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Gig ReviewsReviews
February 22, 2023
Renee Morrison

[Review] Icehouse @ Riverstage, Brisbane 18/02/2023

I suspect that the motivation behind any artist, but especially musicians perhaps, is to make the audience feel something. Feel anything. To feel differently for having experienced their art.  Well, Icehouse’s return to Brisbane on Saturday night certainly did that for me.  Though the band frequently tour Australia extensively, including just recently in 2022, this “Great Southern Land – The Concert Series show” was my first live encounter with them.  Being an eighties baby, I grew up knowing and loving their songs… but that was a long time ago.  What a relief and absolute joy to realise that this chart topping, platinum selling musical force can still hold their own, and then some.  Joining them as special guests on the RiverStage were Eskimo Joe and Karen Lee Andrews. 

Though traffic carnage brought about by another concert (cough: Ed Sheeran) meant I missed Karen’s set, there is no doubt her soulful, chilled vocals and guitar playing would have mixed well with pre-drinks on the lawn as the sun went down.  Her four-piece band are known as some of the hardest working in the industry and I will make it my business to seek out the Polynesian singer’s classical blues rock show in future.

The 6-piece Freemantle act, Eskimo Joe are next on stage. It’s been several years since the ARIA award-winning band has released an album (their latest, a live recording in collaboration with the West Australian Symphony Orchestra), but their choice as support for Icehouse simply makes sense.  They burst on to stage, vocalist and front man Kavyen Temperley donning a white suit coat and slicked back hair, channelling Elvis perhaps. Initially, there are some sound issues making the lyrics and melodies less clear than punters may have liked. Their set is started with Sarah off the Black Fingernails, Red Wine album. This is followed by New York.  Despite being released as the third single from this same album, Temperley explains New York was really the first to result from their early planning of acoustic songs.  Understandably, bands must walk a fine line when touring, never wanting to sound exactly like the studio press, but the start of this one is almost unrecognisable. In Older Than You from the band’s second album, A Song Is a City, a disproportionate focus upon the heavy beats doesn’t quite allow the beauty of the melody to be captured. Indeed, given the unquestionable skill the band have as writers, I felt it wasn’t until quite late in the set that the sound properly represented this skill.  The haunting piano solo introduces Echo next,  before London Bombs continues the slower pace.  This one was written in Cairns Temperley tell us.  The unmistakeable sounds of (recorded) bagpipes welcome Foreign land from the album Inshalla.  It is obviously a favourite for the band, each clearly relishing the moment, but paying particular homage to drummer, Joel Quartermain. 

The band comically shout out to the ‘expensive plastic seat’ section at this point, hinting that- while they won’t force anyone up off their seats- this group have a strong responsibility to set the vibe for the evening.  Next up is Setting Sun which featured in the 2011 film The Last Song, rumoured to be the scene for the beginning of Miley Cyrus and Liam Hemsworths’ off-screen romance.  The band dedicate the song to Miley who is, they suggest, practically an Aussie citizen now. Like the lyrics in this one, the predominantly ‘older’ audience, clearly know and understand they’re “forever young”, partying in strong numbers at Brisbane’s Riverstage.  Who Sold Her Out follows next.  Temperley describes an intense pressure to produce a second song -one packageable as a single – for their debut album.  Determined not to ‘sell out’, the band explain this one was actually written far earlier but released in response to this pressure and to the threat of the label pulling the album.  Black Fingernails, Red Wine is up next – the song the band attributes to changing their lives forever.  Here too I perhaps would have liked the vocals and piano to been better accentuated but the powerful crescendos and cuts and unparalleled lyrics see the audience get amongst it. 

Like us, Temperley explains he is starting to get very excited to see Icehouse, an act they refer to as one of Australia’s best ever. He describes growing up listening to Icehouse, being mesmerised by their mysterious sound.  The set ends with From the Sea, undoubtedly their best adaptation of the night.  The near-incomprehensible skills of drummer, Joel Quartermain, are again showcased before From the Sea is extended.  Punters clap and sing along. All in all, this act has solidified its position as an Australian tour de force but should “the world repeat itself somehow”, and I get the chance to see them again, I hope the sound technicians can better present Eskimo Joe and all their talent.  There is a full 30-minute interlude between Eskimo Joe and Icehouse but watching the amazing roadies work, there is no doubt that every minute was required. 

Until Icehouse’s set, visuals were quite minimal, but the headliners start the show, fittingly, with a visual acknowledgement of country.  Let us hope this is a sign that this Great Southern Land continues to grow and learn. With the stage still otherwise dark, audiences are awoken first with the sounds of an isolated synthesiser, then single piano notes and finally, drums.  It is obvious immediately that any sound issues are now behind us ….. and that we are in for a night of astounding music. Icehouse start with their namesake track – ironically, released when they were instead known as The Flowers.  The crowd clap along and enjoy the stylistic and ultra-modern visuals.  Uniform from the Primitive Man album is up next before Fatman, both of which evoke (pleasing) New Order memories.  And then they played… Electric Blue, possibly their most successful song charting at number one in Australia, as well as in the top ten in both New Zealand and the United States.  While we all know the track, Icehouse cleverly accentuate both the guitar and sax solos within, allowing Paul Gildea (rhythm guitar) and Hugo Lee (saxophone) to stun with their exceptional talent. 

After four decades of music making, the band hold countless accolades. Beyond the official titles and awards though, one of their chief accomplishments has been as frontrunners in extending the use of the synthesiser beyond dance tracks. Hey Little Girl, their next song for the night, is one such example.  It is hauntingly beautiful and allows Iva to show off his voice – a voice that miraculously appears to have gone unchanged for forty years.  In Mr Big, off their 1986 Measure for Measure album, the instrumental and experimental bridge translates well to the big stage, and again reminds us just how ahead of their time this Australian band has always been. Soon enough, Iva looks to be introducing his band members – many of which have changed over the years- but he doesn’t, instead suggesting that “to the left of me… and to the right are …….humans. A little touched perhaps. A little mad”. Nice way to introduce Crazy, the next track and next most successful commercial tune for them – also hitting top ten in Oz, NZ and the states.  During Crazy, old footage of the original videoclip is run, including what has to be Australia’s best mullet and one that even I might forgive.  What an odd sensation for Iva and original crew, I remember thinking. But while they may look up and not recognise themselves, the punters certainly recognise and love this one- perfectly joining Iva in the vocals when encouraged.    Despite being a slow song, it is No Promises and the synthesiser specifically that gets me out of my seat for the first time.  Hugo Lee’s saxophone solo keeps me there and I find myself even involuntarily screaming for more. Michael Paynter next returns to the stage to lend vocals for Touch the Fire.

