nice Guy had the crowd singing along, as did I’m Eighteen. Billion Dollar Babies had green confetti guns going off, before Hey Stoopid and iconic anthem Department of Youth kept the crowd singing along. His band would have to be some the fittest people in the business, as their energy was off-tap and didn’t waver at all. Snakebite had Alice wrapped in a REAL LIVE snake (That’s a big no bloody thanks for me!!) and I was impressed that he could still perform so comfortably with that slimy thing wrapped around his body. 

It was then feeding time and I had the urge to start screaming “We’re Not Worthy” (Wayne’s World style) as the intro to Feed My Frankenstein played out. One of my favourites and I couldn’t help but scream along to the lyrics. Next on the list was my ALL-TIME favourite Poison, and the crowd were going sick for this classic hit. Throughout the song Alice was walking around pointing at audience members asking if they were poison, and I swear to absolute god he pointed directly at me and eyeballed me as he asked, “Are your lips venomous poison?” I wondered who he’d been talking to that had been telling stories about me…

A few more tracks followed including Black Widow Jam, Elected and Ballad of Dwight Fry, in which he was locked into a strait jacket, before ending the set with an awesome version of School’s Out that sampled Pink Floyd’s Another Brick in the Wall. His songs are played with such passion and energy that every single song could be a finale because they’re so epically huge. The crowd was left absolutely buzzing as he left the stage, and his impressive and engaging stage show was just as brilliant as I remembered it nearly 20 years ago.

In what was a day that many went into with disappointment, Alice Cooper was definitely the redeeming factor and saving grace of this festival. Without being bias, I definitely think it would’ve been a pretty mediocre line-up without him. I did have a great day all round, but I went in without any pre-conceived ideas or opinion, so I understand that others may not have felt the same. I don’t think I’ll be hurrying back to this venue for another event given its location, but the layout of the grounds were easy and straightforward to get around. Once I was home my body was telling me that I’m probably a bit too old to be down in the moshpit, however you know you’ve had a good night when your whole body is aching, and you have to go to bed with a big dose of Nurofen and a hot water bottle. Just another day spent listening to great live music, to fill my little music-nerd heart. 

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Gig ReviewsReviews
April 23, 2024
Nikki Eenink

[Review] Bring Me The Horizon @ Rod Laver Arena, Melbourne 18/04/2024

Walking up to Rod Laver Arena on a freezing cold Thursday night, I had to double check my tickets.

“Rod Laver Arena? Surely, they aren’t selling out a venue that big?” I whispered to myself as I triple checked the venue.

They, are Bring Me The Horizon. I remember them as one of the many sculptors of my mid-teens. My memories are me sitting on the bus, sullen because all my friends went to Sydney to see them. I probably gave myself tinnitus on that bus ride. Or sitting in woodwork and a group of girls I desperately wanted to be friends with told me to, “Go and talk to Jess, she likes that emo shit too.” And becoming her partner in home-ec that year. Bring Me The Horizon were an intimate band for me, the cause of friendships falling apart and coming together. They weren’t an arena rock band. They were mine, they were for the kids like me. But, clearly, they were ours. And we were all here tonight.

A swarm of platform black boots, fishnets and black lipstick pour passed me, as the hyper pop anthems of Daine pierce the freezing air. I love Daine. They were one of the artists who defined lockdown bonfires with my housemates for me. Tonight is a night dedicated to making the best out of a bad situation, clearly. SALT, I want the light to swallow me whole and a far-too short list of songs later, the set is finished. I can feel the applause from outside. Daine is an absolute machine, the powerhouse to end all powerhouses.

I finally manage to make my way inside, shoulder to shoulder with the coolest people I’ve ever seen. I love ex-emo kids. I’m now much more of a corduroy-and-American-Traditional-tattoo emo enthusiast, but here I am with the upper echelon of emo kid. And I’m thrilled. As I take my seat, the lights dim again and Make Them Suffer takes to the stage. Going from goth-rock meets hyper pop to Australian metalcore might seem strange, but this crowd is absolutely on board for the weirdness. I watch as a half-filled GA area throws themselves against each other, the smacks of their arms audible from my seat. Opening with Ghost of Me and winding up seven songs later, I wish the Perth band had stayed on earlier, but tonight is about celebrating lots of bands, and so they make their way offstage after a thunderous finish with Doomswitch.

Now, my relationship with Sleep Token, is a little bit…. Strange. The London progressive-metal band are famous for making a TikTok edit song for a hot video game vampire. I didn’t know it was a Sleep Token track, until I was sitting down and as The Summoning started playing, I was surrounded by videos of this pale hottie. Certainly, one for the ol’ bucket list.

Sleep Token have this awesome stage presence. White masks with red and black paint splatters cover the faces of the entire group, their anonymity is their power. The crowd is almost possessed with the slow, melodic drops and the ultra-high screaming peaks. The band plays in a way that makes them seem blank-faced, but their musicianship is evocative, powerful and an absolute feast for the senses. The red lights spray into the crowd as our screams mix with theirs. An outstanding final opening act for the absolute chaos I was about to experience with Bring Me The Horizon.

Bring Me The Horizon are mythic. Formed in 2004 in Sheffield, they’ve released 8 albums and have sold over 5 million records. They sold out 3 shows in Melbourne alone, on this Australian tour. To say they’re popular, would be an understatement. They’re revolutionary. And my God, do they know it.

The show opens with Eve, an AI woman doing “audience analysis” on us. The screens of the arena are filled with her uncanny face movements as she asks us to scream in excitement, only to be met with; “Performance analysis: Weak as fuck”. The antsy crowd on the floor takes that as a challenge, and immediately open up a Circle Pit. Before the band’s even come on. It’s insanity.

