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Gig Review

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Gig ReviewsReviews
March 15, 2023
Cassandra Hale

[Review] Rod Stewart / Cyndi Lauper @ Rod Laver Arena, Melbourne 14/03/2023

Rod Laver Arena was fit to bursting with many getting the memo that the nights proceedings would make an early start kicking off at 6.30pm. The crowds were filing in at a rapid rate everyone keen to not miss one second of this exhilarating night of live music ahead.

Jon Stevens has been a household name for decades, whether it is for his solo work, Noiseworks or his time in INXS, so it was well worth turning up early to catch his set. He gave us a quick fire 30 minutes with all the fans favourites. Opening with Touch he was off and running instantly engaging the rapidly filling venue. His normally raspy voice sounding even more so tonight but it did not hinder his singing ability one bit. Never Tear Us Apart, No Lies, Hot Chilli Woman, the hits were flying, his awesome band delivering the goods. It was the perfect warm up and the receptive audience loved the INXS classic, Don’t Change followed by the mega hit Take Me Back which had phone torches out and Rod Laver shining bright. Thanks Jon it is always a pleasure to watch you in action.

My love and adoration for Cyndi Lauper is no secret so I was overjoyed to see her again, this is her first tour since 2019, and I felt privileged that she had chosen Australia to ignite the fire again. Opening with Hole In My Heart, Cyndi exploded onto the stage with her technicolour suit and mauve mohawk, traditional in her eclectic style. With so many huge hits to choose from they came thick and fast with lots of entertaining banter in between, The Goonies ‘r’ Good Enough had the nostalgia levels high and happened to coincide with Ke Huy Quan (Data in The Goonies) taking out and Academy Award. Cyndi had her trademark jumps on point hands thrown wayward, still launching up on speakers and rolling on the stage, never missing a beat, a very impressive feat. Time After Time dazzled as torches lit up the room, the song so deserving of its stunning reception. I Drove All Night and Money Changes Everything two of my favourites, the massive screens showing a supersized Cyndi in full flight still hitting those long notes with precision and leaving the fans speechless.

There was not a microphone stand that was safe as Cyndi strutted the stage, whacking them into submission with every pass, one of her specialities that never grows old, she commands your attention and holds it for the duration. A stella performer and one who will stand up for her fundamental rights, a perfect segway to Sally’s Pigeons, her 1993 abortion rights song which has been re-recorded to coincide with troubling times in America. Girls Just Want To Have Fun saw everyone up and dancing, singing along as Cyndi held out the mic for us to take over the lyrics, which we happily obliged. True Colours saw out the set, this masterpiece raising the hairs on my arms, such a beautiful song and one we should all take onboard. Be yourself and don’t be afraid to let those ‘true colours’ show, very wise words indeed. As Cyndi left the stage with her amazing band to a standing ovation, I felt fully satisfied and Rod Stewart was yet to even grace the stage!

After a brief interlude it was time for the man himself, Rocking Rod Stewart. It has been quite the time since he has done the long haul to Australia, so we were champing at the bit to get a piece of Hot Rod action. Let me tell you from the minute that glorious man took the stage I was mesmerised. Opening with a crafty cover of Addicted To Love, Rod owned that stage his cohort of musicians and singers were of the highest calibre, crossing every t and dotting every i. The screens were enormous making sure not one person missed any piece of the action, wrapped around every inch of the stage, this show had every bell and whistle so I settled in and prepared to be wowed. And wowed I was, a blistering two hours with ALL the hits this show knew no boundaries and Rod outstanding in his delivery. You Wear It Well, the Faces classic Oh La La and Some Guys Have All the Luck just for starters.  Rod joking that “it wasn’t a bad turn our for a Tuesday night” and that “it’s been a long time and we are going to fu*king enjoy ourselves” his banter and cheeky wit were unending and gave us plenty of laughs between songs.

Looking much younger and fresher than his years Rod oozed charisma and charm, still wiggling his butt with the best of them. His energy was infectious, and it spread across Rod Laver Arena as the floor seats were empty their patrons on their feet from start to finish. Twisting The Night Away, It Takes Two and a killer Muddy Waters cover of Rollin’and Tumblin’ were next on the hit list and Rod’s band were blisteringly hot in their hot pink suit jackets, their skills exemplary. I know I did not give them the time they deserved but I only had eyes for one man, and he was holding my attention. Rod had an accompaniment of five of the most talented women I have ever seen, no instrument was off limits, no song unachievable, these girls were mind-blowingly good, and full credit to them they kept the show running during costume changes for Rod of which were many, and added another layer to this already packed to the brim show.