Though the night had many highlights, for me, it was the quiet acoustic version of A Man of Colours, the title track from their fifth studio album, that I will remember forever. I’m not an emotional person by nature. Not someone who cries a lot …but I can say without hyperbole that the song was so incredibly beautiful and powerful that I was choking back many tears.  Iva brings out the Oboe towards the end and saxophonist, Lee, takes us on another journey.  This really was something special.  Love in Motion comes on next quickening the pace and allowing me to get my boogie on. 

In a surprise move, Great Southern Land – Australia’s unofficial anthem is not last or even an encore but next on the set.  In introducing it, Gildea thanks Iva, suggesting none of them would ‘be here’, like all the songs, without him.  Despite turning 40 this year, Great Southern Land, continues to thrill audiences, as does the next one, I Can’t Help Myself. The band relish the ongoing applause enticing us to be louder again – louder perhaps than Ed Sheeran’s crowd just kilometres down the road?   The last song (or so they tell us) is We Can Get Together with Temperley from Eskimo Joe returning to join the band.

First encore is a cover of Marseilles by The Angels, a band we’re told Icehouse used to support for and for whom they continue to have great respect.  Here all members clearly rock out enjoying the moment and pay tribute to the pianist specifically.  It’s a pity at times – I recall thinking – that unlike Jazz gigs where solos are applauded mid song, often solos of this nature appear to go unnoticed. They certainly were not though and the pianist, like the drummer and saxophonist all deserve special mention here.  The band end the night with Nothing Too Serious, the lyrics of which can’t help but make me laugh.  While I was not wearing an Icehouse T-shirt on Saturday night, I swear one in five punters were.  Though the shirts, like the punters themselves perhaps, may be a little ‘warn around the edges’, they were certainly ready to party and not going home disappointed. Thank you Icehouse. Thank you for making me catch some feelings. 

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Gig ReviewsReviews
February 20, 2023
Josh Mak

[Review] Arch Enemy @ Forum Theatre, Melbourne 18/02/2023

In Thrash Metal there are the Big 4. Metallica, Megadeth, Slayer and Anthrax. Of the Big 4 in Melodic Death, Arch Enemy is clearly the Megadeth of their genre.

Heavy Metal is not merely a passion to its fans, it’s a religion, and in a religion – you do not turn up late to church. This was evident by how full The Forum was even before the opening act, Valhalore took to the stage.

Valhalore are described as an Epic Folk Metal band and Epic is the perfect adjective to describe how their set began. Sweeping orchestral arrangements gave way to thunderous drums that built to a crescendo of harmonized guitar melodies, complimented by the Celtic overtones courtesy of flutist, Sophie Grace.

Their music transcended the usual musical boundaries and managed to smoothly navigate its way between the violence of Black Metal and the earthy warmth of European Folk music. From the response of the crowd, you could see that they already have a strong presence and following in the local scene and frontman, Lachlan Neate had their full attention throughout the set. The rhythm section, comprised of Joseph Dipisa-Fiorenza (Bass) and Morgan Cox (Drums), was crushingly heavy and consistent.

A special (maybe slightly biased) mention has to be made to the guitar duo of Anthony Willis and Lucas Fisher. Both of whom I proudly recognise as brothers in the Ormsby guitar family. The guitars looked and sounded damn good and the finesse in which they played their instruments was the greatest endorsement one can give.

Europe might be the birthplace of Folk Metal but Valhalore showed that the Aussies are definitely on par with the big boys.

A massive banner covered the entire back of the stage and flags with Arch Enemy’s logo flanked the sides along with two Marshall stacks on each end. They began their set with Deceiver Deceiver off their latest album and man were they loud – very loud!

Alissa White-Gluz has such a presence about her that just oozes charisma and attitude as her voice tore its way through the songs and the audience. They followed this up with The World is Yours and the iconic, Ravenous from the legendary Wages of Sin album.

If there is a more sophisticated guitar duo than Michael Amott and Jeff Loomis in the metal scene today, I’m honestly hard-pressed to think of one. They play their guitars with a fiendish level of technicality that makes them appear more than mere mortals. There is no distinction between rhythm and lead roles, and absolutely no egos between them either. Riffs and solos cascaded flawlessly with a preternatural fluidity and together with bassist, Sharlee D’Angelo and drummer Daniel Erlandsson, they gave us a masterclass in showmanship and proficiency.

These days, any time a band shows up to a live gig with amps I always sit up and pay extra attention. Technology has now made it possible and much more cost-efficient for a band to omit amplifiers from their live shows. Therefore, those who choose to go the extra mile and use them, hold a special place in my heart. To the non-musicians this might seem like an insignificant detail but often it’s the sum of the most minute details that add up to make the largest impact.

The first time I heard Arch Enemy was 22 years ago when the album Wages of Sin (which has now gone on to be regarded as one of the cornerstones of melodic death metal) was released in 2001. The song Enemy Within captivated me and finally, after all this time, I got to see it performed live together in a mammoth 5-song encore that included, Burning Angel, Snowbound, Nemesis and Fields.

Sometimes we can hype things up in our mind and get disappointed by the result. However, on very rare occasions reality supersedes our imagination. Arch Enemy is one of those rare bands that has gone through various evolutions and has always come out the other side at the top of their game. This is just another beginning for them and I, along with legions of fans can’t wait to see what happens next.

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Gig ReviewsReviews
February 20, 2023
Kynan Arden

[Review] Bad Religion / Social Distortion @ Margaret Court Arena, Melbourne 19/02/2023

Punk. Punk Rock. A legendary device representing individuality and freedom, smiting inbreeds of hate and prejudice. What better way to celebrate punk rock than attending what was an unforgettable co-headline show delivered none other by the legendary Bad Religion and Social Distortion.

The mosh pits never wavered from the moment the quintessential logo of Bad Religion was raised to the final note of 21st Century Digital Boy, as a band who’s years couldn’t keep up with them blew the roof off an enclosed but packed arena. Opening surprisingly with none other than American Jesus, Greg Graffin and his posse of fellow LA misfits showed us demonstrated no intention of fooling around short of putting on an unforgettable show, to the extend where you would forget that this staple of punk rock have been delivering unforgettable shows for 43 years.

There was almost not time to relax between hit after hit of pure energy that could be felt throughout the entire crowd, with all of us belting the lyrics of You, Los Angeles is Burning, and the iconic Generator in which my voice could not last through the opening lyrics that deserve to be screamed, or not sung at all. The banter with the crowd was a fun experience, especially with Greg’s clever quips leading involving song titles which included boldly stating that both the bassist and the crowd had “No Control” over the night’s setlist. Even during a second viewing of this iconic group, my breath never failed to be ripped away by such a force, as I have never quite seen such finesse and precision amongst tunes so electric and fast in tempo. 

