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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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Gig ReviewsReviews
August 21, 2022
Cassandra Hale

[Review] KISS @ Rod Laver Arena, Melbourne 20/8/2022

The wait has been long, and the KISS Army have been patiently biding their time, finally the day was upon us and the time was NOW! KISS are literally the hottest band in the world right now, and while that mantra has followed them for almost 50 years there has never been a truer statement.  The KISS juggernaut has been a staple in almost every Australian home, in my case they even had their own dedicated room! Hugely loved and welcomed with open arms every single time they touch down, their fans are loyal and fiercely devoted which makes the experience of a KISS concert memory to treasure forever.

As I made my way towards Rod Laver Arena in Melbourne for the first show of the End Of The Road Australian tour, surrounded by my fellow KISSaholics, the ripples of excitement were brewing. There were painted faces, KISS T-shirts for miles, and families bringing their kids along to witness what would be the show of a lifetime. I took my spot on the floor, ready to get up close and personal with the band that has shaped my musical life. I felt overwhelmed with excitement and emotion, The End Of The Road is just that and I am not sure that I was ready to say goodbye just yet. But alas, I was glad I was there to soak up every bit of the tour, surrounded by like-minded fans all there to bask in KISS glory.

Melbourne hard rock outfit Dead City Ruins nabbed the coveted opening slot on night one, playing to a sold-out arena and thousands of adrenaline-filled punters. I can only imagine the high they were riding on, and it sure did come alive during their set. Blasting through their songs they engaged with the crowd and put on an amazing show. If there was ever a band that was a walking advertisement for good hair care it was them, luscious locks aplenty as they shredded their set. Booming vocals from Steve Welsh had the crowd up and about, many wearing their merch and singing the songs. Being a local Melbourne band, it was fantastic to see such great support for them. They have a new album out next month and we were treated to a sample of what is to come. It is one you do not want to miss, go check them out, and you will be glad you did.

Now it was time to bring out the big guns and they come no bigger than KISS, the arena was electric, carrying its own pulse in anticipation. The start time came and went which added to the nervous tension, but as the lights dropped the roar was deafening. Lowering from the ceiling on pods, KISS appear belting out the classic Detroit Rock City, accompanied by pyro, flames, and a light show that left me speechless. I have seen KISS more times than I can count but I still cannot explain the overwhelming feeling of joy that they bring to each and every show.  It was a non-stop thrill ride as they smashed through Shout It Out Loud, Deuce, War Machine, and Heavens on Fire. The stage hid all sorts of party tricks that kept coming nonstop.  The heat from the flames was intense as Gene worked his magic during I Love It Loud, there was a lot of crowd participation, and came complete with the obligatory fire breathing display that we all know and love.  Cold Gin was Tommy Thayer’s time to shine as he ripped out his guitar solo and fired rockets across the stage. He has stepped into the Spaceman’s boots in a fluid movement and has looked at home from day dot.

Lick It Up was definitely a favourite and one that had Gene literally licking everything in sight with his trademark tongue out more than it was in. Gene Simmons, the backbone of KISS is such a consummate professional onstage, blasting his bass to within an inch of its life but always making sure the show runs like clockwork and every piece of the action is delivered one hundred percent every single time!  I hope that I can channel his energy when I am his age, he made me tired just watching last night, never taking a break, it was go go go from start to finish.  KISS always have, and always will, until that last show give it everything they have and leave nothing in the tank, that’s just how they roll.

The setlist was extensive covering most of the huge catalogue of albums, Dr Love, Do You Love Me, the hits just kept coming. Then as were saw a merge of Psycho Circus and 100,000 years, Eric Singer came to the forefront. His enormous drum kit catching the laser lights was a truly beautiful thing to see, his playing exemplary as always. Getting the crowd involved as he belted out a solo that echoed throughout the arena and had all eyes on him. Wowing the fans as he spun cymbals and sticks his drum riser raised to the roof and had everyone losing their minds, smoke pouring from underneath, it really was quite the spectacle.

Would it even be a KISS show if Gene did not spew forth blood during God Of thunder? Absolutely not, so we were all delighted when the green hue of lights and smoke swamped the stage and Gene treated us to his best ever party trick. Treating a lucky fan to his blood-spattered towel as he tossed it to the punters almost causing a riot. His riser taking high to the ceiling to watch over us as he sang, almost like a preacher with his congregation.

