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Gig ReviewsReviews
November 27, 2023
Terri Nas

[Review] Robbie Williams @ AAMI Park Melbourne, 22.11.2023

Hell is gone and Robbie’s here there’s nothing left for you to fear, 

Shake your arse, come over here, now SCREAM!!!  

The surrounds of AAMI Park were awash with people, food & merch stands, glitter, and more people, and I excitedly approached the stadium because tonight I had a date. A date with a man that I have loved for a very long time and who doesn’t actually know that I exist. But a date, nevertheless. Enter: Mr Robbie Williams.  

It was an expected older crowd who were flooding through the gates and jostling for position to catch a glimpse of the global megastar. Whether you’re a fan or not his music is undeniably catchy, and you will always find yourself at least humming along to his familiar tunes. My partner in crime for the evening is a dear friend who loves Robbie as much as me. I dare say there would be bloodshed between us if one of us had’ve nabbed Robbie for ourselves. We found our seats promptly and despite Robbie not gracing the stage for another 2 hours, the excitement was pulsating within me already. 

The first support act for the evening were Lufthaus, an electronic dance duet who originate from Melbourne. They’ve spent a lot of time overseas building their following, and interestingly enough have actually collaborated with Robbie on a number of tracks. They got everyone in the mood with their continuous electro tracks, and they let everyone know how pleased they were to be playing to a home crowd for the first time. 

Next on the bill was British singer and former Supergrass frontman, Gaz Coombes. His music is a mix of pop and rock, and people seemed to be really digging it. Gaz and his band were energetic and rocked the stage for their entire set, right up until they exited the stage. It was interesting to note the contrast in the 2 support acts, which no doubt ensured everyone’s music tastes were met.  

As the sun dissipated and dusk was upon us, my heart was bursting and the butterflies were in full force causing havoc in my stomach. I knew the arrival of the great man was imminent, and that he was nearby and ready to blow the stadium away. The remaining lights went down, there was movement on the stage and the crowd started to get riled up. We were met with the introduction of Hey Yeah Wow Wow, and as the 3 cubes that doubled as screens started to rise from the stage, There. He. Was. Donning a black sequin suit, accessorised with a white Elvis-style scarf, there was the legend we had all been waiting for. The song was over in no time, and it was then that the instantly recognisable piano riff of Let Me Entertain You began, as Robbie marched down the catwalk stage that led out into the middle of the general admission area. Robbie piped up during the song with “Let me reintroduce myself, I’m Robbie Fucking Williams”. The crowd were completely beside themselves by this point, dancing and singing along to every word. This was my 3rd time seeing the British superstar, and despite being nearly 20 years since our last date, hot fucking damn this man has not lost a thing.  

The next song he led into was a cover of Wilson Pickett’s Land of 1000 Dances, which is a party starter at the best of times. There was more audience participation, and at one point Robbie had a little sit down because as he put it, “I’m fucking nackered, I’m nearly 50!” Robbie told us he was going to take us on journey, on a 33-year musical odyssey of his career. The way in which he did this was hilarious and heartfelt with a great dose of nostalgia. Robbie checked in and asked his crowd, “Am I amongst friends, Melbourne? Am I in a safe space to share with you?” The crowd went ballistic in support because yes Robbie, we are here for you ALWAYS.  

Next up was one of his early hits Strong, in which he jumped down into the crowd to get up close and personal with his fans. It was hilarious watching this unfold on the big screen as there were a sea of female hands grabbing and groping him from every angle. Come Undone followed, and during it’s musical intro he incorporated a bit of JPY’s Love Is In The Air. This is one of my most favourite Robbie songs, and I was belting it out as loud as I could, along with the rest of my fellow concert goers.   

It was then Robbie wanted to take us on a trip back to 1990. On this trip he told us the Berlin Wall hadn’t long come down, Nelson Mandela had been released from prison, a young Australian cricketer was preparing to make his debut (this little tribute sent the crowd wild – R.I.P Warnie), and most importantly in that year a little boy band was formed called, Take That. There were a lot of Take That fans in the audience, and when we were treated with the music video to the band’s song Do What You Like, in which we were exposed to a close up image of 16-year-old Robbie’s arse in the clip, the crowd were THIRSTY. He then went on to play their song Could It Be Magic, in which he bailed on halfway through as he exclaimed “Na, I can’t be arsed!” He then shared a little anecdote of that era, when he went to Glastonbury with a bag full of drugs and champagne and hung out with 2 brothers from a popular UK rock band at the time. This was of course a segway into a cover of the Oasis classic, Don’t Look Back in Anger. Robbie took on the iconic Gallagher stance at the mic as he sung the song and at this point, I wasn’t sure that life could get any better than that moment.  

The Take That fans then got what they wanted with a version of Back For Good. Robbie went on to tell us that despite all the struggles he’s had to endure with his career, life, mental & physical health etc, that now he is actually the happiest he has ever been. If you’re someone who has followed his career both on and off the stage, then you know that this is a huge deal. This led into his song I Love My Life. Better Man followed and the audience took it upon themselves to provide backing vocals once again, and I found this song and its lyrics hitting me differently than they had ever done previously.  

The upbeat track Candy followed, before a moody and atmospheric performance of Feel with an intricate light show that perfectly set the vibe. After watching Robbie’s new Netflix documentary (which I highly recommend by the way), I realised during the show that songs like Feel, Better Man & Come Undone and their lyrics certainly hit a lot differently than they did previously. The lyrics are obviously raw and confronting and despite following his career for a long time, the doco really was an eye opener into his mental state over the years and the struggles he’s encountered, putting everything into a different light. 