Social Distortion closely followed the first half of this incredible act, however they were certainly not least in their performance. Right after a pleasantly welcoming introduction with Muddy Water’s Mannish Boy howling through the speakers, Mike Ness made his godly presence known, rocking a beret, hunched over his Les Paul, and his wildly engaging eccentricity and poses. Bad Luck as one of the opening tracks set up the vibe of Social Distortions heavily electric set influenced by many punk greats such as The Clash, Ramones, and Iggy and the Stooges, as stated by Ness himself. 

Suddenly, my ears caught attention to the familiar introductory guitar lick of Wicked Game by Chris Isaak, and relished in such an impressive cover of a legendary recognisable track mixed with a more heavier recital known to Distortion, which was in itself a set up for an incredible second half of their set built on the foundations of such powerful and touching stories and political messages, with Ball and Chain delivering a melancholic tale of heartbreak and addiction, and the clear hatred towards racism through Don’t Drag Me Down, and with this tune alone, Mike’s words leading into the track couldn’t ring truer even in today’s society:

“White. White…..is not superior. It never has been, and never will be”

The encore in itself was a highlight, opening with Born to Kill followed closely by Story of my Life, a touchingly nostalgic story about the old days, when times were simpler, when high school was a bore and when you always wished to court that one individual a few desks away from you, concluding with the hope of similar happiness and pursuit of success in the future of your life. The show concluded with a cover of Ring of Fire by Johnny Cash, featured famously on Social Distortion’s self-titled 1990 album that, with of course an explosive link twist, still captured the essence of Cash’s legend that seeped through Mike’s vocals.

The unforgettably powerful aspect of this tour is not just a nostalgic trip back to Bad Religion’s early days touring with Social Distortion, but also the fact that both frontmen, Greg Graffin and Mike Ness, share such iconic individual vocals that never alter in any way throughout the years, whether they’re listened through records, or heard live. Such a gig will surely not be forgotten anytime soon, and seeing these two legendary bands once more would be, if I can put this explicitly, an absolute fucking delight.

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Gig ReviewsReviews
February 19, 2023
Kym Robey

[Review] The Superjesus @ The Gov, Adelaide 17/02/2023

The last time I saw The SuperJesus live was when they were given the fantastic opportunity to open for Kiss at the Adelaide Entertainment Centre last year. Although they did nail that performance and were a great warm-up act on that particular night, any band going on before a huge Kiss show are going to be somewhat dwarfed by what was to follow on the stage.

I was certainly keen to see The SuperJesus again but was looking forward to seeing them in a more intimate hometown setting, in a room full of people who were specifically there to see them.

Not only was this gig at The Gov the perfect sized venue for the band, but I was very happy to see that Melbourne’s Dallas Crane were opening the show as I’ve always found them to be a great live act in a rock club setting.

When I arrived at the venue, The Gov’s beer garden at the back of the big room was already full of people out enjoying the warm summer night and looking like they were ready for the perfect way to start the weekend.

When Dallas Crane made their appearance not long before the sun went down, they very quickly had the crowd moving from the back of the space to the front of the stage. Right from the opening number, the band blasted through a very upbeat list of songs that kicked off the night perfectly. Front-man Dave Larkin did a great job of interacting with the crowd and keeping everyone pumped up during their performance. His vocals sounded spot-on and between his trading of lead guitar- work with other founding member Pete Satchell, there wasn’t a dull moment during their slot. Throughout the set, the band sounded very tight, with bassist Chris Brodie and drummer Steve Pinkerton providing a very solid rhythm section.

The band covered a good mix of songs from their repertoire including Ladybird, Curiosity and two of their biggest hits Dirty Hearts, and of course, Sit on my Knee, which finished off the set.

Despite having plenty of their own songs to include in this one-hour set, Dallas Crane also managed to play a couple of classic rock covers which slotted in nicely and had the busy room singing along loudly. Led Zeppelin’s Rock and Roll and AC/DC’s Let There be Rock were both fun additions. By the time this opening set was over, the room had really filled up and Dallas Crane had warmed the Friday night crowd up for a big night.

After a thirty minute beer break, it was time for The SuperJesus to make their headlining appearance. As soon as they began their set, the squeeze at the front of the stage was complete as everyone jostled to the front of the room. It was great to see that this Adelaide band can still play to such an enthusiastic hometown crowd after so many years of success around the country, despite not having released a new album of original songs in twenty years. This was in stark contrast to the first SuperJesus gig I attended around 1994, at The Crown and Anchor Hotel, with a crowd of about twenty or thirty people at best.

The set opened with the song Ashes from their debut album, 1998’s Sumo, and with singer/guitarist Sarah McLeod hobbling out onto the stage in a moon-boot as a result of having a broken foot. This initially seemed to slow down her stage movements but as the show went on and the crowd got more responsive, Sarah seemed to get more and more fearless and even ended getting up on the drum-riser a few times throughout the show.

There were some big changes in the band’s line-up this time around. Not long after the Kiss support slot, a new guitarist and drummer were brought into the fold to join Sarah McLeod and original bassist Stuart Rudd. Cam Blokland was now on lead guitar and on drums, Murray Sheridan, who is also the band’s producer as they have begun work on a new album set for release later in the year. Next up was Secret Agent Man from the band’s second album Jet Age. After a couple more songs from earlier albums, the band then launched into their first of the new songs that will soon be featured on their aforementioned new album. Money (We’re Only in it for Love) is the latest SuperJesus single and this one went down very well. Not only is the song super catchy, but Sarah had the crowd singing along to it without too much effort at all. Another new track Lights Out was also instantly memorable, making me think this new album might actually do alright.

As the band ploughed through some of biggest songs from their catalogue including Gravity (complete with a huge audience-participation singalong), and Down Again, it was apparent that Sarah’s voice is stronger than ever, and the band were gelling together perfectly. You wouldn’t have known that half of the band were new additions.

After the set closer Saturation, it was clear that the band would be back onstage for an encore. The crowd demanded it! Also, the fact that the band members walked off stage without a big announcement that it was the end of the set…made it obvious that they had more to go.

When they did return to the stage, they kicked off the remaining songs with the beautifully mellow Second Sun. This, to me, was more proof that Sarah’s voice has become stronger over the years. There’s nothing wrong with the original recording at all but this live performance certainly seemed to have more feeling and grit to my ears.

After this momentary chill-out in proceedings, it was time for the band to crank it back up again  to finish the night off. Stick Together from the Rock Music album was next, before the band said their final farewells, thanked the hometown crowd, and ended the set with a cover of The Gin Blossoms’ Hey Jealousy.

Dallas Crane and The SuperJesus both seemed to be genuinely enjoying playing in Adelaide on this stop on the tour and thanked the crowd on numerous occasions during their sets. This appreciation most definitely went both ways as both bands left a lot of smiles on faces in the venue. When the lights came on, it looked like there were a lot of people who were very pleased with this start to the weekend and looked to be in no hurry to go home at all.

Your last chance to see them on their MONEY tour. 