Frontman and KISS itself, Paul Stanley is still shaking his bootie with the best of them, playing his guitar over his head while giving us all a sexy shimmy. His stamina is undying as he jumped on a zip line to whizz across the venue to a second stage to play Love Gun and I Was Made For Loving You. The stage lighting up with disco balls and setting a bit of a frenzy amongst the fans, it is always a great one to sing along to and gets everyone jumping. Time to hear from Eric on vocals as Black Diamond rings out, it is one from the inception of KISS but still holds so much weight now in 2022. In classic KISS fashion, the drums rise again showcasing the cat motif and spinning pinwheels of sparks and explosions.

After a brief moment off the stage and cheers for more a stunning grand piano appears and Eric breaks into the beautiful ballad Beth, we are all singing along lighting up Rod Laver with our phone torches, knowing the night is getting close to being over and not being anywhere near ready for it.  Being like a second home for KISS, we are always treated to an exception to the regular setlist, last night it was Shandi, and what a sight it was as supersized KISS balloons rained down on us as they crooned the much-loved hit from Unmasked.

The drums started and that famous intro to Rock and Roll All Nite rang out, with smoke and confetti cannons on steroids we were awash with excitement and adrenaline as the boys brought it home.  We were answering the call as Paul worked us close to delirium, Rod Laver was heaving, and we were singing the oh-so-familiar lyrics I Wanna Rock and Roll All Nite and Party Every Day! The risers were headed to the sky with Gene and Tommy on board as Paul smashed his guitar and handed it over to one very lucky fan.  With more pyro and fireworks than New Year’s Eve, the show was over and we were left raw with emotion but on a high from the most amazing show of all time.

There are still a few tickets for the last Melbourne show on Tuesday night, and I recommend you grab them fast, believe me, this show will change your life. Then you too can wear your badge with pride and say you have earned your place in KISSTORY!

There will never be another band that can compare to KISS, their love and dedication to their loyal KISS Army have been ever present and all we can do is say thank you. Thank you for the music of our childhood, thank you for the music that shaped our lives, and thank you for being THE HOTTEST BAND IN THE WORLD EVERY SINGLE TIME!!!!

Tonight the play to another SOLD OUT show, but you still have a chance to catch them Tuesday MELBOURNE!!!!! 

Get your part of remaining tickets here : TUESDAY 22nd AUGUST 2022

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Gig ReviewsReviews
August 8, 2022
Kym Robey

[Review] The Hu @ The Bridgeway Hotel, Pooraka 6/8/2022

A lot has happened since the last time Mongolian band The HU was in the country. Their first visit to Australia coincided with the beginning of the COVID-19 pandemic, which led to some very uncertain times (to put it mildly) with a lot of restrictions suddenly popping up which had huge implications for the music industry. The HU was first in Australia as part of the 2020 Download Music Festival, which was canceled due to COVID at the very last minute, leaving them in the country to only perform a couple of their sideshow gigs. I attended one of these gigs at The Gov in Adelaide and little did I know at the time, that it would be the last proper gig I would see for quite some time. The venue capacity was reduced due to restrictions on the very day of the gig, leaving many ticketholders unable to attend the sold-out show, and one of the few phrases we heard the band speak in English that night was ‘fuck coronavirus!’

Two and a half years later, The HU is finally back in Australia, and under much less uneasy conditions.

For those not familiar with The HU, they certainly are a unique band. The band itself calls its genre ‘Hunnu Rock’, which is a mix of traditional Mongolian music and western metal. The band uses a combination of their traditional instruments including the morin khuur (or horsehead fiddle) and more typical rock instruments like the electric guitar, giving them a very distinctive sound.

This Adelaide gig was originally booked for the new Hindley Street Music Hall but with construction still underway, the show was moved to The Bridgeway Hotel.

Opening up the show was Brisbane’s The Blackwater Fever. I can’t imagine how you might find a suitable band to open up for The HU in Australia, given their unique genre, however, The Blackwater Fever supplied some tight bluesy garage rock which sat well with the packed venue’s crowd. Their set served as a fairly laid-back warm-up for the main act to come.