Forever Young, The First Cut Is The Deepest and the glorious Maggie May were next to tick off the list and had the arena singing along with gusto. The huge screens overloaded with wonderful accompaniments all night as Rod worked the stage with the ease of a well oiled machine, knowing exactly how to reel you in and keep you in the palm of his hand for the entirety of the show. The opening bars of Young Turks rang out after Rod joking yet again that the Perth crowd didn’t know this one. It was flawless in its delivery and had everyone’s adrenaline pumping, how many more hits could be left was the question. Followed closely by Rhythm of my Heart which saw Rod donning a blue shirt and yellow jacket in a show of solidarity with the Ukraine, this antiwar song hitting the mark perfectly.

Leaving the girls to give us a red-hot cover of Hot Stuff, Rod returning in full leopard print from head to toe as they took it down a notch with a set of five acoustics. People Get Ready, The Killing Of Georgie Part 1, Tonight’s The Night, You’re in My Heart (dedicated to his beloved Celtic soccer club) and Have I Told You Lately. This brief reprieve gave everyone a chance to catch their breath and revel in the brilliance before the last run of rocking tunes. Baby Jane, Stay With Me and Da Ya Think I’m Sexy nearly brought the house down to wild applause. The big screen alight with some questionable emojis that gave me a giggle, but it wouldn’t be Rod Stewart without a bit of sauciness. After a brief absence from the stage Rod returns to finish out the night with the sublime Sailing, it was a moment to cherish, and I will hold it with me for a long time to come.

There was so much more to this show but of course I can’t reveal everything, you MUST go and see it for yourselves. It will take you on a journey across the decades that have formed the man that is Sir Rod Stewart, and you will love every bloody minute!

You can still catch Sir Rod Stewart and Cyndi Lauper at the following shows:

Rod Laver Arena, Melbourne – March 15,2023
A Day On The Green, Geelong – March 18, 2023
AEC Arena, Adelaide – March 21, 2023
A Day On The Green, Mount Cotton – March 25, 2023
A Day On The Green, Mount Cotton – March 26, 2023
Qudos Arena, Sydney – March 29, 2023
Roche Estate, HUnter Valley – April 1, 2023
A Day On The Green, Bowral – April 2nd, 2023

For complete tour, ticket and VIP Experience information, visit: livenation.com.au for A Day On The Green shows please visit www.adayonthegreen.com.au

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Gig ReviewsReviews
March 14, 2023
Nikki Eenink

[Review] Mom Jeans @ Corner Hotel, Melbourne 12/03/2023

I was blessed with a treat for my inner teenager this week. Opening the night at The Corner Hotel was Suzi, a fairly new heavy hitter in Melbourne’s growing angry-girl-rock scene. Following on her heels was new emo fixture, Microwave. Then, after a night of high-energy dancing and cheering, comes Mom Jeans, the Pasadena natives who wrote the soundtrack of many people’s adolescence.

Suzi very much embodies contemporary Melbourne. She is an anti-folk newcomer, following in the footsteps of Australian icons, Camp Cope and Courtney Barnett. One of the things I love most about Suzi is how strongly she keeps her Australian accent in all her songs. She is embracing who she is, the city and the country that made her. She sings about the young Australian experience, unapologetically. To describe Suzi’s music, I would say it is a musical coming-of-age story. Songs like Amelia make me want to ride my bike around the backstreets in a movie-montage. I was struck by how unique and kitsch Suzi’s aesthetic is; a mullet/shag combo with bleached streaks on the front and sides, Haus of Dizzy earrings, band shirt. The song Everyone I’ve Met Hates Me hit the room hard. People were still moving, but with the weight that we have all had these feelings. Towards the end of the song, Suzi picks up the energy to a level not in her Spotify repertoire. The band is going crazy, and she’s singing her heart out into the mic. We are eating out of her hand. Looking into a mirror.