March 3rd 2023 @ The Corner Hotel, Melbourne

Tickets Here

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Gig ReviewsReviews
February 14, 2023
Emily White

[Review] nothing, nowhere. @ 170 Russell, Melbourne 12/02/2023

February twelfth marked American hardcore emo rap band nothing,nowhere’s debut Melbourne concert; a room not just sold out, but filled to the brink with diehard fans ready for a night of musical mayhem. As the air filled with booze and whiffs of fruity vapour reminiscent of a grungy dive-bar, there was a growing buzz of built-up energy that was set to explode.

Touring Australia with his most recent self-produced album Trauma Factory (2021), front man Joseph Mulherin’s lyrics deal with personal issues of mental health, a highly relatable topic for his young audience. With such personal connection to the music, it’s no wonder fans of nothing,nowhere were so eagerly awaiting to share the night with their idol.

Warming up the crowd was New Zealander, indie singer-songwriter, Lontalius (Eddie Johnston). Wondering onto the stage, well dressed in ironed pants and leather shoes, the alt-pop musician plugged in his MacBook and began to tune his guitar. Appearing relaxed and nonchalant, this felt like the beginning of a street performance, a one-man busking style show – this was until a heavy humming electronic bass kicked in, paired with a single spotlight shadowing across his face. The first track Comfortable boasted a gorgeous oceanic aesthetic, playing relaxed guitar chords, and singing out emotional crackling vocals ‘I said I loved you and I’ve never meant it more’.

Lontalius’ set felt exceptionally human, all his lyrics so raw, and almost intrusive. It’s a strange feeling to be let into someone’s life on such a personal level without previously knowing them. The velvety chords continued, the bass kicking in without warning – such sounds forcing the heart to jump so uniquely.

 Someone Will Be There For You showcased a more layered style of music, where if you closed your eyes, a one-man band would not be what you’d imagine. With the crowd repeating ‘someone will be there for you’, a beautiful shadow cast across his face giving us a glimpse, but not providing the full picture – a metaphor for the music which let us see hints of such raw emotion, but leaves gaps for the imagination to conclude.

I Walked Right Into It was another highlight, with a stunningly moving guitar solo during the bridge which left the once lively room in silence, the tension building throughout the song. Lontalius’ performance was minimalistic, yet so well rounded. The heavy buzz of the electronic bass playing through from start to end rattled the bones of the venue, preparing the crowd for what was to come.

The room grew silent as an ambient hum suffocated the room, the sound increasing in intensity, and so too did the heartrates of the crowd. The band emerged from the darkness and before you could take a breath and soak it all in, the music had begun. Hurtling into the first track with a heavy kickdrum and lightning-speed metal guitar, CYAN1DE did not hold back. Front man and singer/rapper Joe providing his signature style of screamo vocals – it was unimaginable that he was going to maintain such power and angst for the entire set. From the first track it was clear the fans of nothing,nowhere were not the regular emo crowd, but a heavy cult-following of young people who impressively knew each and every word of the hard-hitting, emotion filled raps.  

An ongoing structure of the band’s music is the lower intensity, controlled rap verses, in the lead up to viscous metal choruses. The three-piece band consisting of a drummer and two electric guitarists was so incredibly tight, not missing a beat the entire show. It was also abundantly clear that the drumer lead the tracks, with the volume and velocity being unlike anything I had heard before.

pretend did not stray from the structure of rap verses in the lead up to a huge chorus, the crowd chanting ‘tell me you need me even if you don’t’ as heavy strobe filled the room, lighting up the sold-out audience to see them moving in unison, the music acting as a puppeteer. The next song nightmare marked the first time the band addressed the crowd – not to say ‘hello’ or to make small talk but ordering them to ‘fucking jump’. Not a soul disobeyed. nothing,nowehere’s live shows are built upon the energy of their audience, the collaborative effort making for an experience that cannot be replicated on a studio album.

The night played out like a rollercoaster of adrenaline, the highs exceeding levels I once thought possible, and the contrasting lows leaving the crowd wanting more. Part way through the emo hit love or chemistry, the music abruptly came to a stop, Joe yelling ‘Melbourne are you still with us? I want you to prove it right now!’ This was a call to action for the crowd to take their energy to the next level – and they did not hold back. lights (4444), one of their slower-paced tracks filled the room with an ethereal feel, being backed by the sound of water droplets. However, the lyrics did not follow suit, providing the signature sound and grunge sentiment screaming ‘I don’t give a fuck if you hate me’.

The night so far had been highly performative and based on the emo-hardcore persona of the band; so, when Joe bought his girlfriend Hillary on stage and asked the crowd to sing Happy Birthday, it was a beautiful, human moment that I’m sure the fans feel so honoured to have shared. Even within all the chaos and commotion, it was clear this group of individuals shared a lot of love for one another.

If pulled apart and digested as intended, there are many nothing,nowhere songs that are filled with positive themes. Pieces of you and fake friend were a break from the darkness, anthems about letting go of your worries about what others think of you. It was at this stage that the band became more a part of the crowd, jumping taped sections of the stage, and climbing up barricades to be fully emersed in the tail-end of the show.

Clarity in Kerosene was clearly a fan favourite, everyone with their phones in the air trying to capture the moment on video, the crowd singing the agonising lyrics in unison ‘I hope you choke in your sleep, while you’re dreaming of me’. Hopes Up was performed beautifully in compete darkness, being lit up only by the speckles of smartphone flashlights – replicating stars in a night sky. Joe’s movement across the stage remained so seamless, it is clear these are his songs and his words.

It was at this point of the night that the band had the room’s actions at their fingertips – and they were about to cause some havoc. Their newest single M1SERY_SYNDROME, is rife with gorgeous repetitive guitar riffs hiding behind the violent chaos of the drums and bass. The heat of the music physically manifested its way into the crowd, with the force of a thousand bodies surging forward. A wall of death formed in the middle of the crowd, and at that point all control was lost. It is a rare occurrence to see such uninhibited, 90s-style moshing in today’s music scene, but this concert saw bodies flying through space – a sense of bliss in delirium.

As quickly as they took to the stage, the band was off. But from the wings you could hear Joe murmur ‘one more song you say?’, hammer was an invitation for the crowd to give off every last ounce of energy they had; the crowd soaked with sweat and short of breath. nothing,nowhere departed the stage for the last time in the blink of an eye, the whole event feeling like a dream – or rather a gorgeous nightmare.

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Gig ReviewsReviews
September 2, 2022
Kym Robey

[Review] KISS @ Adelaide Entertainment Center, Adelaide 30/8/2022

Without a doubt, KISS was THE band that started it all for me. My obsession with rock music, the way that I dress, even the majority of my friends today…pretty much everything in my life can be traced back to KISS.