As the headliner’s set start time was approaching, I found my way down to the front of the stage. Despite the room being at capacity, there was a very relaxed vibe in the room. There didn’t seem to be the usual push and shove down at the front of the stage and it was quite easy to get a good spot without getting in anyone’s way. Looking around at the punters before the lights went down, there didn’t seem to be any clear demographic in attendance either. There wasn’t a ‘crowd type’ to be seen at all and it had me wondering how this large crowd had discovered The HU. 

Right on schedule, the lights dimmed, and the band entered the stage to rapturous applause, kicking off with a track called Shihi Hutu from their forthcoming new album Rumble of Thunder. This song showcased everything that the band is known for, sounding like an epic battle-cry anthem. Their traditional throat singing and morin khuur’s were used to great effect. In contrast, the second song of the set Shoog Shoog would have to be The HU’s most upbeat-sounding song with its almost danceable beat. Next up was the title track from the band’s debut The Gereg album, which showcased some of vocalist Jaya’s playing of the tumur hhuur (jaw harp).

As the band worked their way through their set of songs mostly from their debut and also from their album coming next month, I noticed how transfixed the crowd was by the band, despite the lyrics being in Mongolian and not being easy songs to sing along to. A lot of The HU’s songs have a hypnotic rhythm to them, and the appearance of the band is visually striking. On stage, the core members of the band are at the front of the stage. Gala, Enkush, Jaya and Temka all dressed in intricate leather, with their beautiful traditional Mongolian instruments are the focal point of the show. Seeing such different instruments being played is part of the appeal of The HU for me, and I’m sure for many others who have seen the band perform.

Behind the core members of the band are the members of the band who play the more typical western instruments and are considered the touring members of the band. Ono, Jamba, Davaa and Odko are all set back from the front of stage, playing guitar, bass, drums and percussion in the semi-darkness for a lot of the performance. With eight band members on stage, it’s this combined mix of traditions that gives The HU such a rich and distinctive sound.

Later in the set came the two songs that introduced the world to the band. Both Yuve Yuve Yu and Wolf Totem, when released, garnered millions of views on YouTube. It was the later re-recording of the latter song with Papa Roach’s Jacoby Shaddix that was my introduction to the band. These two songs got a huge response from the crowd.

Rounding out the set were a couple of new songs, Black Thunder and This is Mongol both of which were released this year, preceding the rest of the new album.

After almost ninety minutes, the band took a bow and exited the stage. The crowd most certainly still wanted more so the band returned for the obligatory but well-deserved encore.

As the band arrived back on the stage, the now familiar sounds of the morin khuurs rang out before the electric guitar kicked in with the instantly recognisable riff of Metallica’s Sad But True. The Hu’s version of this song has got to be the perfect blend of western metal and traditional Mongolian folk instruments for sure and was a brilliant way for the band to bring the set to a close.

Although I was initially disappointed that this gig had been moved from a new city venue to an older suburban hotel, The Bridgeway did turn out to be a great place to relocate to. With the big stage and impressive light set-up, the sound and visuals of The HU were well showcased, and when it was all over and the house lights came on, there was a definite buzz in the room and there were a lot of smiling faces from punters who looked really happy to be back at big gigs once again.

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Gig ReviewsReviews
August 6, 2022
Midnite Mitch

[Review] The Hu @ 170 Russell, Melbourne 03/08/2022

2 years ago, in the before times, The Hu were here, and were ready to play on the Download line up, then tragedy strikes, the plague times begin, and they get locked in Sydney for a couple of weeks. Now, they are back and hungry as ever to play for Australia and starting off their tour with 2 sold out Melbourne shows!

Rocking up to the line about 45mins early, a little later than normal for me, the line was already around the block and in the alley way behind the venue, people are keen as hell for this show! Doors open and the line moves reasonably quick for people heading straight to merch or the front of the venue for prime viewing, I manage to get my regular spot at 170 Russell, you’ve always got a regular spot for these types of things.