Following on with a short intermission are new(ish) post-hardcore guys, Microwave. A group of 4 guys, who you would not pick to be in a post-hardcore band. The front man, Nathan Hardy, is wearing a backwards baseball cap and looks very much like the high-school jocks from teen movies. The rest of the band, brothers Tyler and Travis Hill and drummer, Timothy Pittard, are all wearing non-descript black t-shirts. These are guys who could be anyone, totally unassuming. But then the music comes. Gritty, heavy on the drums, with guitar shredding and reverb pedals galore. Both Hill brothers are jumping around stage, somehow keeping a grip on their instruments. The room isn’t so much dancing as they are head-banging, hands thrown up in the air. The song keeping up was an absolute highlight of the set, with the foursome giving everything they’ve got to the crowd, who match that energy and keep pushing it higher. While the Atlanta natives are still fairly underground, I would pay close attention. It’s hard to toe a line between sensitivity and hardcore, and no one does it quite like Microwave.

Since many emo bands disbanded in the 2010s, it is oh-so rare to see a band as prolific as Mom Jeans continuing to tour, especially in Australia. But fear not! “If you keep coming to our shows, we’ll keep coming here! This is in our Top 4 places in the world to perform” (I wonder who came second, third and fourth). Keep going to shows, keep the spirit of teenagerhood, of community and embrace the silliness of nostalgia, and the shows will keep coming.

I was not a happy teenager. Maybe it was the 2am Tumblr scrolls, questionable Omegle calls, a chemical imbalance in my brain – we may never know. Something I do know, however, is that very few people who listen to emo music like Mom Jeans were happy teenagers. Convinced we wouldn’t survive high school, with no plans to live beyond 20. The future seemed like a dark, endless tunnel. And yet, there we all were at The Corner Hotel, covered in tattoos, scars, heavy eyeliner, band shirts, beaming grins and tear-streaked cheeks. Scanning the periphery of the room I saw couples embracing, an older woman singing along with her 20-something son, a young dad, and his daughter – wearing a Trophy Eyes shirt and blue crocs.  We all did make it. The future is now, and we are making it together – the wonderful soundtrack of Mom Jeans becoming an anthem of survival. Throughout the entire set, the crowd was screaming every line, word perfect, reaching the same volume levels as the band. And louder still, there were frequent heckles ‘fuck yes!’ ‘do a shoey’ or just ‘WOOOOO!’ at the top of someone’s lungs. It was euphoric.

The songs which I took so seriously in high school were being performed by a group of guys who looked like regulars at the local pub. Lead singer Eric Butler is rocking a mullet and moustache (très Melbourne Chic), Austin Carango on drums, wearing a baggy black shirt and baseball cap, and bassist Sam Kless wearing… very little. By the time I could see the stage through the sea of arms and bobbing heads, his shirt was off. It took all of about 3 minutes. The band don’t take themselves seriously at all, they embrace the goofiness, the jollity and the imperfection which all come with making music for a sea of SSRI teenagers unhappy with their hometown. They do, however, take the music seriously. They are seriously tight. Playing amazing math-rock riffs, never missing a single drum beat or tempo change. It’s very clear that the guys behind Mom Jeans love music, but equally love having fun. That’s the best way to describe the energy in that room, fun. After playing *Sobs Quietly*, Butler starts the opening riff to Weezer’s ‘Say it Ain’t So’; the rest of the band immediately join in, until Butler stops and says “We didn’t write that one. But we did write this”, and the foursome immediately break into White Trash Millionaire. One guy starts crowd surfing, his old-skool vans making him indistinguishable from everyone else in the room. The big guys in the middle of the room start moving around with ferocity only matched by the short girls in fishnets dominating the mosh. They break into several other iconic Rock openers in between songs, almost like we are privy to a rehearsal session, or a goof-off between friends. Everything from Nirvana’s ‘Smells Like Teen Spirit’ to Red Hot Chilli Peppers’ ‘Can’t Stop’. Music is about having fun, doing goofy homages to those acts who came before us who we love, embracing meme culture. Mom Jeans’ ability to include the audience in their jokes, breaks down the barrier between artist and audience – they too were unhappy teenagers, potentially with a horrendous side fringe, who made it through – and we see ourselves in them, and they in us. What a beautiful thing.