As a very young kid when KISS were at their peak of popularity in Australia, they were impossible to miss. They were everywhere! Everyone seemed to be listening to KISS as they were all over the TV, radio, and on the covers of so many magazines! At school, we were all trading KISS cards, eating Kiss ice-blocks and had their posters on our walls at home.

When KISS first toured here in 1980, I still recall being devastated that I was too young to go see them and nobody would take me.

Despite Kiss-mania being a relatively short-lived phenomenon in Australia (they were pretty uncool to most people about a year after their first visit here), I remained a fan for life.

Even though I’ve since seen KISS many times over the years, since missing that first visit here, I was very excited to see that they would be returning to the country for their End of The Road Tour. Initially, Australia wasn’t included on the band’s farewell tour schedule, but thanks to that pesky virus you may have heard about, the whole tour was postponed and then rescheduled with Aussie tour dates added! Thanks Covid 19!

Arriving at the Adelaide Entertainment Centre on the night, it was impossible not to feel the sense of occasion! Of course, there were fans dressed up as their favourite member of Kiss, complete with make-up and elaborate costumes, and plenty of fans just sporting the make-up with their casual jeans and rock T-shirts on.

As is often the case, a KISS concert evokes a vibe that’s like a cross between a rock show and a visit to the circus. It’s fantastic!

By the time the doors to the venue were opened, the gig was completely sold out! There were even quite a few people outside the box office holding up signs to let people know they were after tickets. It was good to see KISS were getting a proper send-off in Adelaide.

Inside the lobby everyone seemed to be buzzing with excitement. By the time I got down to the front of the stage with beer in hand, I was really feeling it myself.

Opening the show was Adelaide’s own The SuperJesus. I was very excited for them (and maybe slightly jealous) as I’ve known these guys for years and know how thrilled they were to be playing on the same stage as KISS. Obviously playing to a room full of KISS fans waiting to see their larger-than-life idols on stage could potentially be a tough gig, the band were up for the challenge for sure. They sounded tight and had a big enough sound to win over the crowd early on in their set. They blitzed their way through some of their best-known songs including Down Again, Secret Agent Man, and ending their set with Gravity, with frontwoman Sarah Mc Leod doing a great job of encouraging audience participation and making the most of the large stage. They did a great job of warming up the crowd for KISS.

Not long after this support set, the giant KISS banner was erected in front of the stage, adding to the anticipation in the room. Anyone who’s been to a KISS gig knows that when that curtain drops…a whole new world is revealed.

As time ticked down to the appearance of KISS, classic rock anthems blasted out from the P.A. getting the full room pumped up for the main event. Through AC/DCs Thunderstruck and Led Zeppelin’s Rock and Roll…the anticipation grew, until…those famous words echoed out loudly across the Entertainment Centre…’You wanted the best…you GOT the best…the hottest band in the world…KISS!!!!!!’

The curtain dropped right on queue and BANG!!! It was on! Lights, smoke, giant flames, fireworks…the larger-than-life band members dropping from the ceiling on giant robotic platforms…THIS is why KISS is synonymous with over-the-top rock n roll theatrics! Within the first thirty seconds of the show, you’re bombarded with everything you could expect from a big rock concert and more. 

To be honest, despite being a big KISS fan, before the gig I wasn’t 100% excited knowing what their set list would likely look like. KISS tend to stick to a fairly similar set of their best known hits, songs which I often skip when listening to Kiss as I’ve heard them all a million times over the years.

However, as soon as that curtain dropped and the opening to Detroit Rock City kicked off the show, all thoughts of issues with the set were instantly forgotten. Right after the big opening it was full steam ahead with the massive KISS anthem Shout it Out Loud. This one seemed to have everyone singing along at the top of their voice. From here it was early KISS with Deuce from their first album. During this song, the big screens were showing vintage footage of the band from the early 70s which got me thinking about the beauty of KISS being in full make-up and costumes again. Even though the core band members Paul Stanley and Gene Simmons are in their 70s now, being in character, they still look exactly the same as they did when I worshipped them as a kid! With the face paint on, they are still the star child and the demon, the rock gods they were to me back then! War Machine from the Creatures of the Night album was next, which has become a KISS live staple and fan favourite, despite this coming from a turbulent period in the band’s early 80s history. After this was the first song from the band’s non-make up days, Heaven’s on Fire which has always slotted perfectly into the set as though it was an early year’s classic.

Another song from the Creatures of the Night album that has become a KISS classic was next. I Love it Loud is one of the best rock crowd singalongs ever and did not disappoint, this one had the whole arena joining the call-and-response war-cry in unison, even those who weren’t familiar with this era of KISS seemed to be singing along loudly.

The one song that I was surprised was in the set was next. From the 2009 album Sonic Boom, came Say Yeah. This would have easily been the least known song from the KISS catalogue on the night but once again, being a typical Kiss anthem, it had everyone singing along by the end of the song. After this, it was back to classic KISS with Cold Gin, followed by an impressive guitar solo by guitarist Tommy Thayer, complete with fireworks shooting from his guitar!

The set continued on with popular songs from the band’s history, featuring all the KISS trademark moves, including bassist Gene Simmons breathing fire and then spitting blood while rising up on a platform to sing God of Thunder while  looking down from the top of the arena, a drum solo from Eric Singer while his drum riser lifted him up above the stage with smoke billowing from below, and then front-man Paul Stanley being carried from the front of the stage on a zip-line where he performed Love Gun up close and personal to those in the back of the room. From here, the band then launched into I was Made for Lovin’ You while Paul flew back over everyone’s heads to the main stage again.

The last song of the main set was Black Diamond, featuring drummer Eric Singer on vocals, with the band then vacating the stage behind a huge display of smoke and fireworks.

Within just a few minutes, the encore began with Eric once again on vocals, this time sitting behind a glittery grand piano for a rendition of Beth, the ballad originally sang by KISS’ original drummer. Peter Criss

As the show drew to a close, it was time for a song that was a huge hit in Australia for KISS but nowhere else in the world, Shandi, from the Unmasked album. As the opening chords rang out, dozens of huge KISS balloons dropped from the ceiling and it became a fun spectacle to watch as they were thrown around the Entertainment Centre, seemingly in time with the music.

Finally, it was time for the show-closing anthem that has ended many KISS shows over the years, and would likely be the last song the band would ever play in Adelaide…Rock and Roll All Nite. With this, the band certainly went out with a bang! As soon as the band said their goodbyes and launched into the opening chords of the song, they threw everything they had at the crowd. There was confetti pumped out into the air, smoke, fireworks, flames…all of the theatrics they had left in the bank were pumped out onto the stage for their final farewell and it was a spectacular finale for sure!

I seriously doubt that anybody who was in attendance for this gig had a bad time. KISS had lived up to the hype that they put on the best rock n’ roll show in the world and this seemed like a very fitting way to say goodbye to Adelaide on this final tour. To me, this gig more than reminded me of what got me into rock music in the first place, and I suspect it may have even inspired some younger audience members to discover it for the first time!