The Blackwater Fever take the stage right on time and straight from the opening chords, I’m hooked. This 3-piece Brisbane rock band sound like Sabbath if they were playing in the deep south instead of London. Think big sounding bluesy style riffs with a ton of reverb, a bassist that also plays keys and then add double that amount of reverb on the drums! Producing a massive sound and holding their own in the thick atmosphere they created, they entranced all watching and the rhythm took over to bring the people in and headbang. The Blackwater Fever prove the point that less is sometimes more, you don’t always need crazy intricate riffs to get people interested, these guys write a damn good tune and a killer opening band.

As The Hu crew set the stage with a drum kit, a percussion kit and then a totem raised in the middle of the stage as well for good measure, the crowd’s anticipation skyrockets. There are cheers, people start pushing to the front and all eyes are on the stage. The lights darken, music starts and The Hu storm the stage in their full leather gear and instruments in hand. What surprised me tonight was how close the music translates from recording to live, with the number of instruments changing on stage with one of the singers wearing a belt of flutes and the percussionist also had things changing every couple of songs as well, everything was audible. One of the main draws to The Hu is the traditional throat singing and vocal harmonies created, they did not disappoint. All members on stage have a microphone and the vocal mix is well done with only one of the main vocals being lower in the mix at some points but watching them sing together is nothing short of amazing.

The sheer happiness and excitement of the band is an energy that is room filling, they didn’t stop smiling or laughing to each other from start to finish. They are incredibly passionate about their music and culture and having that energy come back at them from the crowd, they couldn’t stop jumping and screaming “Thank you” and “Rock On” which were pretty much the only English sentences spoken by them. One of the main vocalists would occasionally have a quick little speech in their native tongue to be met with cheers or people looking around not knowing what was said but there was one girl who made the crowd laugh each time because each time he spoke in Mongolian, we would here “I farkin luv ya” in such a thick Aussie accent. The complete opposites in languages but I’m sure the sentiment was the same.

The crowd involvement for songs like Shoog Shoog, Yuve Yuve Yu and Wolf Totem was electric. The rhythms of this band just sent people dancing and singing. Ending the set on the latest singles Black Thunder and This is Mongo, the crowd and band are relentless, thriving off each other’s energy and getting a circle pit going. They come back for a sweet little encore with a cover of Metallica’s Sad But True and what a cover! What a great way to end the night!

For my first international band in about 18 months, what better way than to get back into it than with The Hu? I had high expectations for these guys, and they blew them out of the park! I hope the rest of the tour is as great as this was.

THE HU
Black Thunder Australia & NZ Tour 2022

Saturday, August 6: Bridgeway Hotel, Adelaide
(Previously Hindley Street Music Hall)
Sunday, August 7: The Roundhouse, Sydney Sold Out
Thursday, August 11: Powerstation, Auckland NZ Sold Out

For complete tour and ticket and information, visit: 
livenation.com.au, livenation.co.nz & thehuofficial.com

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Gig ReviewsReviews
July 19, 2022
STM

[Review] Thornhill @ 170 Russell, Melbourne 15/07/2022

This was my first pub gig since Covid struck and I was ridiculously excited as I descended the stairs to 170 Russell (or Billboards as it will always be to me and those of my era).  As I was arriving just as the first band on the bill, Banks Arcade was starting their set, I expected a thin crowd as you often see for the first band up on a bill of 4. So seeing the place heaving already was a very pleasant surprise and it also meant I had to elbow my way into my favourite spot at this venue.  Either Banks Arcade has a lot of mates, or everyone was as keen as me for a dose of live music and made sure to catch all the supports.

Banks Arcade is difficult to pigeonhole (if you like your music in neat little boxes).  Their 5 song set gave us everything from the dark, heavy electronica of Don’t Start, the Hip Hop/hardcore hybrid of Used, to the very poppy Sick (that had a very liberal nod to Amity Affliction’s pop/metalcore mix IMO).  Describing something as “Poppy” is an insult in my book, but I actually really like this track with its’ many parts, tempo, and mood changes.  These Kiwi transplants to Melbourne are definitely one to catch again.

I’m afraid I do not understand the appeal of full-on metalcore vocals so I could tell straight away, that I was going to have a bit of a hard time with Gravemind. But amongst the demonic vocals, was a bass that rattled the mirrors and made its’ way around the room via the floorboards and some very impressive lead breaks. Soundgarden they are not, but entertaining, musically proficient, and well appreciated by the crowd they were, even obliging with a circle pit on Billboards diminutive dance floor. 