The song Edward 40 Hands helped bring the show to an end. Super high energy, lots of off-beat jumping and flailing limbs and flying beer. There was not a person in that room who didn’t know those words:

I don’t mind / That you lie sometimes / Because I lie too / Yeah, I’m just like you

Guitarist Bart Thompson began motioning for the audience to sing even louder. He abandoned his strumming and focussed on getting the energy up. There was no way to tell where the mosh ended and the floaters on the side of the room began – everyone was spending all their energy in this final moment of nostalgic bliss.

Finishing with their encore of Vape Nation 2.0, a heartbreaking solo song performed solo by front-man Butler, I saw people crying. These songs carried us through adolescence, but they hit so much harder as an adult. Butler’s voice cracked on the opening stanza;

I’m scared of losing touch/ I’m forced to ask if you know that/ The reason I try so hard to be nice/ Is so no one else will leave me behind

No one was screaming during this song, just tearful singing. Mom Jeans lyrics sting, but they also make us laugh, dance, scream. The community many of us thought we didn’t have, was made in that room.

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Gig ReviewsReviews
March 12, 2023
Noah Redfern

[Review] Drugdealer @ Corner Hotel, Melbourne 09/03/2023

The enigma that is Drugdealer, is a true ode to the gems of the 1970s. The brainchild of Los Angeles-based multi-instrumentalist and composer Michael Collins. I was a fan of Collins previous project Silk Rhodes, with it’s focus on groovy delicate soul, and was extremely keen to catch the larger folk rock end of his mind in Drugdealer. The Corner Hotel, a classic venue in Richmond, was packed with Lennon-esq young men on Thursday night, eager to step back to the seventies for a night of classic yacht rock and groovy balladry.

One could accidentally assume Drugdealer to be peers of Steely Dan, The Doobie Brothers, Looking Glass or Bill Withers, but you’d be surprised to find release dates in the mid to late 2010s. And the best part of this: the band knows it, and we’re all invited to be in on the joke. This made for a night that was equally musically joyous and hilarious.

Opening for the band was Tex Crick, an Aussie singer-songwriter and keyboard player, and recent entry to Mac Demarco’s aptly titled record label Mac’s Record Label. He warmed us up with soft electric piano ballads, backed with a simple groovy drum machine, and a few friendly guitar lines from his single bandmate. Key tracks Peaches & Cream and Here We Go led the tight set, helping the packed crowd wind down and prepare for the laid-back evening.

With curtains closed, a bizarre news report announced the beginning of Drugdealer’s set. This described a recent controversy that apparently the band had run over a pack of quokkas while escaping a previous gig, which was allegedly only the most recent crime our stars had perpetrated. This was of course, just the first of many strange jokes to come.

The curtains parted, and Michael Collins welcomed us to the Drugdealer show. He told us this was his first time in Japan, “so Kawaii”, and that it was pleasant to be around such a simple people. This set the tone for what was a constant back and forth of true musicianship contrasted with bizarre humour for the following hour.

Largely playing keys and some guitar, Collins and bandmate Sasha Winn shared lead vocal duties, taking turns to play through the set, but the jokes were all Collins. He introduced us to the song Mad World, which was of course actually the hit Madison, the opener of their recent 2022 record Hiding In Plain Sight. Even namedropping controversial Aussie radio station Triple J during another track, no opportunity for goofiness was missed.

The tight engineering of the seventies drums on the records was not missed in the live setting, with just as much dry punchiness heard, and not a beat was out of the pocket. The guitarists and bassist grooved along to the beat, and our singers rode the waves with soft sweet melodies.

Highlights of the set included The End Of Comedy, Suddenly and Hard Dreaming Man, but my favourite track was of course Honey from the 2019 album Raw Honey. Such beautiful harmonies and vocal lines were not missed in the live rendition.

While the band is certainly self-aware of their throwback and potentially dad-rock tendencies, don’t let them sell themselves short – they’re a killer live band, with a set of gorgeous groovy rockers sure to get you dancing and smiling any day of the week.

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Gig ReviewsReviews
March 12, 2023
Noah Redfern

[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.