It was time to pick the pace up again, as the intro to Kids started to play out. I did turn to my friend and say, “oh my god I wonder if Kylie is in town??” Sadly she wasn’t, so Robbie’s talented back up vocalists rotated the female vocal part of the smash hit. Robbie then ‘had a proper giggle and was quite polite’ as he then led into Rock DJ, in which the crowd were well and truly going off by now. Just to clarify, the crowd were psyched for the show’s entirety, but there were just some songs that amped them up even more. Robbie then departed the stage to indicate the end of the show, however of course he was just playing with us because there would’ve been a riot had there not been an encore. 

The stage lights went up again and the music started. It was now time for everyone to stand for the national anthem, as the intro to John Farnham’s You’re The Voice played out. The 3 cubes at the back of the stage rose again, revealing Robbie wearing an Australian Cricket Team t-shirt. John Farnham in all his mulletted glory appeared on a screen behind Robbie singing along, and it wasn’t until Robbie pointedly turned around to show us, that we realised the back of his shirt was emblazoned with WARNE 23 on the back. Cue goosebumps, tears & and an overwhelming response from the crowd for this lovely tribute to an Australian legend. Robbie then singled out a lady in the front row to dedicate She’s The One to. In a hilarious interaction, there was another woman standing there who was so overwhelmed with emotion and was trying to get in on the action too. Robbie’s cheeky banter with them both made it extra entertaining, and I truly envied the woman in which the song was dedicated to. 

To top off the night Robbie rounded out the set with his usual finale of Angels. This time he dedicated it to the lady who tragically passed away after having an accident at one of Robbie’s Sydney shows. Once again it was a touching moment, and with a sea of phone lights before him (gone are the days of the old lighters swaying in the crowd), it was a magical sight to behold and be a part of. Robbie and the band then took their bows to exit the stage, but it seemed Robbie was just having too much fun to leave. Long after the band had departed, he hung around singing the start of a few of his songs acapella and then encouraged the crowd to finish it. He of course had to get one last cheeky quip in, and asked who in the audience were Carlton supporters. You can imagine the response that got with a lot more boos than cheers, and Robbie found it hysterically funny and said, “I love asking that, that is fucking hilarious”. He then started singing the first few bars of Better Man in which the crowd continued as Robbie then snuck off stage and into his waiting van side of stage to whisk him away. 

“I just wanna Feel, real love” … and Robbie, real love is what you gave us. Robbie’s charisma alone is a show in itself, and his extended interactions with the crowd throughout the night were nothing short of entertaining & hilarious. He also has the uncanny ability to stare straight down the barrel of a camera, and have you believe he is looking and singing directly to you and you only, which is how I felt every time I watched the big screens. I may be bias, but you really can’t dispute the fact that he is a brilliant showman and knows exactly how to get the audience eating out of the palm of his hand. I truly didn’t want the night to ever end, and I was a mix of elation and sadness leaving the stadium with my raspy throat from singing and screaming, and my sore cheeks from the permanent smile that was plastered to my face for the night. The first song to play in the background after the show was finished was Time Of My Life from Dirty Dancing, and the audience were singing along with it even after they’d departed the stadium. Once outside the stadium I could still hear the crowd singing it and thought it was quite poignant, given that each of us really did have the time of our life that night. 

If you’ve never seen Robbie Williams live then he definitely needs to be added to your bucket list, as he is one singer even the most minor of fans need to see at least once in their lifetime. We love you Robbie, Australia loves you, and I hope you come back to our shores sooner rather than later!!   

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Gig ReviewsReviews
November 20, 2023
Tammy Walters

[Review] Bloc Party / Interpol @ Sidney Myer Music Bowl, Melbourne 16/11/2023

In what can only be described as A Y2K indie rockers wet dream, Manhattan force, Interpol, and London legends, Bloc Party team up for an epic amphitheatre takedown. Both groups soundtracked the early noughties with masterful debut albums and their sets on this cool November evening were showcases of their longstanding double decade careers.

Having just returned from a two-week European and UK tour,  Awabakal Land / Newcastle post-punk five-piece, dust settled the crowd with playful power-hits Joy (Guilt) and Ward 52. 

“We’re dust from Newcastle. This is a lifetime experience.”

As tight and energetic as these young guns were, notably, the rolling green hill of the Bowl was met by ill panning and compression issues on the sound, an unfortunate error that slid into the first half of Interpol’s set and reappeared throughout Bloc Party’s set, seeing the larger-than-life stylings of both indie greatest fractured. Muffled and muddied, the guitars stuck together like chewing gum and vocals were drowned. Gut-punches from the heavy set drumming celebrated throughout both artists’ discographies were non-existent in this fader faux pas but both bands made up for the production problems with intense delivery and enthusiasm.  

Paul Banks strides to the stage mic, his look coming straight out of Don Henley’s ‘Boys of Summer’ – “that hair slicked back and those Wayfarers on baby”. He is joined on-stage by Daniel Kessler, and Sam Fogarino, and touring members Brandon Curtis and Brad Truax all donning head to toe black ensembles and a New York coolness. 

They launch into the mammoth opener of‘Untitled with the first half of the set topped with classic cannonballs including C’mere, My Desire, Roland, and crowd favourite Obstacle 1. 

The lighting techs excelled in elevating the show. Interpol lived in red lighting states throughout majority of their set with pops of blinding whites and reflections from the low-hanging mirror-ball behind Fogarino, echoing their 2002 debut Turn On The Bright Lights album title and cover art, and a palette that has been threaded through their entire discography of artwork. 

The screen relay was set to black and white, making use of delays, fading transitions and slow mo effects for a real rock and roll vibe.

To a shifting blue light, Rest My Chemistry from the 2007 Our Love To Admire was a Pixies delight at the time of release. Live, the drifting melody of Kesslers guitar with Banks’ prosaic vocals is transportative.  

Sitting largely in their first three albums, Interpol catered to their mostly middle-aged audience, offering only two recent tracks from last year’s The Other Side of Make-Believe, Into The Night and Toni. They closed out with a chorus of “Rosemary”’s for the highlight Evil, rounding out a quality set with The New and Slow Hands.