Dayseeker had made the trip out from LA to support Thornhill on this tour and this was definitely appreciated by the enthusiastic crowd. Henceforth, their style of music shall be called ”Popcore” as this was definitely Hansen meets Sepultura.  There must be a “Metalcore 101” course out there somewhere as despite the obvious difference in style, the similarities in guitar and bass with Gravemind were unmistakable at times.  But unlike Gravemind, Dayseeker has one foot firmly in the Pop genre, making it a bit more palatable to this old bag.  I was reminded of Bullet for My Valentine with the liberal use of a double kick drum and metal guitar in The Colour Black and Crooked Soul and this is definitely to be encouraged.  The more I’ve listened to Dayseeker since Friday, the more I like ‘em.  You are welcome back in my city anytime.

I love atmospheric Aussie Pub Rock!  Stick me in a room with Karnivool, Cog, or Sleepmakeswaves and I’m a happy bunny, so I was very excited when I started checking out Thornhill prior to Friday night’s gig and felt the goosebumps breaking out all over.  But listening to a band on Spotify cannot always prepare you for the live experience and the experience of seeing Thornhill for the first time for me was one of having my tiny mind blown.  It is many years since I have seen a front man like Jacob Charlton. His vocals are perfectly suited to Thornhill’s brand of heavy atmospheric rock and he slipped seamlessly into an impressive falsetto on a number of tracks.  Resplendent in white singlet and a lovely pair of red driving gloves, often taking a backseat singing from the drum riser and letting bassist Nick Sjogren take the centre, he nevertheless OWNED it.  At times channeling Michael Hutchence with “stripper hips” moves and other times, Freddy Mercury stalking the stage with half a mike stand, this guy was mesmerizing.

Right, enough gushing.  Musically, Thornhill reminds me very much of a heavier Karnivool only more tightly crafted with less of Karnivool’s weird mucking around with the tempo in a song.  And despite my aforementioned dislike devil summoning, vocal cord destroying screamo vocals, the occasional use of them is acceptable in my opinion and can add a heavy edge (I luuurve me a bit of Bullet for My Valentine and they are masters at this) and I was not perturbed by their use in songs like Views from the Sun.  There was plenty of light and shade in this set with tracks like the near instrumental All the Light We Don’t See (the vocals don’t start until 1:10 on the album version) and Lily and the Moon sitting in contrast to the heavier tracks like Arkangel and Coven. 

Thornhill looks to have a busy time coming up as they have a dozen US shows supporting Erra immediately followed by a week of headline shows.  AND, they are supporting the wonderful Butterfly Effect on their Australian tour in October.  Jacob said at one point that 170 Russell was a venue they had always dreamed of playing.  I say, dream higher, as you guys are going places and I hope you don’t mind if I come along for the ride.

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Gig ReviewsReviews
July 8, 2022
Midnite Mitch

[Review] Bad Moon Born @ Bendigo Hotel, Melbourne 03/06/2022

It’s been a fair while for me to be down at the Bendigo Hotel or to a local gig in general, I miss it! The crowd, the people, the music, and especially the technical difficulties when playing or setting up! This night had it all and a flood of memories just came back like an old man reliving the golden years!

I was on the way to the gig, and saw a post from Fight The Sun, Melbourne alternative rock band who were meant to be opening up tonight and these guys are unreal at what they do! It’s been ages since I’ve seen them play and I was really looking forward to seeing them again, “We are no longer playing due to illness” SHATTERED! That line is starting to come up a lot more these days and I see it as a good and a bad thing. It’s bad because people don’t want to be around illness/sickness and given the current social climate anyone with a cough becomes a leper *insert Monty Python quote*. The good side is that bands are actually giving themselves some self-care and not pushing themselves or risking a shitshow on a member’s health! Either way, they were sorely missed.

Hitting the Bendigo Hotel at 8 pm when doors open there is a steady flow of people, for about 30mins and then that’s pretty much it, the venue hits about a third to half full and doesn’t grow anymore. It’s a bit of a shame given that there are some pretty damn good bands playing tonight and each band put on a good set, even given their troubles, but more on that point later.