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Gig ReviewsReviews
August 30, 2022
STM

[Review] Hilltop Hoods @ Brisbane Entertainment Center, Brisbane 27/08/2022

Over a ‘Great Expanse’ of 20 plus years, I would have seen the Hilltop Hoods perform live six or seven times now. While, yes, the sets and crowds continue to get bigger, and the pyrotechnics, lighting and venues continue to improve, what hasn’t changed – and what I suspect is the real reason thousands flock year after year to see the Hoods – is the energy the famous trio bring to every city they visit. Enamoured by fans young and old, Suffa, Pressure and DJ Debris blessed a sold out crowd in Brisbane on Saturday night. Here’s just one Brissie girl’s recollection of her time in ‘The Nosebleed Section’.

An X-ecutioners fan from way back, I was disappointed to not quite get to see all of DJ Eclipse’s set. Fortunately, Brisbanites can catch the Brooklyn born turned Aussie local fairly regularly. It’s obvious why Eclipse continues to receive accolades for his blending, scratching, and beat juggling. Having been in the business; the ‘Show Business’; for nearly three decades now, and having even being credited with helping to pioneer turntablism, Eclipse still knows how to hypnotise an audience. Previously, he’s explained the benefits of playing to an Australian crowd: a crowd noticeably more open to showing their excitement than those in the Big Apple. He takes us on a journey. His own journey emanates from every set performed – there’s no mistaking the sounds of the New York scene in the late 90’s, a time referred to as the Golden Era of Hip Hop for a reason. How appropriate then that the revered DJ is now signed to the Hoods label entitled, Golden Era Records. Fortunately for me, this also means Eclipse returns to the stage for A B Original’s set.

Until then though, crowds are treated to an all-too short set by young Kenyan powerhouse Elsy Wameyo. Like the Hoods, this talented vocalist grew up in Adelaide and though relatively new to the scene, it’s obvious she won’t be an ‘Outcast’ for long. Her flow is flawless, fast paced and frenetic. Her professionalism and range allow seamless switches between soulful ballads like Daily and festival-bound bangers like the River Nile. Come the third song, Promise, Elsy entices the Brisbane audience, initially hesitant to get involved, to sing along. Though just four of her usual 7-piece band join her this time, they too are exceptional. If you are yet to listen to Elsy, make it a priority. I genuinely can’t help but move when her beats drop.

When aptly named A B Original (say that quickly now) hit the stage, the energy continues. Unapologetically political, Briggs and Trials continue their mission of presenting young Indigenous Australians with a vision and a sound of what’s possible. Previously they’ve reflected on not having local Indigenous rappers to look up to as children. Like Elsy before them, they are initially – and visibly – disappointed with the audience replies, but soon get us joining into their passionate set which includes King Billy CokeBottle, 2 Black 2 strong, Black Balls and their version of Paul Kelly’s Dumb Things among others. Joined by a pianist, DJ Eclipse, guest vocalist for January 26 and the equally powerful and multi-talented Mo’Ju, A B perform passionately. They suitably warm the audience up for what is sure to be a killa night ahead.

At about this time, my friend and I start taking bets on whether the floor-to-ceiling maroon velvet curtain hiding the ‘real’ stage will drop or rise when the Hoods come on. It drops…revealing a 5 metre-high, platform for Debris constructed upon a massive HTH fluro-illuminated emblem. Perhaps the Hoods need to get better at keeping secrets though – ha ha – fans like me had already seen the set when they’d posted it on social media earlier that day. Hey, it’s understandable – as was Debris’ obvious excitement during footage of him first seeing his coveted office-space for the night. Who says working from home is the best?!?

And so, the stage alights – literally with fire -and Suffa and Pressure start their marathon performance with Leave me Lonely, running to and fro, jumping non-stop and leaving no doubt that these veterans can still cut it. In May I had the privilege of sitting down with Suffa Mc (see that whole interview here). During our chat he was telling me how earlier that day his personal trainer had nearly broken him – you can see why that’s necessary – neither him nor Pressure stop to take a breath for most of the 90plus minute set, a set they’re next taking to Sydney, Perth, Melbourne and Adelaide. Though an older fan like me would have liked more from the first two albums, their inclusion of Chase that Feeling made me very happy, and reminiscent. It’s also during this song that I first realise just how far out into the crowd the rappers can come.. and they do so often. Indeed, making their crowds feel welcome and involved is clearly a mission of the trios. Favourites Nosebleed Section and 1955 come next, the latter of which sees guest vocalist, Nyassa, join the stage. She wears what has come to be her signature look including headband, and a boxy jumpsuit with shoulder pads that would impress even the 1980’s. Her mic seems quite quiet at first but this is later rectified. Like time travellers we’re suddenly thrown back to the present, with not one but two new songs busted out: first Show Business – normally featuring Eamon and the song that gave the tour its title and then Whole Nights Day, the tune that got ‘the 1955 band back together’.

By now I’m predicting a few slower tracks – surely these two are going to pass out at any minute…. but I’m wrong. They pick up the pace once again and get everyone back on their feet for I Love It. This track is hot, and not just because the flame throwers have come alive again. Suffa and Pressure alike are sweating. So are we but in the best way possible. Ok, so I was one song off. The pace does slow briefly for Let You Down. Clark Griswald follows – but where are those grey wigs, plaid vests and Chinos fellas? Nearly didn’t recognise ya!

Despite being a diehard fan, there are a few songs, typically those with guest vocalists, that I haven’t always appreciated as much as I should have. Songs that just ‘bang’ with so much more ‘buck’ when live. This is true of Exit Sign I think. It’s so much fun. Live and Let Go follows with the crowd singing along in the absence of Maverick Sabre and Brother Ali. It is at this point, during Through the Dark that the Hoods, and Pressure specifically, remind us of just how far they’ve all come, just how versatile they are … and how blessed. Written hospital bedside in 2014 while his son battled Leukaemia, Pressure explains this was one of the hardest songs to ever write. Thankfully, this prayer “to Hip Hop Almighty” was answered and post a full recovery, his son’s battle has inspired a collaboration with CanTeen offering young cancer patients Side of Stage perks. If you’ve never looked at the lyrics for Higher – the set’s next track- go check them out. With almost as many cultural references as an all-time fav of mine, Fifty-in-five, such writing reminds us that the Hoods are indeed dope lyricists, poets even, not just Emcees with flows for days. At this point, Nyassa leaves the stage. Though clearly a talented vocalist, the Hoods ever the professionals, are generous to a fault and gracious, even giving her literal centre stage for the entire time she joins them. Perhaps Suffa and Pressure instead envied Debris birds’ eye view – both joining him at different parts of the set. Counterweight channels eerie Radiohead vibes to start but also lets the drummer and the horns section show off their skills. This is a great example of a tune that should shut down any haters who might dismiss Hip Hop as lacking melody. Indeed, the Hoods don’t just “write rhymes” but have consistently pushed the boundaries of the genre – highlighted best perhaps by their ongoing collaborations with symphony orchestras both on stage and in the studio.