The impact of this monumental co-headline tour was not lost on either Banks or Bloc Party’s energetic frontman, Kele Okereke. 

“It’s amazing being back in Australia. It’s been a while so it’s nice to be back with you after so long and sharing the stage with Bloc Party,” Banks acknowledged.

“Good evening Melbournia. We are Bloc Party from London and we are heaps excited to be here tonight. That’s the true,” Okereke quipped as a lead into You Should Know The Truth after slamming in with last year’s Alpha Games hit In Situ. Later in the set, the euphoric This Modern Love was also dedicated to their co-headliners; “They took us on our first ever tour so this song is for them.” 

Kele Okereke’s vibrant green and black cardi, paired with a cream headband, only lasted three songs before being discarded. Bloc Party were here for one reason only. 

“Let’s get this party started,” Okereke exclaimed as the eerie descending notes of Hunting For Witches launched.

Okereke kept the set lively with his contagious stage presence and general hype-attitude. From some cheeky quips to the stage crew “Thank you John that’s enough. He wants his own spin-off show. Now get out of here”, to pumping up the crowd with lines like “Let’s keep it rolling”, his infectious energy rolled into the crowd. 

Offering epileptic strobing, Kettling from the 2013 FOUR brought some pop punk power whilst Song For Clay (Disappear Here) was prefaced by Paul Kelly classic Dumb Things. 

The middle aged crowd of indie rock ‘n’ rollers were blessed back in 2018 with hearing the game changing debut Silent Album in full on Bloc Party’s last tour and it shows that the album is still as beloved. While only four songs made the bill this time around they were all met with explosive sing-alongs. Banquet was the first in the set with drummer Louise Bartle elevating the track with a smashing tempo building to a huge “I’m on fire” screaming match.

Okereke’s energy did not dwindle, incorporating fancy footwork into Different Drugs and playing with the vocal pedals on the ground. He also never missed a beat with the banter.

Ahead of the latest track from The High Life EP, Blue was introduced with a dig at our weather, “If I wanted a cold summer evening I may as well have stayed in London”.

The final leg of the set was one of epic proportions, not just for the song choices but for the audience’s liveliness, which had thus far ebbed and flowed throughout the evening, spiking for nostalgic songs. The brooding So Here We Are saw Bartle back on the fire, a hard task considering Matt Tong’s original drumming was intense and dynamic. Guitarist Russell Lissack came to the party in this section. Whilst a bit of an enigma on stage, he makes the guitar sing the heavenly builds, catapulting the revelatory, “I figured it out”.  

Swapping to cutting guitar lines, Lissack led in a crowd chorus for Helicopter. There is nothing quite like 13,000 people singing the line “As if to say he doesn’t like chocolate”. Flux followed for a dance floor epic. Okereke hugs his guitar to his chest during the second verse before leading a clapping army from front to the back of the hill, leading perfectly into The Prayer.

Revealed as a song about a boy from St Kilda, the Interpol dedicated This Modern Love started off on a high note. A favourite all round, the build in the recorded version is monumental but live it fell flat in the crescendo. The pummelling “This modern love, breaks me” repetitive bridge lacked guts with Okereke singing down an octave. Not quite the euphoric moment experience of their last Australian tour but still the ultimate Bloc Party belter.

Ending on a high note was what Okereke referred to as a certified banger. “We have one more rocket in our pocket. Back home we call this one a banger but I don’t know what you call it in these parts. Do you like a banger Melbourne?”, he questioned, going out with the rambunctious Ratchet.

Whilst both Interpol and Bloc Party sets suffered sound-wise, both 2000’s giants both put on a show set to invigorate the indie dream and the crowd lapped it up.

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Gig ReviewsReviews
November 16, 2023
Nikki Eenink

[Review] Among The Restless @ The Evelyn Hotel, Melbourne 11/11/2023

There is nothing quite as sexy, quite as quintessentially Melbourne, quite as refreshing as a good live gig. Among The Restless wasn’t just a good gig, but a great one. They perfectly captured the Aus-Rock culture many of us love. Never have I seen an intimate mosh go off so hard, both of my glasses now sit on the Evelyn Hotel’s floor, in pieces.

And what was the glorious, sexy, punchy occasion? Me and a swarm of fans of all ages were gathered in the Evelyn’s fantastic band room to celebrate Among The Restless’ new single; PIXEL JUNKIES. Supported by several other small Melbourne bands; Tudor Club, Mathilde Anne and SCUD. Tonight was an absolute feast for the indie-music senses. I don’t have time to go over every band on this list, as Among the Restless put on one hell of a show and we’d be here for 3 hours (easily), but I highly recommend every single one of these bands. They created an atmosphere perfectly amplified by the purple stage lights, and air thick with the smell of Moon Dog Fizzers. There was something for everyone, from the occasional sad, lyrically wrenching Radiohead-esque moments to high energy tracks reminiscent of contemporaries Ocean Alley, Lime Cordiale or Wallows. I understand why Among the Restless has such a large, dedicated, diverse fan-base. Metal mum’s, Mitski die-hards and Punk teens were all standing shoulder to shoulder, spellbound by the 5-piece’s musical magic.

Torn is such a tasty opener. As a massive 90’s post-Rock fan, I can feel the influence of bands like Sunnydale Real Estate, several Grunge heavyweights, and Pavement. They really have a little bit of everything, and tasty is the perfect word. The bass, the guitars, the driving drums and vocals, all of it fuses together and it melts on my tongue. After opening up with Torn, powerfully enigmatic front-man Rhett James takes to the mic. Dripping with charisma, he spends a lot of the night talking directly to this crowd of hungry fans. We eat up every word, and he knows it. “Stay restless!” He barks the order at us, and we completely obey. Back-to-back bangers No Sense // No Feeling and Ego push the night to an impossibly high level. These songs have a definite ‘kick’ to them, elevating from just tasty to fuelling. I’m nervous – how will they go keeping up this level of energy? But I shouldn’t have had any fear, Among The Restless have the attitude and bite of musicians 20 years their veterans.