Then, the backdrops project the walls and windows of a church, with beautiful sunlight streaming through. The British 4-piece come onstage, taking their own pillars, except front man Oli Sykes, who is on the lowest level in a velvet top and these amazing loafers. All of the band take to their human-spine mic-stands and let it rip for the next nearly 2 hours. “Bang your fucking heads, pussies!” Sykes screams into the crowd as he lets out a vocal-chord tearing scream and his guitarists jump what feels like 20-feet into the air.

I am completely swept up into the story they’re telling. Project angeldust has gone awry, Eve’s systems are corrupted and her fanatic cultists are dying. Project angeldust arrives, and the church windows aren’t filled with snow or rain or sun anymore, they’re torn down by a body-horror baby with wings, and everyone loses it. Matt Nichols on drums is an absolute mad-man, he is incredible. Every song, he’s making the beat and then outperforming himself as the song goes on, legendary. All of the musicians are killing it, they’re note-perfect, and even better than I can describe.

There’s fire, sparklers, smoke, lights – it’s a feast.

As the circle pit continues, and the crowd keeps splitting itself into walls of death, Sykes smirks that smirk we all know, “You guys are fucking mad for it! But can you jump?” And yes they can. He insults us, he lifts us up – anything he barks at us, with that killer smile, we are all too eager to oblige.

At first, I thought he was kidding with the repeated; “I’m a little bit poorly, seeing double. Hot sweats, cold sweats.” Because we launched into Kingslayer, and he smiled up at us before spitting into the mic, “1-2-fuck you!” and let out another spine crunching scream. God, he’s good. But he did need to take a 3 minute break in the middle to get himself feeling better. Even being clearly very unwell, he was the frontman to end all frontmen. Like so spellbinding, his skill is unmatched, his synergy with the band was like nothing I’ve ever seen before. As he returns from break he’s smiling again, “Fuck me you guys are fucking mental!” And we are, it’s true, I’ve never seen anything quite like it. What he considered a 4/10, was most concerts 11/10, and we just kept going. “Peng crowd!” His band coos in agreement to eachother.

Pulling up Sam, a random audience member in a bucket hat, and laden with the most Australian accent ever, was so genius. Performing Antivist together, Sam was throwing in improv lines, screaming and barking orders at us. “Pull the finger out of your fucking asses! Make a wall of death! Let’s go, let’s go!” And we are all too happy to oblige. Sykes grins at his newest prodigee, and they absolutely crush their unplanned duet.

Parasite Eve is, of course, spellbinding. Rave lights illuminate the arena. Spectacular rays of green and yellow and white. Sykes’ voice is unbelievable. His screams are… Better than recorded. His vocal control is criminally underrated, it’s fucking awesome. As their platinum hit rides to a close, the stage turns red, rose petals fall. Sykes lies on the ground. “I have a question, can you… can you…. Can You Feel My Heart?” He jumps to his feet, clearly ready to punch out this last number with everything he has “If you don’t jump to this song, you are a certified dickhead!” And they go into Can You Feel My Heart. A studded sacred heart lights them from behind, the arena is bathed in light, and I am 14 again, in home-ec, on the back of the bus. I feel like I could burst.

The encore goes off without a hit, and I am still lost in nostalgia. Please, treat your inner-teen. I promise they’re desperate to scream along with Bring Me The Horizon and leave arm in arm with other cry-laughing adults as we go from being swallowed by Sykes poetic screams, to being swallowed by the Melbourne cold.

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Gig ReviewsReviews
April 17, 2024
Terri Nas

[Review] James Taylor @ Margaret Court Arena, Melbourne 16/04/2024

It’s a cold and rainy winter night. You’re lounging on the living room floor with a glass of wine in front of the heater, turntable crackling in the background, and the sweet, mellow smoothness of James Taylor is absorbing your ear drums as well as your soul. Life is content. This is the exact vibe that washes over me whenever I hear his voice…

Tuesday night in the city and it was baby boomer central at Margaret Court Arena, as a few thousand punters ventured in to see legendary singer-songwriter James Taylor. Taylor is currently touring the country on what has been dubbed as his last Australian tour. 

As my friend and I were standing in line waiting to stuff our faces with Mr Miyagi’s pork baos, I could’ve sworn I saw James Taylor walking through the crowd. In fact, there were about 30 James Taylor’s strolling by me on their way to the bar. At first I thought my hunger was making me hallucinate, I soon realised that in actual fact there were just a lot of men sporting their flat caps, paying homage to the man of the hour who is known to have one as permanent fixture to his head. For those spring chickens less acquainted with the style, think Peaky Blinders hat. 

Given there were no support acts, it didn’t take long to dive straight into proceedings once we’d taken our seats amongst the hoards. The house lights were killed off, and Mr James Taylor walked out on stage (yes, wearing his iconic hat), under a single spotlight and was met with a huge applause. His hat was removed, and he took a bow before settling into his position for the night. He let us know that he was so glad to FINALLY be back in Australia and that it’s such a long trip to get here. The show was opened with Something in the Way She Moves, in which Taylor revealed that this was the first song that he played for Paul McCartney and George Harrison in 1968. The Beatles had just started Apple Records and after hearing that song, Taylor was the first artist to be signed to their label. There’s nothing I love more than listening to an artist give a backstory on their music and creating this whole bigger picture than what you initially realise. 