And just like that “they came and they conquered”… well not quite. I sometimes get annoyed at Brisbane crowds – often their demand for encores are not what they should be! But, true to form, the Hoods treat us to not one but two extra songs: Rattling the Keys to the Kingdom and, as predicted, Cosby Sweater. All supports are welcomed back on stage too and the Brisbane Entertainment Centre really lights up. “And it’s all good. And it’s all good. And it’s all good”.

Suffa, Pressure, Debris you continue to amaze. You continue to educate but “it would take a nation of millions to stop” me requesting that you play your millions of fans more of The Calling, The Hard Road and State of The Art next time. Cos, like you, “we’re still standing and we’ll be back again.”

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Gig ReviewsReviews
August 23, 2022
Megan Milner

[Review] MONOLITH FESTIVAL @ Bella Vista Farm, NSW 20/08/2022

The inaugural Monolith Festival kicked off in Brisbane last weekend to a fantastic crowd. The all Aussie lineup is helping us warm up to festivals and live shows becoming a more regular occurrence, once again.
7 bands, 1 stage, NO clashes! 

The morning’s weather is less than ideal, a grumpy sky and some rain make any punter nervous about the day ahead in an open field in Sydney’s west. As the clock edges closer to the gates opening, the skies open to a beautiful blue, just for us.
Today’s venue, Bella Vista Farm is a large open green ground, with sheep grazing behind a fence, and natures amphitheatre at the foot of a hill, this is where the stage can be found. With only 1 bar, 1 merch tent and a few food trucks it is not regular festival programming today. 

I walk the perimeter on my arrival, making sure I absorb every aspect of the festival set up by the legends over at Destroy All Lines, I get a drink and prop myself on the hill to watch Perth based, experimental prog rock group Yomi Ship, kick off the day.
Yomi Ship are the first of 3 instrumental acts on the Monolith line up. Yomi Ship demonstrates to audience members that although vocals give a band more depth, they are not always required. As we observe and take in Yomi Ship’s ripping riffage and melodies as they perform songs like Seamonkey, Ice Drake, and S.H.A.M.A.N. as we appreciate the level of musicianship. 

The day is under way and with less than 30-minute change over intervals, we are treated to another healthy dose of live music with Reliqa. Their energy was infectious and thank goodness as the dampness of the ground had made everyone quite uncomfortable, we are on our feet! Sydney-based rockers came out with guns blazing. Front woman, Monique Pym’s energy does not come down once. There are many headbangers in the crowd, including one blue Power Ranger! With Mr Magic and The Halfway Point, Reliqa encourages punters to hustle closer to the barrier. Every song after this, including Safety, which was only released last week, is said to be a brand-new tune. 

The enigmatic and hefty introduction to Tundra introduced Sydney’s Sleepmakeswaves, an instrumental rock band with members Otto Wicks-Green on guitar, Lachlan Marks on guitar, Tim Adderley on drums, and Alex Wilson on bass, keys, and electronics. Sleepmakeswaves‘ heavy and layered sounds were pushed out into the crowd in melodic and energising waves, bringing skilful professional riffage! They played a well-balanced show, with tremendous energy and seamless transitions between songs. The air was painted with melodic and intricate works of art by the songs The Stars are Stigmata, Traced in Constellations, Great Northern, and Something Like Avalanches. Sleepmakeswaves left its impression on audiences with long-time fans happy and plenty of new fans excited to hear their most recent song, Pyramids, a gorgeous heavy piece. As they approach the microphones, used only to speak with the crowd, they are humble and appreciative of all in attendance. 

Plini is up next, rounding out the instrumental acts of the day. I have known about their music for some time now and their reputation for being astounding musicians. We audience members are being intoxicated by Plini songs like I’ll Tell You Someday, Every Piece Matters, and I cannot forget the fan favourite Electric Sunrise as their immaculate arrangements pulse and soar off the stage. They bring a different energy to the other 2 instrumental bands, and really stand out. 

The sun begins to descend behind the hill as the Ocean Grove backdrop is raised. Being the band, I most looked forward today, I leave the height of the hill and enter the pit for the madness about to ensue. From the moment they burst on stage with Superstar the energy of the day is lifted, and atmosphere altered as the crowd bellows in excitement.
OG stand out on this line up, as their flavour of nu-metal/rock/punk/oddworld is quite different from the other acts. Although I commend the organisers for throwing this incredible wildcard.
Front man Dale Tanner’s energy is endless, as soon as I see him wearing dark blue coveralls, I know we are in a world of trouble and there is a big performance coming. (Fever 333 fans will understand!) A packed set of hits including Junkie$ and Sex Dope Gold are thrown our way, opening the moshpit instantly. Bass player Twiggy Hunter was recently released from hospital although it did not hinder his performance, with a beaming smile from start to finish he lends backing vocals to many songs while holding down the bass with a style like no other. We are so glad he is on the mend!
Drummer Sam Bassal treats us to a fantastic solo on the song, Guys from the Gord, as we are swept into Thousand Golden People. It is an interesting song with a hard-hitting intro, some borderline rapping from Dale progressing into a huge chorus for the crowd to join in on.

Before they hit the stage someone asked me what genre Ocean Grove are, I simply replied ‘yes’.

The only criticism I would have of their performance would be the lighting. It is back lit so extreme that I can only see Dale’s face when he is close to the drum riser, otherwise he is but a shadow on the stage. For a performer who is constantly moving and bonding with the crowd, it was a shame to not see more facial expressions and connect with the enigmatic front man especially being on the barrier.
Ocean Grove performed a tremendous show that will be hard to top, bringing psychedelic vibes with Ask for the Anthem and their collaboration track with Brisbane rockers Dune Rats, Bored. Concluding with their legendary song Sunny, which I am singing at the top of my lungs. Go ahead and put that song on now and tell me you do not want to scream the chorus.
The unconventional and funky flavours and electrifying energy of Ocean Grove made a lasting effect on attendees of the Monolith Festival. The sun was still in the sky as Ocean Grove took to the stage, as I turn around, we are covered in darkness. I leave the pit out of breath, elated and beyond happy. 

The crowd has amassed monumentally, ready for the two big acts to close out the day. It did not feel like all that long before Cog are before us. Fans begin to sway and fill the front of the stage as Bitter Pills begins with its lengthy and mysterious opening. 