Rhett beams at us, “This is the saddest song from our second EP. Written by yours truly, our guitarist Seamus, it’s called Star Crossed.” Magician on the strings, Seamus Glenn coyly smiles and in a shy little voice just says, “stop it.” The love between them is clear, and it’s wonderful. Star Crossed is without a doubt, a crowd favourite. Everyone around me is lost in reckless abandon, and all I can hear is a chorus of “How low! How low!” Faces are red and screaming, the band room is entirely under a spell. It must be an absolute treat for Rhett’s family, who are up visiting from Brisbane. His brother is wading through the crowd taking photos and videos of twenty-somethings losing their fucking minds. “It’s quite emotional actually” and I hear James’ voice crack a little. But immediately he has to lift the mood, “Josh’s bass is fucked and Lachie’s guitar has fallen off, so now I’ve gotta stall. I’ll tell you a story I guess. One time Seamus and I got into Berghain, and we learned how to dance the proper, European way. And then kissed some German guy.” For the uninitiated, Berghain is maybe the most exclusive club in the world, with online simulator games to test if you’re “cool” enough for Berlin’s upper-echelon of club rats. Among the Restless are cool enough for Berghain, confirmed.

Slave Within the Change has to be another crowd favourite, this is the song where the first of my two glasses got smashed. I understood. One can’t not move to the 5-piece powerhouse of masculine love, energy and musical ecstasy.

“We’re gonna play a song we finished like last week, so it’s probably the only time you’re gonna hear it in a long time. One of us wrote this song about an ex-girlfriend who really liked the movies. So, yeah. Stay tuned, it’ll probably come out in a year.”  The unreleased track is aptly named Cinema, and I can’t wait for its release. As the ex who really likes the movies, the lyrics are a perfect cocktail of funny, aching, and catchy – the Among the Restless specialty.

For a song no one’s heard, it gets rowdy. People are getting so down and so dirty. Rhett seems genuinely surprised, “This turnout’s fucked hey.” And people cheer, jump in the air and knock over yet another one of my glasses. “I saw someone do a bump before, that shit was lit. Keep it up.” And the drums kick us into Missing Pieces. The instrumentals in this band are fucking ridiculous, shimmery guitars, pounding bass and drums that dance around each other – it’s such a delight.

The 5 piece move offstage to grab stools, and I was very confused. Stool break? That’s a first. But when they come back, the fellas sit down and dish up an acoustic cover of Underground. It’s so beautiful. So beautiful. Rhett’s vocals really shine here. The pipes on this kid are next level, ethereal shit. I’m spellbound, and every inch of me has goosebumps.

The Screaming Jets are Aus-Rock royalty, and as a fellow Novocastrian, my ears immediately perked up hearing their name. In a tribute to James’ close family friend, Paul, they lose themselves in a neck-breakingly good cover of Needle. It’s bittersweet, powerful and shows the importance of community and musical brotherhood. Rest in Peace, Paul.

Wastecase into Someone Else leads us to the absolute showstopping finale of Lucy and, of course, PIXEL JUNKIES. Rhett comes out in full drag, “THIS IS FOR THE MILF’s”, is what I’m 99% sure he said. And god I hope it is. MILF Supremacy. Sporting his outfit from the recently released film clip, the stage littered with props from the same, it dawns on me as they shred through their final number and brand new single; these guys are the embodiment of the Wheatus song Teenage Dirtbag. They’re sweaty, messy with bleached buzzcuts and mullets, but they’re so much fun. They get the girl, they lose the girl, they write an amazing track. Honestly, they capture something so uniquely Australian, so nostalgic and outrageous. Stream this shit, I’m being dead serious. It’s so, so good.

Among The Restless are keeping the traditions of Aus-Rock alive. They don’t take themselves too seriously, they have such loving energy between them. They embody the community, the comradery and the love of music. And god can they play. With a setlist nearly 90 minutes long, they never get sloppy. All of them were born to play their instrument, it seems as natural as breathing. Keep an eye on these guys; I just know they’ll be big.

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Gig ReviewsReviews
November 9, 2023
Terri Nas

[Review] The Corrs @ Rod Laver Arena, Melbourne 6/11/2023



For those that have known me for a very long time, know that I am a huge fan of The Corrs. HUGE. Even borderline obsessive when I went through a stage of wanting to be them! So, when the opportunity arose for me to finally see my childhood idols in the flesh for the very first time, you bet I was counting down the days until their arrival. The Irish pop group have been touring Australia & New Zealand, and Melbourne was the last stop on their Australian leg of the tour before heading over the ditch to visit our Kiwi cousins.

Headed to Rod Laver on a beautiful balmy 28-degree night, I was met with fellow revellers of all ages that were hyped by a combination of the magnificent weather and anticipation of the night ahead.

Adelaide sister act Germein were the first of the three support acts of the evening to hit the stage. The trio entertained with their fun and heartfelt pop songs, and their inner beauty and humble nature, along with their musical talent, really made them shine on stage. Next on the bill was American-born singer-songwriter, Toni Childs. Toni came out on stage to a quiet reception from the audience, but then proceeded to completely blow everyone out of the water with her distinct sound and powerhouse vocals singing one of her biggest hits, I’ve Got To Go Now. Despite the years gone by and her age, not only does she look amazing, but her pipes are still absolutely incredible and they never faltered once. Toni sang a few of her other older hits including Stop Your Fussin’ and Don’t Walk Away, which had the audience well and truly eating out of her hand. As she ventured into some of her newer material, the audience were thoroughly enjoying themselves, and even more so when she came down into the crowd for her final song. Toni ventured through the audience shaking hands as she delivered her final song which was full of hope, encouragement, and reminding people that they are beautiful, intelligent and worthy.    