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Gig ReviewsReviews
March 11, 2023
Lucy Paterson

[Review] Aurora @ Palais Theatre, Melbourne 09/3/2023

Aurora is truly one of the most triumphant artist of our generation, and on the 9th of March I, along with a sold out Palais Theatre audience, were humbled to be in her presence. The best way I can describe Aurora’s performance was that of a re birth, as she used her music to gently guided us to unleash our inner animal, let go of societal judgement, and embrace the raw experiencing of being human. However, I get ahead of myself! Let’s start from the beginning.

I entered the charming Palais venue with deep fondness, as I am well acquainted with its well-worn walls and earthy green carpet. When the support act Blusher made their way onto the stage, I thought their youthful energy paired perfectly with the venue’s vintage aesthetic. Newness was meeting with tradition, and I was loving the ambiance that this was creating. The Palais stage has welcomed countless up and coming artists and the trio of women that make up Blushers certainly left no crumbs; making their mark from the moment their hands touched the mics. Blushers performed with such finesse, confidence, and hypnotic power, that their 30 minute set felt like a delicious glimpse into what a full length Blusher show may look like, and you best believe that I will be in attendance for it. As someone who doesn’t listen to a lot of pop, Blushers truly won me over. Their use of the silky, dream like synth and hard hitting bass became part of what makes their sound so irrespirable. Their performance of Dead End, a song that celebrates that celebrates youth and ‘going out on a Tuesday’, had everyone out of their seats, myself included. Seeing these three powerhouse women grooving on stage with their synchronized dance moves made it impossible to resist doing the same, and I definitely saw a few strangers pull out some moves together. Finishing their set with Softly Spoken, this spicy track sealed Blushers as a band that aren’t afraid to pair their sweet melodies with biting, unafraid lyricism. This duality is clearly a signature aspect of Blushers that is quickly becoming part of their appeal and growing fan base. One of the sweetest moments of the night was when they gave a shout out to their devout fan, who has been at all of their performances. I loved to see the growing relationship they have with their fans, despite this being their debut tour. If the love the crowd had for Blushers is anything to go by, I would say that this trio is on their way to global pop domination.

After a half hour interval, Aurora’s entrance could not have been met with a more captivated attention. All eyes were on the dimly lit, misty stage. Three thousand breaths were being held, as we watched this tiny figure make her way to the front of the stage. I was six rows from the front, and I can safely say that seeing Aurora stare out into the crowd, shrouded in a dark silhouette, was one of the most hauntingly beautiful images I’ve ever seen on stage. And so, just like that, an hour and a half of pure, spellbinding magic was set into motion, with Aurora as our trusted enchantress.    

After having a few second to soak in Aurora’s presence, her dark anthem Heathens kicked off the night; snapping the audience out of their mystified spell, and plunging us into a cosmic darkness that made me want to break free of my human form and become pure matter. Heathens acted as an introduction to what kind of instrumental, vocal, and performative experience we could expect from tonight’s show:

A fusion of angelic yearning, and animalistic chaos.

With each song that Aurora performed, I could not help but notice how her whole body moved to the music. From her ballerina like twirling, to her wolfish crawling and crouching, to the way her fingers delicately danced in response to each note, it was as if she were composing the pieces right in front of us and throwing her whole self into it. It wasn’t hard to see just how much of Aurora’s soul exists in each song.

The majesty of this performance, combined with her reflective talking segments on life, love, and the beauty and the oddities of mankind, made the night felt like a communal un shedding of pain and suffering. To be there in that room, being serenaded by ethereal harmonies and watching people dance their way through songs that deal with respecting nature, and respecting the things we don’t understand, was more than my little brain could comprehend. I think I will be comprehending it for a long time. My favourite performance was definitely Infections of a Different Kind, as it displayed the rawness of Aurora’s vocal abilities on a new level. There was such beautiful range to Aurora’s song choices that left the audience with no idea of where the night was headed. The performance of the dark, cinematic Churchyard shook every persons souls, whilst Exist for Love comforted us in it’s lilting blend of three part harmonies and pristine guitar accompaniment.