Rainy Day Man followed before we were led into That’s Why I’m Here, which was written after the death of his good friend and partner in crime John Belushi, which was then a catalyst towards Taylor’s own recovery. A song about our own beloved Australia, Yellow and Rose played out, until we were a “long way from anywhere” with Anywhere Like Heaven. Throughout the first half of the show I was having a good laugh at the female cohort of the crowd, yelling out that they loved him in which he awkwardly and cheekily reciprocated, however I did think it was going to get all Tom Jones there at one point and I was going to see underwear being thrown at the stage. Before getting into Never Die Young, James told us “That’s actually great life advice and if you’re young enough then don’t die. It’s too late for me but save yourselves!” His dry sense of humour was present throughout the entire show and had everyone laughing along the whole night. 

After Country Road, in which I couldn’t take my eyes off drummer Dean Parks with his killer drum part, there seemed to be an issue with James’ inner ear monitors and he hilariously told us he had the footy game running through them, and it kept cutting out which was annoying him. Sweet Baby James was a huge hit with crowd, until the wacky tune Sun on the Moon rounded out his first set. When Taylor held up a comical-sized board of his set list that looked like a wobble board, he mentioned an intermission and I thought this was his humour coming into play again. 

“Now I’ve seen fire and I’ve seen rain” … but never in all my years of going to concerts have I been to one with an intermission!

 The house lights went up and for 20 minutes the crowd had a stretch and restocked their snacks and beverages before settling back in for the second half of the show. We were then taken on a bit of a journey around the world, with the beautiful Carolina in My Mind opening up the second set. We then jetted off to Mexico, and with its slight Caribbean undertones which I found interesting, it had the crowd moving along. The crowd went wild as he traded in his acoustic guitar for an electric for the first time that night, and there was a cheeky joke made about how far guitars had come since the old gas and steam guitars, but that horse drawn guitars were still being used in Pennsylvania. This led into the blues tune Steamroller in which I felt my body involuntarily moving to the beat. It also further solidified the fact that I need to learn how to play the harmonica (you’re welcome, neighbours) after a ripping harmonica solo from Taylor. 

The iconic intro to his heartbreaking classic Fire and Rain had the crowd going mad and had them also singing along at a respectable volume throughout the entire song. Up on the Roof – written by the legendary Carole King – got the crowd even more excited, as did Shower the People where James’ wife joined the band onstage on backing vocals. We were then told “I’m gonna sing that other Carole King song for ya” which raised a huge response from the crowd as he led into the absolute classic You’ve Got a Friend. How Sweet It Is (To Be Loved By You) seemed to draw the night to a close and attracted a huge reaction with a standing ovation from the crowd. 

After James and the band left the stage, I was contemplating whether we would get an encore given the intermission we had. But I needn’t contemplate for long because James was back in no time, much to the pure delight of his fans and went on to Shed A Little Light on us, which had everyone up and dancing. Smiling Face had that exact affect on the crowd, and they reciprocated with another standing ovation at its conclusion. They still weren’t quite done so to finish off the night completely, it was the mellow You Can Close Your Eyes and the beautifully blended harmonies resonated throughout the arena which was the perfect end to such a relaxed evening. 

James Taylor is one of the original singer-songwriter masters of our time, and his melodious music and soulful lyrics have the power to impact and survive throughout the generations. This was a night that was throughly enjoyed by all, and I know that everyone present are secretly hoping that he’ll change his mind about this being his last Australian tour. Until (hopefully) next time, James!

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Gig ReviewsReviews
April 16, 2024
Andrew Pauley

[Review] Orange Goblin @ Croxton Bandroom, Melbourne 13/04/2024

It’s Saturday night, I have gig itchy ear parts, and my plus 1 buddy Eoghan. We are cruising through town to get to the Croxton to slam a couple of Jars down and bare witness to Orange Fucking Goblin!! Yes please, make the pleat in my trousers full. Tick!

I love the Croxton and this night I could already tell was going be turned up to eleven.  All my friends were there, Orange, Peavy and Marshall. A couple of Ludwigs set up ready to be pounded.  Enter Astrodeath….

Astrodeath a two piece unit were up and energised. Throw a little QOTSA, pinch of Local H & maybe some Monster Magnet and you have yourself a booming duo that will knock you fucking face off. Right from the get go with Yoshi on the skins slamming into that kit and Tim’s presence and energy had everyone committed.  It was like being in the crowd of the Mupppet show with long hair trying to keep up with the headbanging that was unfolding. To further my point my Amigo Eoghan said its like watching Animal play the drums. We were both hooked and wanted more.

It was one of the night’s where you say to yourself if this is the first outfit then how can you go up from here.  Belting out tunes like Mountain King, Leviathan Rising and Ceremonial Blood, Astrodeath had us on the hook, even knocking out a Sabbath cover which as a two piece was a more than fair effort. Tip my hat to Yoshi & Tim for the sound they deliver, it’s full, it’s mixed right, it’s punchy, go hard or go home and fuckin delicious. Rate em highly. Check em out!

Isn’t it Rich?

Are we a pair?

Me here at last on the ground,

You in mid-air

Send in the clowns…………

Robe cladded doom metal Melbourne band Dr Colossus enters with Krusty the Klown’s Send in the clowns….not having seen them before I wasn’t expecting to see a band that infuses Doom metal with The Simpson’s!! The Croxton is filling up now and the Muppet show is keen to roll into more metal on the doom side with a sense of humour.