Australian sweetheart Natalie Imbruglia was the last support act of the night to warm up the punters – and that is exactly what she did. Natalie kicked off with some older hits Wishing I Was There, Wrong Impression & Shiver, before leading into a small catalogue of her newer stuff. The crowd were loving every minute of her amazing vocals and high-energy set, but you knew everyone was waiting to hear THE song. When the opening bars of Torn started, the crowd erupted and sang along to every word of the 90’s hit. Natalie then finished off with my personal favourite Big Mistake, and it was at this point in the night that I realised I had actually entered a time machine and was now well and truly planted back in 1997.    

It was now that my heart rate started to increase, and my excitement was making me nauseous because I knew it was time for my favourite Irish band to hit the stage. Now when I say that I used to be obsessed with The Corrs, I’m not lying. Growing up, my musical weapon of choice of was the flute(these skills are easily transferable to a tin whistle), and my best friend who loved The Corrs equally as much was a violinist. So, we would spend our weekends covering their songs and doing our own arrangements, and when we weren’t doing that, we were watching their live DVD’s over and over again for inspiration. You get the tragic picture now?    

The houselights go down and we’re met with vision on the screens of The Corrs walking down a long corridor, as the goosebumps on my skin are nearly busting right through the surface. Pre-recorded celtic instrumental music accompanies the footage and keeps building up and up into a crescendo. Once the music hits that peak, an almost tribal-like drumbeat kicks in and that’s when The Corrs’ drummer Caroline appears in the singular spotlight on an otherwise dark stage, beating those drums as if her life depends on it. The beat stops abruptly, and the electric guitar intro to Only When I Sleep kicks in and that is when we get our first glimpse of the Corr siblings. By this stage, the tears have well and truly started flowing and all I can think is “Thank god it’s dark in here so no one can see me being a blubbering idiot”.  

With Andrea’s beautiful soaring vocals in this opening number, I knew then that this was going to be an incredible show and that the band haven’t lost a single thing. Give Me A Reason & Summer Sunshine got the crowd bopping along, and everyone was in their absolute element. With a now dark stage, the spotlight was on violinist Sharon, who started playing the iconic instrumental Erin Shore. The crowd went mental not only for her stunning playing, but for the fact that they knew this was the introduction for The Corrs early smash hit, Forgiven Not Forgotten. Jim’s keyboard hit us with that iconic piano riff, and it was on. I’ve probably heard and even sung this song approximately 406,282 times in my life, but hearing it live in the flesh was like hearing it for the first time and loving it all over again. This was also the first song of the night where Caroline’s bodhrán made its appearance, and I’m always completely in awe watching her play it.   

Next on the list was the unrequited love track,What Can I Do. Andrea joked that singing this always worked in getting the guy, however Sharon hilariously retorted that in doing so meant “you usually got the wrong dude at the end.” It’s no secret that The Corrs have covered Fleetwood Mac tracks in the past, and even collaborated with Mick Fleetwood. So, it was only fitting that they covered Fleetwood’s Little Lies, in tribute to the late Christine McVie. After Don’t Say You Love Me, we were treated to their stunningly beautiful cover of Jimi’s Hendrix’s tune Little Wing. Despite also being a die-hard Fleetwood Mac fan, I would have to say that this is probably my most favourite song that they have ever covered. With the poetic lyrics and their Celtic touch, the song really is a moving and emotional journey. It was time for Andrea to take a quick break from the stage, leaving Sharon & Caroline on lead vocals to sing the Jimmy MacCarthy song, No Frontiers. Their rendition of this has always been a favourite of mine, and it has to be said that you can be the most talented vocalist in the world with the ability for killer harmonies, but nothing beats the smooth butter-like sound of siblings harmonising together(It’s also scientific fact!). This song is a stripped-back prime example of this, where both Sharon & Caroline’s voice blend so well that they sound like one.   

It was then time to get up and have a jig around to the instrumental Joy of Life, before being led into one of their newer tracks about immigrating called, Ellis Island. We were back into another instrumental number with Haste To The Wedding, and it is seriously impossible not to move around and feel happy when listening to these pieces. Radio was next which then led into another of my favourite’s (and also my bestie’s favourite too), Queen of Hollywood. It’s such a beautiful and sad song and the lyrics get me every single time. We were then treated to another Fleetwood cover of Dreams, and despite being a sucker for the original, I just adore this arrangement and their little Irish spin they put on it to make it sound even more incredible. My gut was telling me that we were nearing the end of the show, but I was hopeful for an encore as they fired up with So Young. This got the whole crowd up and dancing and there was just so much love and happiness in the room. The band struck while the iron was hot and kept the crowd up dancing and singing along with, I Never Loved You Anyway.   

We went through the motions of a fake goodbye before we welcomed them back for an encore. No Corrs gig would ever be complete without hearing Runaway, so that was the first song waiting for us in the encore. However, the crowd took it upon themselves to give Andrea a break and provide the lead vocals for this track, and every single person in the place was singing along. Everyone was left Breathless for the next track, before they rounded out their encore with the iconic instrumental piece Toss The Feathers. It was a sad farewell as The Corrs wished us goodnight and left the stage, and I was left wondering what I was going to do with my life now that the show was over.  

If I had to sum up this show in one word? Flawless. In every sense of the word. The Corrs are an incredible talent, and time has certainly not aged them or their music. This gig was an absolute dream come true for the chubby little 12-year-old girl who loved playing the flute and listening to The Corrs on repeat, and for the now 34-year-old body and mind in which she now resides. A truly magical night all round with a huge array of talent. You’ll be sad that you missed it!   