First is Cicadastone, a bluesy, southern rock-sounding band with a singer that dances around the Layne Staley vocal style. Compared to the other bands on the bill tonight, what Cicadastone lacked in speed or technicality, they owned the night on feel and groove, with an absolute tight set, showing off some new material from an upcoming release, and apparently, the singer’s son was playing the drums, which he nailed. It was a great way to start off the night, warming up the crowd for the things to come.

Coming up next was Live Like Animals. Starting a little late from a slower setup, understandably after hearing their set, I'm guessing with a complete electro/synth backing track that lasted the entire set, that could take a bit of setting up. 3 Piece Alt Metal band from Syndey with no bassist… it's always the bassist missing… These guys played an incredibly tight set for having a backing track go the entire time, they must really know their cues. They stepped up the energy to another level and got some more crowd involvement. With taking a little time to set up, you would think that sets would be adjusted to make sure that everything still runs smooth, around about the time they should have finished. The background music was put on, over the band, who was playing through inner ear monitors and had no idea that something else was being played over them. I didn’t hear or see any interaction between the sound guy and the stage but there was no communication, and that sort of thing can kill a mood in an instant. It was a shame that it ended a great set that way.

Now what happened next, I have no idea but I’ve seen Ironstone set up before, they are a younger modern metal or “djenty” as the kids call it, style band but they are yet again, a completely digital band, running through guitar pedal boards. They have always been quick to set up and tonight it looked like everything that could go wrong, went wrong. The band hit the stage and start setting up. Singer, Drummer, and Parent are setting up drums, guitarists and bassist are doing their thing. One guitarist finished setting up, “Cool, play something for me” sound comes through FOH and Foldback, thumbs up, Move on! The other guitarist finishes just after, the same thing DONE! The drummer lets the sound guy know about a backing track that is to be played. No Sound. Sound guy comes up, changes some leads, goes back, nope nothing. Let the back and forth begin, once this is complete, Bassist has no sound. Lead change. Seems to fix it. RIGHT! Band gives a test run; one guitar isn’t coming through anymore. “What?” changes a few settings, starts up, guitar back on, THE OTHER GUITARIST STOPS COMING THROUGH NOW! “What the hell is going on!?” Mind you this is now 20mins into Ironstones set and tension is rising. What looks like a complete rewire of the stage, Ironstone who was meant to come on at 10:10 pm starts at 10:45 pm. Ironstone came on for a 4 song set, they hit their 3rd and said “We’ve been Ironstone, Cheers!” but that was then met with “One more song guys!” from one of the members of the headlining act, good on them for being understanding. The shortened set was tight, but the mix wasn’t great on them, they didn’t really get to break into a rhythm and find their spot sonically. The long changeover and muck around killed the flow of the night, unfortunately. I’m not 100% sure on what happened here but whether leads or something wasn’t connected properly but one thing would work and then something else would stop, it was insane to watch.

Ironstone, jump off the stage, thanking/apologizing to the headliners as they change places. Bad Moon Born start setting up and yet again, some leads were working and others weren’t, it didn’t look like it was just an Ironstone problem. Mics were changed, a bit more movement from the sound guy, definitely earning his money tonight, but given a reasonable changeover, lights are dimmed and Bad Moon Born shows us the reason they are headliners for tonight! They come on with looks that fit the name, all in black, jackets on, the singer is even wearing aviator sunnies, how much more rockstar can you get? After their first song, they thank the bands beforehand then get everyone to give it up for the sound guy, every band should make that a thing, it’s always appreciated by them, and they always try and make sure every show runs smooth. The crowd instantly get into it, mind you, it still never grew than about half, which is a shame cause these guys were good! They played covers of Billie Eilish's Bad Guy and NSYNC’s It’s Gotta Be Me, which the whole place was singing and dancing along to. The Bad Guy cover was great, it's already a darker track and they made it even darker again, and then who doesn’t love a good NSYNC cover song, it’s pretty clear they had fun working on them and everyone listening to it had a blast. The set ended with a feature from the singer of Future Static for duet, which everyone got into and was singing back.

Overall, with the mishaps of technical difficulties and the ups and downs of shortened sets, all bands played great sets. These things happen and it should be reminded to anyone that reads this who is in a band, make sure you thank the sound guy, they put up with so much shit, and having friends who do live sound cop it or just go un-thanked, you don’t know how much it's appreciated and the band is remembered by them when it does happen. Now we just need more people to remember that live music is coming back and start attending local shows, but one thing at a time I guess.