Jono,  Mike, Josh & Joel just had the pull of the crowd to get everyone amped not only for the gear they were spilling out but also for the up coming Goblin. The inhouse Dr of the night gave us a solid set featuring Pickabar, Sixt Six & Six Lard Lad & So Long Stinktown. A mixture of 4 string bass, left-handed drummer, lead and rhythm with excellent clean vocals gave us a well rounded tight Simpsons on the dark side of the moon. The Croxton community gathering around Mike to tribute a lost comrade was a nice touch too.

Bizarre moment as I was talking to me mate about Bon Scott and an AC/DC tribute band when It’s A Long Way came on through the PA. Now music had been playing between sets, so I never took much notice until the curtain started to rise. Sploodge!

Now that’s a way to open to a now eager Melbourne crowd. Tip my hat for having the smarts to walk onstage to a local tune like that. I give you Orange Goblin and yep we all were goblin!!!

Mountain sized Ben had us all in the palm of his hand as he swept us up and took us on OG journey starting back in 97’. You have Moses looking Chris centre stage on the kit, Joe on his Gibson (fuck me can that Dude play!), Harry on Bass stage right & Ben the Giant wielding cannon sized arms to grab the crowd, all in front of Marshall stacks teetering of the edge from blowing out.

Solarisphere, Saruman’s Wish, Made of Rats, Aquatic Fanatic ripped through the Muppet Monster race of fans left right, front and centre. A swarm of electric mayhem was a back and forth between crowd & our Orange Goblin. Joe’s guitar playing was outstanding, just a very fucking cool guitar sound, almost Angus like, lots of overdrive pushing his amp to the limit. The whole band dripping with style & energy. The sound mix was bang on and all instruments could be distinguished. Harry had his bass amp so high it was almost at warble but silky good.

More from the OG journey came Sons of Salem, Your World Will Hate This and moving into more of their newer kit Not Rocket Science which is a banger of a tune. Good driving song!! They also played Scorpionica, Time Travelling Blues finishing on Red the Rising.

Ben said he was told earlier on the tour, “Wait until you get to Melbourne.” As a reference to the Melbourne scene, pretty sure we lived up to the hype and even though it was the last Aussie show he vowed to be back and without the 10+ year gap between. So, if you like having your nipples turned up to 11 and your head spun off its shoulders then get yourself to see Orange Goblin, anywhere anytime!!

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Gig ReviewsReviews
April 16, 2024
Wendy Smith

[Review] Live and Incubus @ Margaret Court Arena, Melbourne 14/04/2024

When confronted with a lineup featuring Incubus and Live, I definitely thought that Incubus would have the bigger Australian fan base, having been regular visitors to our shores over the last 15 years or so (this is my 4th go round with Incubus).  So I was surprised to see Incubus coming on first and having the slightly shorter set of the two.  There is a lot to be said for a dual headlining show – all thriller, no filler and I was excited to be seeing 2 excellent bands on the one bill.

Incubus appeared just a couple of minutes after the prescribed time and there was no mistaking when charismatic frontman/heart throb Brandon Boyd took the stage as the cheer was a loud one.  Sporting long hair these days and a seriously dodgy 70’s porn star mustache which should be shaved off immediately, he nonetheless cuts a fine figure at the front of the stage.  The VIP setup for this gig was a strange one.  On each side of the stage was a little fenced off area where 20 or so excited die-hards stood awkwardly waiting for the show to start – well I guess you can’t get much closer than that for your money. 

After a short instrumental introduction, the familiar scratchy scratchy intro to Nice to Know You began with Brandon adding his breathy beat box over the top.  I love this song and from the enthusiastic singing of the assembled, I am not alone – Goodbye, nice to know you.  Following along on the all thriller, no filler theme, next up was the incomprehensible Anna Molly.  I swear I have only just discovered as I write this, that this was the song title.  For years, I thought it was Indubitably.  En-unc-iat-ion, please.

Sick Sad Little World was next featuring a long instrumental interlude which gave Brandon a chance to shake his skinny booty and brought Chris Kilmore out from behind his decks to spin what must be 30+ years of dreads in a circle headbang.   Speaking of Circles, this song from the wonderful Morning View album of 2002 was up next and gave new girl, bassist Nicole Row a chance to show her chops.

Is it my imagination or did it suddenly get very hot in here?  To the strains of The Beatles’ Come Together, Brandon shed his t-shirt and I had to remind myself that I was here for the music.  Come Together was not the only cover of this set.  Are You In morphed midway and seamlessly into Riders on the Storm from the Doors, and back again without skipping a beat.  They also did a short, sexy cover of Glory Box by Portishead, and one of my faves, Let’s Dance by David Bowie.

After a hit packed, but all too short set, Incubus finished on a definite high with the singalong favourite – Drive.  This brought Brandon and guitarist Mike Einziger down to the front of the stage for an acoustic intro.  The audience singing could be heard clearly over the music – Would you choose water over wine, hold the wheel and drive.  It was a given that the set would end with Wish You Were Here.

I Googled Live yesterday and a live version of all the music my husband and I watch on Youtube on a Saturday night over the pool table came up, but no Live the band.  I had to delve way deeper down the Google wormhole to find Live the band.  Probably a poor choice of a band name in this digital age but as they have been going in one form or another since the early 80’s when the world wide web was just a concept in an English computer lab, you can’t blame them. 

My experience with Live begins and ends with the hits.  I love me some post grunge, alternative rock (as Wikipedia describes their style) but some Live songs skirt just a wee bit close to country for my liking.  And tonight, Ed Kowalczyk explained why that is.  Hailing from York, a town in Southern Pennsylvania, an area that is known as Pennsyltucky as it shares a border with West Virginia and there to the Southern states of Kentucky, Tennessee and Alabama and explains why “I talk funny” says Ed.  And yes, there is a definite southern twang in his voice.  “I hope all y’all are having a good time.” 