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Gig ReviewsReviews
November 9, 2023
Nikki Eenink

[Review] All Time Low @ Margaret Court Arena, Melbourne 4/11/2023

Saturday was an absolutely massive day for anyone who hated high school, made questionable Omegle calls, or had a Tumblr between 2009 and 2016. Pop Punk royalty All Time Low and Mayday Parade have arrived in Melbourne for a double act of debauchery, moshing, and one hell of a trip down memory lane.

I remember hearing my first Mayday Parade song on a So Fresh! Hits of Summer 2009 CD. So, I have to admit, I was a little nervous to hear them play live. I was sandwiched between some of the rowdiest concert goers of living memory, and we were hungry for a show. Were they going to be able to provide? It seems wrong to say a group of guys who haven’t yet hit 40 are in their ‘twilight years’, but Mayday Parade was formed in 2005, for God’s Sake. That’s nearly two decades of performing and touring. That is the twilight years! But I should’ve known better than to be nervous.

Oh Well, Oh Well, is quieter than I expected for an opening song. But the violin is beautiful, it’s haunting and delicate and washes over our expectant grins. And then Jake Bundrick comes in with those drums on the chorus. And I’m taken all the way back to 2011. I’m kicking rocks as I wait for the bus, I’m changing math class again, I’m at Margaret Court jostling as much as I can in my seat to keep rhythm with the women either side of me. Every word flows out of me, Mayday Parade have just unlocked something in me. Derek Sanders takes our hands, holds them lovingly, and guides us through the rest of their setlist. He is quiet, gentle, and absolutely Earth-shattering. His voice is so good, so good. Pain, love, loss all come out of him fully formed and I find myself grieving every song as soon as it’s finished. Sanders shows us how much of a master of his craft he is, in the acoustic version of Miserable At Best. Margaret Court is awash with phone torch light. This song was born to be played acoustic, born to be played live. I have never felt more lucky.

It’s clear the band have been a unit for so long. Bassist Jeremy Lenzo and guitarist Brooks Betts wind their way between each other without thinking. They’re two parts of the same whole. Everyone has this beautiful, innate understanding of the others. As individual players, their skill cannot be understated. They play to not only match the recorded version of the songs, but to destroy it. The Tallahassee natives absolutely blast their recordings out of the water. Driving, pounding, relentlessly rhythmic bass, shredding, treacle-sweet guitar licks and delicate, precise, endlessly engaging drumming keep my eyes glued to the stage for their whole set. And god, it’s too short. At only 10 songs long, I am positively gutted when it comes to an end all too soon.

But at least we get to finish on Jamie All Over. I watch GA shake off all of the emotions from the set. They’re grinning, bumping into each other, as the fellas onstage give it everything they’ve got. Guitars turned up to the max, Bundrick is slamming on the drumkit so hard I’m worried the skins will break. Everyone looks so alive.

And then it’s time for the illustrious return of Maryland emo-Rockers, All Time Low. This will be their first time in Australia since 2017, and to say it’s nostalgic – is the understatement of the fucking century. All Time Low are the high school anthem makers. In harsh contrast to Mayday Parade’s setlist – we’re in for 22 songs from a nearly 20-year career from this band of agents for chaos. If any band was going to be a parody of medieval travelling bands – these guys would be hit. They’re all energy, humour, and an endless stream of increasingly elaborate bits. They’re horny, nostalgic and angsty. They’re a delight in every sense of the word.

Nothing can describe the absolute tidal wave that is Lost in Stereo into Damned if I Do Ya (Damned if I Don’t). All Time Low sucker punch you to welcome you to the set. Unbelievably high energy, pumping lights and new takes on beloved riffs – this is an opening impossible to forget. Everyone is up. There are no seats, they’ve turned the whole fucking place into a moshpit. The control they have over us and the room is impossible to replicate.

“Holy fuck there’s a lot of people here”. Front man Alex Gaskarth is met with a tsunami of applause and cheers. “This is the biggest show we’ve ever played in Australia. And that’s all thanks to you. We’re four guys from Maryland who started this shit nearly 20 years ago – in high school, and we never, ever thought we’d be here.”

After several more songs punctuated by flashing purple lights, Rian Dawson’s inimitable drumming and Gaskarth’s unbelievable vocal power, our front man takes to the mic again. “This is a song about love.” And we launch into a mashup between, Modern Love / Stella and Tell Me I’m Alive.

God these guys are a unit. The amount of stage guitarists Jack Barakat and Zack Merrick can cover while getting these intricate runs note-perfect, is unlike anything else I’ve ever seen. All Time Low do high-energy better than anyone else in the business. They are proving, with every sensational second they’re onstage, why they’re pop-punk heavy-weights. The musicianship, the effortless banter, the charisma – all of it is what puts All Time Low on top. And they’re dishing everything out for us at Margaret Court.

New touring member to the band, Dan Swank, is having a birthday! “Not only is it his first time in Australia, it’s also Dan’s birthday! Let’s all sing Happy Birthday 3 or 4 times.” Gaskarth chirps happily into the mic. We’re having none of it. There’s only one thing we want him to do.

Starting as a dull drone, and growing to a yell, the room is full of;

Shooey! Shooey! Shooey!

“You guys are fucked. You know that right? This is so completely depraved. Who the fuck thought this was a good idea?” Gaskarth might be appauled, but Barakat has already whipped off his shoe (suspiciously fast), and Swank has filled it with beer. Down the hatch. The applause is next-level.

And then we are thrown back into it. Winding our way through bagner, old and new, I have to stop us at Fake As Hell. As he absolutely tears up his vocal chords delivering us spine-tingling belts, Gaskarth takes a minute to thank the queen of pop-punk. The one. The only. My first musical hero. The other-half of the poppy, sardonic tune; Avril Lavigne. “Make some noise for Avril Lavigne. Here in spirit. She’s eternal.” Fuck! Yes! As the punchy, tongue-in-cheek tribute comes to a close. Gaskarth takes a minute to address us, after a heckle from the front row.