 To me, Aurora is one woman who both channels The Sublime, and crafts a performance that is expansive and utopian in it’s message and aesthetic. The way that Aurora appeared to us was almost like an other worldly being; dressed in all white, blessing us with anecdotes that celebrated uniqueness, and stories of acceptance and kindness. Ultimately, Aurora’s show gave new meaning to the title of her latest album called The Gods We Can Touch, for she is our all inclusive and all accepting voice of truth and reason; a vision of the hope, the change, and the courage that this little old world relies on in order to be nurtured and thrive. Finishing off the night with Cure For Me, a song that champions her defiantly positive message of self love, I left that night feeling a little lighter and happier in myself, and optimistic about the world and people around me. I guess that is the power of Aurora, and I cannot wait until she returns to Melbourne.

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Gig ReviewsReviews
March 10, 2023
Nikki Eenink

[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
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Gig ReviewsReviews
March 10, 2023
Megan Milner

[Review] Sacred Reich / Vio-Lence @ Manning Bar, Sydney 08/03/2023

I stand tonight in the heart of many happy metalheads. After multiple cancellations, delays, and pandemics; we blew the dust that had settled upon our tickets from 2019 for the Aussie Thrash Fest has arrived. Sydney is the second stop on the tour, which began in our nation’s capital. Before the grand finale in Melbourne, Brisbane and Adelaide will also be decimated!

A double header of these thrash titans is sure to be a wild ride.  

Founded in 1985, at the height of the Bay Area thrash movement, Vio-lence came up alongside fellow Bay bashers as Testament, Exodus, Death Angel, Heathen, Forbidden, Laaz Rockit, Dark Angel, and of course Metallica. Tonight, we celebrate their very first visit down under. Aussie fans may have thought they’d never see Vio-Lence on our shores as they’ve had many stints together, only recently reforming in 2019 after their 2003 split. 

Sadly, guitarist and founding member Phil Demmel (ex-Machine Head) isn’t with them on this tour. One man down doesn’t stop remaining members storming the stage and throwing down Bay Area style! Red lighting creates a menacing atmosphere as they ferociously fire through many well known songs including Serial Killer, Calling In the Coroner and Kill on Command. Vocalist Sean Killian is a true professional, commanding the stage ensuring every punter who makes eye contact with him, he’s returning. A nice surprise was seeing Christian Olde Wolbers (ex Fear Factory) on bass duties. He’s been with Vio-lence since 2020 and is having a great time up on stage. He’s always had a wonderful stage presence and gives his everything, a great addition to an already solid line up. Vio-Lence have ignited the crowd with their merciless set, most songs coming from 1988’s Eternal Nightmare. As this is their first time to Australia, Vio-Lence fans have been waiting a long time to hear these tracks. There are smiles a plenty as their time is wrapped up with Phobophobia, Upon Their Cross and World in a World. 

As the sounds of Sacred Reich ride through the outdoor smoking area, fans are dropping everything to run inside. By the time I’ve rushed in with the masses, The American Way has kicked off with many fists in the air, singing along. Vocalist Phil Rind takes a moment to say hello to the crowd. When asked if anyone was born after 1994, a fair few hand rose. Rind chuckles and informs us all that 1994 was the last time Sacred Reich were on our shores with Sepultura. 

Most of the songs tonight come from their latest album, 2019’s Awakening. Including Divide & Conquer, Manifest Reality and Salvation. World renowned skinsman Dave McClain (ex Machine Head) is holding down the beat with precision and concentration. I’ve been seeing Dave play since I was a young teenager and I’ve always admired his style, tonight his bass drum emanate through each one of us bringing a whole new meaning to feeling the music! One confused crowd member may not know where he is as he screams for ‘Holy Wars!’ (of course, by Megadeth, not Sacred Reich.) Phil handles this well by giving his two cents on which albums he likes, because the one thing we all have in common tonight, is thrash metal!  

I can’t help but watch new blood Joey Radziwill, on rhythm guitar. He is pouring all his energy and enthusiasm into his axe tonight, headbanging at every moment, not missing a note. Free and Who’s to Blame garner great responses from the crowd. Sacred Reich have always been a little different to the rest, preferring to cover social and political issues than the more demonic elements of their peers but despite the intense subject matter and the furious riffing of the likes of Death Squad, frontman Phil Rind’s beaming smile, friendly on-stage demeanour and positive inter-song banter was at odds with those weighty topics. 