If anything, the floor of MCA is more tightly packed for Live than it was for Incubus.  Their set started with the radio friendly Hold Me Up, followed by the very recognizable All Over You which brought a massive singalong from the packed house which continued for Selling the Drama whose lyrics read like a passage from the bible.  Although not known as a Christian band, Christian themes seem to appear regularly in Ed’s lyrics. 

The Dolphin’s Cry was up next and has there ever been a more melodramatic song title in all of rock?!  I think not.  The mullet in a flanny sitting in front of me was in raptures and much fist pumping and finger pointing accompanied this song. 

The next song Ed says was a new one, Leave the Radio On.  It began innocently enough but after a few bars, I heard a sound that made my heart drop and my jaw clench – slide guitar.  You’ve just crossed the line.  The hits of Live with a grungy feel had always made me think that Ed Kowalczyk was more Billy Corgan than Billy Ray Cyrus but I may have been mistaken. 

The main set finished with the wonderful Lakini’s Juice.  A constant on the Triple M playlist and a masterpiece of post grunge angst.  Ed was winning me back and the 2 song encore featuring I Alone and Lightning Crashes had the mullet in a flanny, AND me leaving MCA with a smile on our faces (not together….EEEEWWW).

So my takeaways from this gig is that co-headlining tours are awesome.  Great value for money (and let’s face it, concert tickets in Australia are getting RIDICULOUSLY expensive) and shorter sets are guaranteed to be packed to the gunnels with hits and the songs the fans want to hear.  Promoters of Aus – More Please!

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Gig ReviewsReviews
April 15, 2024
Nikki Eenink

[Review] Simple Plan @ John Cain Arena, Melbourne 11/04/2024

The year is 2013. You’ve just started at a new school in some satellite city, and you’re waiting at the bus stop. The bus is 15 minutes late. Before you can grumble about being late on the first day, your headphones light up with Simple Plan. The heavy pop-punk guitar rips through your teenage angst and you tap your foot slightly. Suddenly, time has passed and you’re on the bus. We The Kings serenade you as you step onto school ground and run for class. Boys Like Girls give you the speed and agility you need to step around the two other students and make it to the top of the stairs in time.

Thursday night was just like that. Except instead of being me in year 8, it was me at 24 outside Melbourne’s John Cain Arena, waiting with a sea of others with that same experience for our tickets. This was maybe the biggest crowd I’ve ever seen at the iconic Melbourne venue. The vocals of American Idol winner, Jax, keep us bouncing and excitedly calling over friends while we wait for entry.

Eventually, I make my way inside, and get the most spectacular seats. I settle down to watch the end of We The Kings’ set. The 6-piece are giving it their absolute all in a disappointingly short setlist. I was aching to see more of them and was so sad to see them go after only about 8 songs. Pounding drums, I can feel in my feet, amazing acoustic and electric guitar work blending together seamlessly to take me back to those earlier days. We The Kings sound just good live as they do on the album, and maybe, better. The audience is screaming and clapping and dancing, and it gives the music such depth, recordings just can’t capture. One thing about the crowd; we love We The Kings. Every song’s conclusion is met with ferocious cheers and begs for more. It was honestly hard for me to take notes because I was so enraptured by the Florida band.

Before I know it, we are at the final number. Check Yes Juliet is more than a hit, it’s iconic. It’s generation defining. It’s brain chemistry changing. Ask anyone born between 1994 and 2000, and we can sing this goddamn song. It really is anthemic. And boy do We The Kings know it. After absolutely shredding their way through it, with incredible bass work, guitar strumming to rival some of The Greats and a beautiful comradery – they turn the mic to us and ask us to sing, completely acapella. And we do. The stadium is full of voices, all screaming the chorus at the top of our lungs. At moments, you can tell Travis Clerk wants to take the microphone back but doesn’t. We are just too lost in the song, in the moment and in nostalgia.

We The Kings leaves the stage, leaving us hungry for more, and telling the world “Now that’s how you open!”

Third cab off the rank was Boys Like Girls, the band I knew the least out of the lineup – or so I thought. As soon as Love Drunk started playing, a part of me woke up and I realised I knew this band. I knew these songs. And so did everyone else. The screen behind the foursome played a mix of music video clips, lyrics and animations which reflected off the guys’ all-leather fits. They were clearly going for a modern-twist on 1980’s glam-rock and it weirdly worked. “The name? Boys Like Girls. The Place? Boston Masechussets, USA, The World, The Milky Way, The Motherfucking Universe!!!” Front man, Martin Johnson yowls into the microphone.

BLOOD AND SUGAR goes down an absolute treat, the boys needing a cigarette after it’s finale. “The secret to rock ‘n’ roll, is to keep smoking cigarettes. It keeps you nice and young!” After a set full of flicked guitar picks, thrown drumsticks and impassioned rants, it starts to come to a close. We wish their touring guitarist a very happy birthday, before being taken into a remix of Love Drunk, yet again, to close us out. And wow, what a fantastically, high-energy set from the boys from Boston. “Ah Australia. The weed. The sunshine. The magpies. We love ya!” and we love you too, Boys Like Girls.

And now, the finale. Simple Plan look like a group of Canadian talk show hosts but play like absolute rock superstars. With six studio albums, a theme song and over 25 years together – they are an absolute musical unit. Given this history, it’s unsurprising this set was impossible to capture in the number of words I have.