“I’m 15!”

“Oh fuck yeah dude! No, seriously, that’s great. Who here saw us when they were 15?” A bunch of twenty-somethings hiding purple hair in the corporate world cheer. “Thanks for growing up with us guys.”

It’s a very sweet moment and reminds me of why I loved bands like All Time Low in high school. They’re messy, they make mistakes, they’re human. They understood what growing up was like.

“Alright now for something less sappy. This is the horniest song All Time Low have ever written. And I won’t apologise.” The song in question is, of course, New Religion. The stage is bathed in purple and red light. It’s just sensational. Gaskarth purrs into the mic, accompanied by the hypnotic drum work of Dawson. The song is extra hot, and extra heavy.

The set goes by in a dream. It’s alive, it’s electric. Each song is punchier than the last. And I’m not entirely sure how we ended up with the band stopping, Barakat taking the mic and asking Gaskarth; “Hey, have you ever? Ever felt like this?” Zack Merrick chimes in, “Where strange things happen?!” And suddenly, they’re playing Round The Twist. They’re dancing to Round The Twist. All Time Low, are playing Round The Twist. What the fuck is going on. We’re losing it. Some people are trying to film it, but laughing too hard, others are headbanging. Barakat was absolutely right when he said; “Glad to know you all still stand for your national anthem.” All Time Low casually pulling out maybe the most iconic live music moment of 2023. Go off boys. Their commitment to the bit is second-to-none.

And as teenage Nikki favourites like Weightless play out, I get a little teary as we hit the last song of the encore. “Take us home everyone!” And in perfect unision, fuelled by patriotism and teen angst, we sing out the end of Dear Maria, Count Me In. And it’s over. The lights come up and it doesn’t feel real. We were somewhere else. A delightful time capsule of a bygone age of hairspray, shitty bangles and musical perfection. And god do I want to go back.

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Gig ReviewsReviews
November 2, 2023
Raelee Atkinson

[Review] Thornhill @ Moore Park, Sydney 28/10/2023

I’ve been wanting to see Thornhill for a while now, so last Saturday night, I finally got to tick that one off my list. It was October 28th and at Moore Park, The Entertainment district in Sydney. It was a busy night, with a Halloween dance party at the Hordon Pavilion and Sir Paul McCartney playing next door at Allianz stadium. But at Liberty Hall, Sydney metalheads lined up early and gathered for the final night of the Prom Queen City Tour. Which had the amazing line up that was Bloom (Syd), Thousand Below (USA), Holding Absence (UK) and Thornhill (Melb).

First up were Sydneysiders, Bloom. I wasn’t familiar with them but colour me impressed! They brought the energy and entertained with a 7 song setlist warming up the crowd with Laughing Stock, Bound To Your Whispers, Sink Into The Soil, Daylight, Siren Song, The Service and finished the set off with Cold. At the end of the evening I was chatting with a fellow and he said that Bloom is his new favourite Sydney-based band! Big call considering the bands in Sydney, but I admit, these lads are impressive, so keep an eye out for them on future tours – definitely worth checking out.

Next up were American “homies” Thousand Below, who took to the stage with a powerful 8 song set including, Hell Finds You Everywhere, Venenosa, Tradition, Silent Season, 171 xo, The Love You Let Too Close, No Place Like You and rounding the set out with Sabotage. Thousand Below did a great job of hyping the crowd where Bloom left off. At the conclusion of the set, the singer introduced himself as James and said he was going to be over at the merch stand and wanted to meet everyone. I’d already staked out my favourite spot at this venue, so I wasn’t moving for anyone, not even a friendly American (soz), not even for the line up at the ladies loos, nope, not budging. 

Then it was time for Welsh post-hardcore alt rockers, Holding Absence, who played an energetic 8 song set which had us all singing along to songs like, Like A Shadow, Aching Longing, Gravity, Scissors, A Crooked Melody, Her Wings, Afterlife and ended the set with The Angel In The Marble. The night before, Holding Absence had played a full set in my hometown of Newcastle, but with a “bangover” neck ache from the previous weekend seeing Bury Tomorrow, I’d piked out to save my energy for the trip down to Sydney and this show – but now I’m kicking myself for not mustering up the energy and seeing the full set show cos these guys are fan-bloody-tastic. 

Finally, it was time for the headliners, metalcore / alt rock,  ARIA nominated Melbournites known as Thornhill.  The line up currently consists of guitarist Ethan McCann, Drummer Ben Maida, Bassist Nick Sjogren and Vocalist / guitarist Jacob Charlton. The lads blazed onto the stage with latest single, Viper Room, then led into Heroine favourite, Arkangel,  followed with Views From The Sun, The Haze and Red Summer where Holding Absence vocalist, Lucas Woodland joined them on stage to add some gnarly growls. Next up were Hollywood followed by Casanova, then the band left the stage with no explanation and I still have no idea why, for about a 2 minute interlude, then they returned to the stage to play Something Terrible Came With The Rain. The crowd moshed hard and sang along loudly to The Hellfire Club, and Leather Wings. Next up was the moody All The Light We Don’t See, then the crowd sang along enthusiastically to Lily & The Moon, the audience circle moshed during Coven, and Raw. Thornhill finished the set and the tour with Where We Go When We Die. 

Frontman, Jacob Charlton’s falsetto vocals are transcendent, taking you on an emotional journey with him, and his dance style and hip movements took me right back to the days where I was on the rail watching a young Michael Hutchence in INXS. The band were tight and played a good mix of songs from both albums. The Sydney audience showed their appreciation as Thornhill put on an impressive performance and definitely lived up to the hype.