The night appeared to fly by after such a lengthy wait, which was testament to the band’s powerful, hugely entertaining performance. Long-time axeman Wiley Arnett kicks off Surf Nicaragua to close tonight’s set, igniting a small riot on the floor of the Manning Bar. 

As the punters saunter away from the stage, hungry for 1 more song, smiles are still wide on everyone’s faces. The merch table is many people deep while security attempt to clear the venue. To experience a bands first trip to Australia, and one almost 30 years in the making was truly special. Hardline Media proving once more they are a promotor for the people. 

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Gig ReviewsReviews
March 7, 2023
Cassandra Hale

[Review] Stryper @ 170 Russell, Melbourne 05/03/2023

The yellow and black attack are back after last gracing out shores in 2018, they have made their return and the fans couldn’t be happier, the unending line snaking up and around 170 Russell in Melbourne a testament to the numbers waiting to get in.  As I made my way down the stairs it was clear there was a b-line for merch knowing it sold out last time Stryper were in town. So after a quick stop there I got my spot up close to the stage so I didn’t miss a minute of the action.

Opening the nights proceeding were Crosson, delivering a set almost reminiscent of a theatre show, complete with dancers, costume changes and a few rocking tunes in-between. They have been around for quite a while so it must be working for them, and they had the crowd starting to warm up by the end of their set. Followed closely by Sydney’s Panik who gave a flat-out thrash set, for a threesome these guys packed a punch and had 170 rocking with big riffs and high kicks. They left the punters well and truly ready and left me well impressed.

The heavy metal tunes were pumping from the speakers, the fans were singing along getting their voices warmed up, could any compete with Michael Sweet? definitely not, but we all like to think we could. The Marshall amps were stacked across the stage ready to be put to the test with Robert’s kit perched on top in his trademark sideways style. The lights dimmed the tension palpable, we have been waiting out the last few years to have Stryper back in Australia, and we were more than ready to rock out with them.

After touring as a trio last time due to Oz’s ill health I am happy to report that all four members were here and looking sharp. As they took the stage the fans erupted, it was clear they had brought their singing voices and weren’t afraid to use them. In God We Trust got the party started followed by Revalation and More Than A Man. Constantly engaging with the crowd Michael Sweet exuded happiness to be touring again and to be back in Australia. After having his own health issues of late we were delighted to have him here as well. While the set list wasn’t as extensive as Stryper’s last visit there was lots to love as Surrender and Calling On You rang out.  Free was up next, the boys smashing out the songs with gusto,

Oz and Michael shredding skills both exemplary, as always the solos were hit to perfection showing the room just how it is done. The booming drum intro to Sorry from the ripping album God Damn Evil had everyone up and about, and while it was apparent Robert had been having a few technical issues with his kit he didn’t let this stop him hitting the gritty depths of the wicked groove. The hits keep coming with All For One, Always There For You and the amazing Divider which was explosive in its delivery and had the fans singing along.

The Valley ripped the venue a new one, it was loud, and it was heavy, just how we like them, then followed by the one we all wanted to hear Yahweh! Styper bibles were at the ready, randomly thrown out to the crowd over the course of the evening. While one grazed my hand, sadly I didn’t get the coveted keepsake, maybe next time, as Michael promised they would keeping coming back for as long as we would have them. Perry Richardson was magnificent, dazzling us all night, his smile as wide as the stage, loving every minute. The fans loved right back as Soldiers Under Command rang out, the punters losing their minds as this epic song played and 170 sang along in loud voices keeping them primed for To Hell With The Devil a classic Stryper hit and one we all happy made the cut.

As the night drew to its conclusion, we were hopeful for just one more song and through the higher powers our prayers were answered with the boys returning for Sing-Along Song. This took the crowd to celestial heights, we were drained nothing left in the tank but we screamed out hearts out as they boys came to the forefront giving them the applause they so deserved. Robert threw not drumsticks but his stack of bibles to the hungry crowd, and still they remained elusive to me. Next time I will have my bible catching hand on point!  Final waves and thanks were given, and we were left to recover from a night of hot sweaty, godly rock, that can only be described as angelic. 

Stryper were the preachers, and we were their congregation, spellbound by their words, captivated by their songs, we were disciples schooled in the church of heavy metal, and didn’t we love it! 

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Gig ReviewsReviews
March 6, 2023
Raelee Atkinson

[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. 

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