“Are you ready to party with Simple Plan? This next song’s called Jump, so what’re you gonna do?” From their second song onwards, it’s a blur for me. Partially because of the intense strobes, but mostly because of the energy in that room. Jumping up and around onstage, soaking it up, and looking like the cool uncles you see once a year – their energy is just perfection.

This set is long, and it’s a mix of new and old originals to keep fans of every era full to the absolute brim. It’s also full of covers, delivered with Simple Plan skill, spunk, and wit. The mashup between All Star / Sk8erBoi and Mr Brightside, changed me a little bit. Let Go, by Avril Lavigne was the first album I bought with my own money, I think I screamed so loud my vocal cords ripped.

But I will never scream as loud at any show the way I screamed at What’s New, Scooby Doo? The theme song that changed me. The ripping guitars, driving drums and rhythmic bass did not disappoint, and I was thrown into a frenzy of voices, claps and elated laughs. The girls behind me were giddily shouting “They played it! They really played it!” after it ended. Needless to say, it brought the sold-out house down. For Iconic, they brought out first-support Jax. Her vocals are just incredible. Vanilla-y and sweet, with an edge that is difficult to capture, but is complimented perfectly by an electric guitar – it was a duet to never be forgotten.

Normally, I hate encores. But I could not wait for Simple Plan’s return. I’m Just A Kid, was, unsurprisingly, a smash hit. I love this fucking song, man. And I’m not alone. This Song Saved My Life made me appreciate these guys as musicians, and what they did for two generations of teenagers. I saw parents with kids swaying and singing together. Young couples. Older people with shaved heads – everyone was completely caught-up in Simple Plan’s simple, breathtaking charisma. Am I Ever Gonna See Your Face Again, genuinely made me cry a little. I’m glad they cut it at verse 2, or I would’ve been a mess. I hope I see Simple Plan’s faces again. Because nothing can quite compare to the Montreal Band’s musicianship, charm and command.

I left the arena feeling warm and golden. My ears were aching for more and I could still feel the claps of happy hands in my feet. Next time they’re down under, get to it. I promise, you won’t be disappointed – and neither will that kid inside you, who’s waiting for a late bus at the bus-stop.

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Gig ReviewsReviews
April 7, 2024
Kelly Green

[Review] Dirty Honey @ Stay Gold, Melbourne 04/04/2024

This evening's performance was at Stay Gold in Brunswick (Melbourne). A smaller venue, which tonight was packed full. The crowd in their mandatory black hard rock t-shirts where all out on a Thursday night to see the main act all the way from L.A, Dirty Honey I would describe the punters as hard core hard rock fans and tonight they were not disappointed with the three band line up. The selection of bands on offer was a perfect blend as the style of all three complimented each other. The support acts were a great lead up to the main act and the expanding crowd were a testament to this.

First support was a Melbourne based band Shotgun Mistress. They gave us a quick fire thirty minute set and played seven songs. Shotgun Mistress is led by Glen Patrick on vocals, Matt Wilcock on guitar (recently voted in the top 100 metal guitarists in the world), Ben Curnow on bass and Dave Daniel on drums. Shotgun Mistress are a high energy, hardrock band. The lead singer gave me visual Steven Tyler vibes with his scarves tied to the microphone stand, but I could hear hints of the Darkness in his vocal style. They play straight forward heavy rock with hints of metal. Their sound is strong and solid with great drum beats and awesome guitar riffs. They had the crowd right up to the stage edge with heads nodding from the first beat and they could be heard singing along to the catchy choruses. They release their new single Mary Jane in the next few months and it is well worth the listening too. Shotgun Mistress closed their set with the lead singer disappearing into the crowd only to pop up on a closed bar on the other side of the room, they bring a fresh feel to the hard rock genre.

Second support of the night was Dead City Ruins are a five piece band consisting of Steve Welsh on vocals, Nick Casalini on guitar, Sean Blanchard on guitar, Thomas (Sunset) Murphy on bass and Nick Trajanovski on drums. Every member of this band could have their own shampoo commercials with their gorgeous flowing locks. They visually remind me of the hair metal/hard rock bands of the 80’s and 90’s, but once they started playing I could hear the influences of Deep Purple and Guns’n’Roses. Dead City Ruins are an Australian hard rock band with a fantastic stage presence, I felt like the stage was too small for them to really let loose, but they certainly can put on a show. At one stage to quote Steve the lead singer we had “dualling Les Paul guitars with
Marshall stacks”. The skins were hit hard and fast and the guitars and bass were on fire. Steve’s vocals were flawless and at times their catchy riffs had a hint of blues rock. A highlight for me was a small taste of Baby Please Don’t Go, played fast and hard. Dead City Ruins know how to entertain a crowd and had them fully involved in the music and loving every minute of the
musical jams and the big notes sung. I highly recommend you have a listen to their latest album Shockwave. Dead City Ruins were on stage for a set of ten solid rock songs that were lapped up by the punters.

Dirty Honey was what the crowd had come out on a Thursday night to see. They are a Los Angeles based classic hard rock band, their music has an edgy rock n roll style with a hint of the blues. You can hear their influences of Aerosmith, AC DC and Led Zeppelin in their timeless hard rock, but it is not a rehash of old styles. Their music has a new flavour all of their own. The crowd pushed forward to get closer to Marc La Belle on vocals, John Notto on guitar, Justin Smolian on bass and Jaydon Bean on drums. Early into the performance Marc La Belle apologised for his voice as he has been struggling with it since arriving in Australia, but I thought the husky sound gave it a sexy edge. If he was hiding voice problems he must be amazing when he is feeling well. There was no need to apologise, his voice was still crazy good. Dirty Honey gave us a 90 minutes packed with 14 songs, their music is high energy with an edgy sound and the swagger of the band gives off rock star vibes. Fans were treated to all their favourite songs When I’m Gone, Won’t Take Me Alive and Rolling 7’s. Don’t Put Out The Fire was a highlight with the band jamming out with crunchy riffs and a drum solo. This received very loud applause, with the bass player leading the crowd to clap out a beat. Another Last Time had a beautiful guitar introduction and the crowd helped out on the chorus. Won’t Take Me Alive had the crowd bouncing with the lead singer proclaiming “Melbourne’s crowds are way cooler than Sydney’s”.