COG‘s set, which is shaping up to be an excellent blend of their very early bangers that have stood the test of time and later material the crowd has fallen in love with, is best described as melodic, heavy, and intricate. We get to sing along to Anarchy Ok and What If, after the ferocious nature of Ocean Groves set the energy is lower and the songs longer as they create an ambient atmosphere.
The Middle and Open Up, two more recent songs, seamlessly blended into the nostalgic setlist. Bassist Luke Gower and vocalist/guitarist Flynn Gower bounce off each other, seeming extremely happy to be on stage together once more. The sense of comradery is extremely evident up there tonight. I am incredibly impressed by their ability to play almost identical to the recorded version.

Closing out the set with favourite Bird of Feather we are all singing in unison. For a track that was released in 2008, it seems the whole venue know it word for word as friends and strangers are arm in arm singing at the top of their lungs. This track transports me back to high school and I could not be happier to be here today with my best friend, as we dance around and adore every moment. 

As Karnivool‘s performance time drew near, a sheer black curtain went up, not blocking the view of much at all. The instrumental for Fear of the Sky began to play, lights and shadowy figures began to appear. As the stronger beats slowed down, the curtain fell, revealing Karnivool in a haze of light. The audience went wild! 

It’s no surprise most of the punters are here for Karnivool. Spotting Karnivool shirts at the train station, bus stop and more and more at the festival as merchandise is purchased. Fans are utterly devouring Goliath, Animation, Set Fire To The Hive as they swing their arms, dance, and headbang in the pit.
Ian Kenny’s vocals are astounding. If you have listened to but 1 Karnivool track and attempted to sing along, you quickly realise how difficult those songs are. Add on a festival appearance, cool wind snapping at your face and a smoke machine filling the stage every few minutes, Kenny keeps his top-tier vocals throughout the performance.
Simple Boy is an example of his remarkable vocals, as the crowd help, singing it as loud as they can. 

Kenny praises the superiority of Australian music. We all yell in unison. Who would have thought COVID lockouts would ever occur, and now that Karnivool is entertaining us as they have never left the stage? The drums of Steve Judd are strong and beat throughout the farm, he is hitting those skins so hard I question if he will need a change out midway through!
Roquefort and Themata from 2005’s album of the same name, Themata, are very evident crowd favourites. As a DJ of Sydney heavy clubs, I played/heard Themata every week for my entire 20s and I am brimming with nostalgia. The crowd dances and throws their fists to the sky, smiles across everyone’s faces until they close out their set with New Day. 

Karnivool is not done with us yet. The Aussie legends return to the stage for two more tracks for the hungry crowd who were whipped up into a frenzy more by with All It Takes, one of their more recent and heavy from 2021. With Fade, the great concert came to an end. The crowd went wild, making the most of the evening’s final song.
The audience was content by Karnivool, but they eventually wanted more! A tribute to the renowned Australian progressive rock group. 

The first Monolith Festival in Sydney went down in history for many as the black-clad crowd, many in Karnivool shirts by now, exit the green pastures of Bella Vista Farm. Without a doubt, the day was a huge success, each and every band put on outstanding performances that captured the attention and hearts of all.  

The size of the festival was spot on, no clashes meant every act got the attention they deserved and a moment to shine. A free shuttle bus was parked outside the venue to transport the droves home or to the pub safely, to no doubt, recall stories of the day well into the night and year.
Here’s hoping Monolith becomes a festival staple. 

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Gig ReviewsReviews
August 22, 2022
Midnite Mitch

[Review] Be’lakor @ Corner Hotel, Melbourne 20/08/2022

Tonight, is a night full of incredible melodies, whether it’s from a black, death or just a straight up metal riff, there is melody in the air coming from all these bands. It’s been a little while for me since going to a local Melbourne scene gig, it was a great reminder of how supportive and kind the scene really can be. This is a sold-out show and it’s great to see a line outside at a venue for a local gig, its been years since seeing that kind of thing, the patch vests are out, there are familiar faces around and the Jack Daniels is flowing!

Opening the festivities is Black Lava, bringing on their melodic black sound with killer riffs and an absolutely cracking snare sound, that thing cut through the mix perfectly and the drummer was hard-hitting, perfect combination. Being a Black Metal 4 piece band can be hard, you need to consider how everything gels together live, clearly, these guys know what they are doing because they had a full band sound with just the one guitar, you could hear all the intricacies of the music without it sound thin. While watching though, I realise I’ve seen the beast of a vocalist before and note that it’s the singer of local Black Metallers Blackhelm. Anyone into Watain or Satyricon-style bands should check them out. They played to a half full venue at 7:30 but they got everyone there into their music.

Next out for this night of tightly played melodic music is Andy Gillion and his band, featuring 2 members of Orpheus on bass tonight, Chris and Leon. This is a completely instrumental set and this type of thing can either be really entertaining or drag on, lucky for me it was the first option. Andy and his band are incredible to watch, these guys make playing guitar look easy. Their playing was so fluid, their right hands just seemed to wash over the guitars while their left was all over the fretboard, it felt like I should be taking notes at a masterclass. Andy states that he has been living in Australia for about 5 years now and this is his first Melbourne show played, the appreciation is genuine, and I don’t think he stopped smiling for the entire set.

At the end of Andy Gillion’s set, the curtains close and the crowd starts to move closer to the stage, Orpheus Omega are starting to set up. The curtains open with the band coming out to play Within These Walls, the new single that happens to feature Andy in it, who pops back up on stage to shred his solo. Chris has complete control over the crowd with quick and ground-setting speeches, laying down the law of “no crowd surfing” Yeah.. thanks Captain Buzzkill Jeez! (I’m kidding Chris, if you’re reading this… I promise) but he does make up for it at the end of the set with “I’m not telling you people what to do but IF you know what USUALLY happens in this last song and happen to do those things if you are so inclined.. that’s on you” with a massive grin. Orpheus smashes out a killer set of the hits from over the last couple of albums and dedicate Lighthouse from the latest album, Wear Your Sins to a member of the local scene who has recently passed. As I said earlier, this was just the night for the Melbourne scene to catch up and show its solidarity.

The curtains close once more and Be’lakor are now taking their turn in getting ready to darken the room with their progressive blackened sound. The crowd is now at full capacity, and you can no longer move around the venue, the anticipation is high, and the crowd doesn’t seem to have lost any energy at all. These guys know how to write a song, they remind a bit of Insomnium or something along those lines, epic, big-sounding LONG songs, they had about 90mins to play, and I think that was about 8 – 9 songs. These songs though are jammed packed with killer riffs that had the crowd moving and headbanging from start to finish. There were people singing along to most of the songs and their fans were ranging from old schoolers to the next generation, it’s great to see that their music has that kind of reach. Their live sound was amazing and did not disappoint, the amount of reverb on the drums made it sound like they were playing a massive open hall and just gave the music so much more atmosphere.

It is great to see so many people out and about for local gigs once again, I hope this makes everyone else just as hungry to go out and find more local bands and get the scene back to its former glory. I will be humming or playing these damn songs that are stuck in my head for weeks now, thanks guys!

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