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Gig ReviewsReviews
July 6, 2022
Kym Robey

[Review] Black Veil Brides @ The Gov, Adelaide 04/07/2022

Initially scheduled for 2020, it seemed like longer than two years for this gig to come around! The first date was canceled like many other gigs at the time were, due to covid 19. Then, in 2021, the re-scheduled gig was canceled due to the ongoing restrictions making it impossible to bring an overseas band into the country for a big show still. Then, just when things were looking good for attempt number three, with just days to go…there was a case of covid 19 within the band’s inner circle, forcing yet another postponement!

Finally, by the 4th of July, the band was officially in the country on tour, and it was Adelaide’s turn to finally see the Black Veil Brides up close at The Gov.

By the time the day of the gig arrived, it felt almost too good to be true and I half expected it to be called off at the last minute. Thankfully when I turned up at the venue, I saw the biggest lineup I’ve ever seen outside The Gov. The line seemed to snake down the road for miles and I wondered how they could possibly fit everyone inside. Word was out that this was a sell-out show but there still seemed to be many more people there than I had imagined.

By the time I got inside, support act Wolf and Chain had already started their set. Their self-proclaimed emo style was going down perfectly with the mostly twenty-somethings crowd. Reminiscent of Panic! At the Disco or Taking Back Sunday, Wolf and Chain’s high-energy set seemed a good fit for the crowd in attendance. My observations so far regarding the tastes of the crowd seemed to be vindicated when right after this opening set, the whole room sang along word for word to My Chemical Romance’s Black Parade as it rang out from the DJ booth. This sure seemed to be a crowd who were keen to make up for lost time and make the most of this long-awaited event.

So far, the night had been running right on schedule. The headliners were due at 9 pm and sure enough, as soon as I noticed it was time, the lights went out to announce the arrival of the Black Veil Brides. As each member of the band arrived on stage, there was a huge roar from the crowd. When front-man Andy Biersack entered last, it sounded like an arena-sized crowd as opposed to the large club that we were actually in. Opening with Faithless from their 2014 self-titled album, the band matched the crowd with an arena-worthy performance right from the start. Guitarists Jinxx and Jake worked the entire stage, snaking around past each other, combining synchronized moves for effect when needed. Andy, despite sounding like he had a little croak in his voice at times, was the consummate front-man, commanding the attention of the room and managing to perform to every pocket of the audience spread throughout the venue.  The band worked their way through a very high-energy set that covered the band’s career from Knives and Pens from their 2010 debut, through to Scarlett Cross from their latest album The Phantom Tomorrow. Relatively new bassist Lonny Eagleton held down the bottom end of the sound and looked as though he fit in well, managing to swap stage positions often seamlessly with Jinxx from opposite ends of the stage as though they had worked together for much longer than they actually have. There was very little chatter from Andy between songs as the band worked their way through the set-list, however, he did draw attention to a fan in the crowd who had apparently been to every Australian show so far and had apparently asked them earlier why they never played their song Stolen Omen. The band decided to give it a quick run-through during soundcheck and added it to the set as per the fan’s request. Later in the set came Wretched and Divine from the album of the same name and Fallen Angels from their Set the World on Fire album (two of my personal favourites). At this point, the band said their goodbyes and exited the stage. This must-have given drummer Christian Coma some relief as there had been no lull in the set at any point and he’d been smashing the drums like a madman the entire time.

After the short obligatory break with the crowd demanding, ‘one more song!’ the band returned to the stage to finish the night with the aptly titled In the End to close the show.

As soon as this song was over, the band exited the stage for the final time, the house lights came on, and everyone shuffled their way outside to head home.

I’m sure there were a lot of people at this gig feeling satisfied with the night’s performance and relieved that it had finally happened. Personally, I felt it was a great performance and definitely worth the wait but it certainly could have gone on for quite a while longer. With six full-length albums released, there was no shortage of great songs from the Black Veil Brides back catalogue to fill a set longer than the hour played during this show. Now that the world appears to be somewhat back to normal again, here’s hoping we see the band back in Australia again soon with a longer set.

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