The encore was filled with solos. The bass player made the bass talk with a funky chicken beat. The drummer started off with the crowd coping the beats with answering claps into a drum skin workout, then into a guitar solo showing off extreme talent. Dirty Honey know how to put on a great live performance and fans were delighted with every note sung, string plucked and beat hit.Dirty Honey left a sweet taste in my mouth and I can not wait to see them back on Aussie soil ASAP!

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Gig ReviewsReviews
February 27, 2024
Raelee Atkinson

[Review] Of Mice & Men, Metro Theatre, Sydney 24/02/2024

Two nights ago I was in Sydney for another gig and it was hotter than Satan’s armpit. Last night by comparison, I was wearing a hoodie, beanie, scarf and was still shivering! I also decided to brave the public transport system, since the train would be (and was) filled with a slew of Swifties, and also a smattering of Blink 182, Slash and Of Mice & Men fans, I figured it was safe to travel late at night.

Upon arrival at the venue, there was a growing line of black band tee shirts. Security staff came out to gather up those who had booked in for the Meet & Greet while the rest of us waited patiently to be let in.  The clock struck 8pm and doors opened. The floor area filled up quickly and I headed upstairs to find a seat with a view.

Bang on 8.30pm post hardcore 5-piece Sydney-siders, Sienna Skies take to the stage.  The bass guitarist did the harsh vocals, the drummer sang the clean vocals and the lead singer switched between both. Considering the limited amount of space they had on the stage, they played a very high energy 30 minute set which included singles, Even Stronger, brand spankin’ new release, Mess, Divided and finished the set with Let It Burn. They informed us that they are about to drop a new EP later next month and will be back doing their own headline tour in May.

After a timely gear changeover, we welcome alt.rock / metalcore 4-piece Melbourne band, Dream On Dreamer. With over 50 million streams and ARIA nominations, it’s easy to see why these guys were chosen as support band. They performed another high energy set which got the crowd moving and moshing with songs such as, Stay, Don’t Lose Your Heart and the new release, G.O.D. in the set list.  After an invitation to meet them at the merch stand, they leave the stage for the crew to prepare for the main act.

Hailing from So-Cal USA, RIAA gold record certified metalcore band, Of Mice & Men entered the stage to loud cheers and applause and opened their set with two 2014 bangers from their album Restoring Force, Bones Exposed, followed by Would You Still Be There, and then new song,  Castaway by this time the audience were singing along loudly, heads nodding furiously in time with the music. Then they played my personal fave, from their 2021 release, Echo, the single, Obsolete. Vocalist Aaron Pauley stopped to thank the audience for choosing to come to the Of Mice & Men concert stating that he was aware of all the choices available in Sydney that night, so the band are beyond flattered that the audience had chosen them. He then announced that it was time to play something heavy and that the next song was from their latest album, the mosh pit opened up and a circle pit ensued as they played Warpaint. Next up was another new track from Tether, current single, Indigo, then Pauley introduced the next song as a favourite of his from their latest album as they played, Into The Sun and then 2019’s Earth and Sky. Pauley asked if there were people in the crowd who had seen Of Mice play before to loud cheers in response and then he announced that it was time for OG and the audience shuffled back and a space was cleared in the centre of the floor, several people did back flips to cheers and applause, and as the band started playing OG Loko the circle pit began growing into a juggernaut of bodies. They played Instincts from 2018’s Defy album and then Pauley addressed the audience once again dedicating “the next song for anyone who is feeling grief”.  He explains that grief is that pain that’s right between the heart and the lungs, it’s the pain you feel when love has nowhere to go and leads into 2021 single, Bloom.  The set was rounded out by 2012 classic, The Depths.  Pauley thanked the Sydney audience again and the band left the stage for a minute or two, then returned to loud cheers and applause from the crowd as they played fan fave from 2010, Second & Sebring. Setlists, picks and sticks were tossed into the crowd as we all shuffled our way out to George Street.

It’s probably a strange thing to say but I noticed that the Of Mice stage set is so neat and tidy. After the support bands, everything except the OM&M drum kit was cleared off the stage. The drummer is positioned centre at the back and there are three risers placed at the front of the stage. The guitarists tend to stay on their own sides while vocalist Pauley moves around but mostly remains front and centre. In-between songs there is an ambient synth hum track played while guitars are changed and adjustments are made before commencing the next song. It’s like watching a well-oiled machine working. Of Mice & Men put on a well practised, professional performance, no doubt about it.

I mention these things as I’m coming off the back of just seeing another band two nights before in the same music genre but their performance was so different by contrast. Still professional and practised but the approach was far more relaxed and interactive with the audience.

What I did miss from OM&M was the presence of a human bass guitarist rather than a track, but so many bands appear to be taking this approach now. Overall though, Of Mice & Men perform their songs with such intensity and passion, taking the listeners along for the journey with them. Their songs inspire some of the most intense and somewhat aggressive looking mosh pits I’ve seen in ages, yet lyrically their vibe is dare I say, emotional and heartfelt. This dichotomy is fascinating to experience in a live setting – from a safe vantage point. I loved this concert for almost totally opposite reasons that I loved the concert from the other band two nights earlier.  If you get the opportunity, go check out Of Mice & Men.

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Gig ReviewsReviews
February 25, 2024
Raelee Atkinson

[Review] Atreyu @ Manning Bar, Sydney 22/02/2024

Atreyu are a metalcore band from California, USA, taking their name from a character in the movie, The Never Ending Story. 

Back in 2007 I bought a copy of Metal Hammer magazine and it had a bonus cd on the cover with “new” music. One of those tracks was Becoming The Bull by Atreyu. I was instantly sold on their sound and have loved that track ever since.

Fast forward to February 2024 and I finally got to see this band play live.

It was a steamy Thursday evening in late February and I was among those gathered at the University of Sydney’s Manning Bar. I entered the venue, perused the merch stand, grabbed a bottle of water from the bar and staked out a spot near the sound desk and with a good view.

First up was Sydney female-fronted metalcore band, Bridge Left To Burn.

When they walked on stage there was about a dozen people waiting on the rail but by half-way through the first song the floor was half filled.

They played a cracking 20 minute set, lead vocalist Ava Sukkar switching between harsh and clean vocals one moment angelic, the next demonic. The Sydney-siders were stoked to be on the bill and put 110 percent into their performance by warming up the audience for the following bands.

Strangely, as soon as the band finished, the floor cleared, people choosing to gather near the bar or outside on this hot Summer night.

After a gear changeover next up were Melbourne metalcore band, Bad/Love. Before they even introduced themselves, I could hear the distinct Melbourne ‘core sound. A bit Void Of Vision, a touch Thornhill with a dash of Windwaker. There’s a certain polish to the sound that comes out of Melbs. The Melbournites gave a strong 30 minute performance which included Social Suicide and their latest single, Ungød. There was a screeching lead guitar solo in the last song as they ended their set.  Again, the audience vacated the floor during the gear changeover, which was quite disconcerting. The Manning Bar isn’t a large venue, yet it felt empty and I was left wondering “where were Sydney’s Metal fans tonight?”.

The intro music started playing as Atreyu finally entered the stage, people started moving onto the floor as they began to play Drowning, all of a sudden they were at the chorus, I looked around and the floor was filled, and there’s a crowd gathered on the 2 levels and outside on the balcony. I teared up, grateful and happy that Sydney had indeed turned out for this fantastic band. Everyone was singing along loudly, and I mean LOUDLY! The song ended to loud cheers and my beloved song, the previously mentioned, Becoming the Bull was played next and I joined the crowd, yelling out the lyrics loudly. Vocalist Brandon Saller announced it was time for a circle pit and the audience complied as Right Side Of The Bed played. Next we were told it was time to help sing a part, “it’s only two words” Saller says, we practised it and then Save Me played with the audience screaming out “Save Me” loudly during the chorus. Next was When Two Become One and mid-song Saller takes someone’s phone and video records part of the song from the stage, then at the end he shared with the audience that the couple in the front row had used that song as their ‘first dance’ song at their wedding. Saller then mentions how twenty years ago on their first Australian tour, they heard this unique sound that they had always wanted to use in a song. The beeping noise from our pedestrian crossings. Almost twenty years later they finally used it in the song (i).  *side note: Billie Eilish and her brother Phinaeas had said and done a similar thing with their song Bad Guy.  Suddenly there’s movement on stage and they change instruments, the drummer is now playing bass, the singer is now playing drums and the bass guitarist is now singing lead vocals, and they proceeded to play Bleeding Mascara.

Everyone then returned to their regular positions and played The Time is Now, during which, Saller walked throughout the entire room through the crowd and out onto the balcony, singing. Ex’s and Oh’s and Gone are next we were asked to sing along but the audience just can’t get the timing right, which is hilarious and results in some good-humoured “shit talk”. Someone in the audience yelled out “Where’s Travis?” To which Saller responded, “right there”, pointing, “he’s been there all night”. Saller then said to guitarist Travis Miguel “they don’t recognise you with your shirt on, take your shirt off” the crowd cheered but Miguel politely declined and Saller quipped back, “c’mon, your body, their choice”. Then it was time for Battle Drums and the crowd were singing loudly again. Time for the “lucky dip” song. An audience member was chosen and asked to pick a song from the selection that the band puts written down into a clear pencil case. Watch Me Burn was chosen which was then followed by Falling Down and everyone was moshing again.  Saller then talked about how we all go through ‘dark times’ but it’s how we pick ourselves up and move forward that is important which is the segway to Warrior, during the bridge it took a short detour to Wonderwall, before returning to Warrior, then the set is finished with two middle fingers in the air and a rowdy rendition of the song Blow.

The band thanked the crowd and exited the stage. After a brief break, guitarist Dan Jacobs returns to the stage with a saxophone and plays short bursts of a few songs, including the standard, Tequila, the rest of the band rejoined him and they played the Whitney Houston hit, I Wanna Dance With Somebody as their encore. The band tossed out drum sticks, setlists, and guitar picks and bid Sydney farewell. Next stop …. BrisVegas!!!

Atreyu played an energetic and entertaining 75 minute set filled to the brim with bangers. They put on an amazing show, which included loads of banter with the audience. You get the distinct impression that these guys love what they’re doing, and it’s infectious. I walked in with an appreciation for this band and walked away drenched in sweat and completely hyped for them. They’ve now played their last show of this tour in Brisbane to a sold out audience, so sadly, if you missed this tour you will have to wait until next time.

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