All four bands put on a great show and left the crowd happily satisfied and a bit tired from all the moshing and singing. Holding Absence are currently continuing their Noble Art Of Self Destruction tour with Thornhill as their guest support band in Germany and the UK.

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Gig ReviewsReviews
October 18, 2023
Emily White

[Review] The Chicks @ Rod Laver Arena 16/10/2023

It has been six long years since country music royalty, The Chicks, last graced Australian shores. Returning in the light of their 2020 studio album, Gaslighter; The Chicks once again echoed their routine sell-out of Melbourne’s Rod Laver Arena. Coupled with Ohio’s country-pop royalty Elle King, this Monday night hoedown played out as a dream come true for eagerly awaiting country music enthusiasts.

From the first beat, Elle King had transformed Melbourne’s inner-city arena into an all-American bluegrass festival. Carrying such strong Midwest influence in both her musical performance and stage persona, Elle’s presencewas intoxicating. Not only do her classic americana vocals bring an authenticity to the set, but so do her incredible four-piece band – who played a rhythmically flawless catalogue of upbeat hits.

Elle comes across to audiences as a multi-dimensional performer. At once being a bright, pastel Barbie sweetheart, before seamlessly tapping into a raw and unapologetic female powerhouse persona. Although, after spending the better part of an hour with her, it is likely Elle’s ‘persona’ is less of a façade, and more an upscaled display of her gorgeous, bubbly personality. The most anticipated moment of the set was experiencing the chart-topping hit Ex’s & Oh’s live. Perfectly positioned as an audience vocal warm-up, the single also acted as a way of signalling an obvious post-virality change of pace in the songwriter’sdiscography. Since 2014, Elle has retained her angsty lyrical undertones, whilst leaning into a more authentic bluegrass, country-rock sound.

Showcasing her latest LP, Come Get Your Wife, bluesy keys and guitars played out the set. Bouncing around the stage, the performer boasted about the joys of being a mother, eventually bringing her gorgeous two-year old son to the stage – the inspiration behind her 2023 single Lucky. The warm, homely energy mustered on stage acted as an easy sell for fans of The Chicks, who at their roots are a fanbase built upon female strength and empowerment.

Counting thirteen GRAMMY Awards, six Billboard Music Awards, and four American Music Awards is only the tip of the iceberg when considering the huge success The Chicks (formally Dixie Chicks), have amounted over their more than three-decade long career. Returning to Australia for the fifth time, Melbourne fans were more than ready to experience The Chicks once more, but this time with a fresh name, and an even fresher sound. Gaslighter is a ground-breaking album for country listeners – pairing the best of bluegrass instrumentalism with country-pop lyricism, and bound by bold, feminist undertones and branding. This new era of The Chicks has broadened the scope for the band’s fanbase, reinforcing them as a household name year after year. 

Sparkling cowboy boots and wide-brimmed hats filled the arena floor, as the night’s main act took to the stage. Anticipation filled the air, and was completely devoured by a trippy, television-static visuals on stage. Disorientating the crowd with the hums of instrumental tuning, radio segments, and distorted snippets of their discography; we were in for not only a musical concert, but a high-production spectacle. Hypnotic imaging and artistically skewed feminist propaganda of the past joined the iconic opening harmonies of title track, Gaslighter. Suddenly dropping the halfway curtain on stage to reveal a multi-level six-piece band, along with three freestanding mics for the leading ladies. Dressedto the nines, founding bandmembers Emily Strayer and Martie Maguire made their way downstage, maintaining the pace of the upbeat, country heartbreak anthem. Soon after being met by lead vocalist Natalie Maines; the band had once again been reunited, ready to treat fans to a two-hour ‘best of’ special.

Sin Wagon was a major change of pace, fulfilling the crowd’s need for some classic country dance music. Accompanied by fast-paced banjo and fiddle, the musical talents of The Chicks is beyond belief. Playing with such versatility and effortlessness, it was impossible to take your eyes off the trio dressed in gorgeous, classy black and bejewelled leather. Performing their new album in close to its entirety, Texas Man and Julianna Calm Down continued to serve bad bitch, cowgirl energy, whilst showing-off Natalie’s incredible vocal range. A standout element giving continuity to the show was the ethereal feeling violin accompaniment, played beautifully by Martie throughout. Even in the darkest of lyrics, the upbeat and hopeful fiddler gives the tracks a signature ‘Chicks’ sound.

Diving deeper into their impressive and extensive music catalogue, the band gave us all there was to be desired. ‘We are The Chicks, and we are going to attempt to entertain you this evening’ and entertain they did. Filling the first half of the set with hit after hit including The Long Way Around, Ready to Run, and Wide Open Spaces.

A change of pace came as the band moved downstage, breaking the fourth wall in a more intimate, campfire-jam style. A standout for fans was the ladies’ several covers from their early archives including Beyonce’s Daddy Lessons, Fleetwood Mac’s Landslide, and Miley Cyrus and Dolly Parton’s Rainbowland. The clever meme-style humour of The Chicks was not lost on audiences either, as the screens behind introduced the band members using videos tapes of them as small children, and displaying song lyrics using a bouncing unicorn teleprompter.

The singalong came to a jarring end as seemingly random numbers flashed on stage – which became apparent were signifying numbers of mass-shooting fatalities, which mainly resided across the US. March March, For Her, and Everybody Loves You created a striking, politically driven segment of the show – displaying images of early LGBT and women’s movements, as well as recent riots and protests. There was no one issue which stood out as more significant than another, yet these demonstrations through music signal a need for global change, for peace and equality. Everybody Loves You is another painful, gory truth. A heart-breaking, personal insight into the mind of a survivor of sexual assault, battling with wanting to overcome their oppressor, but struggling for forgiveness; ‘It’s my body and I’m trying to forgive you, I don’t want to… Why does everybody love you?’

‘It’s time to get serious’, exclaimed Natalie, before the band ironically breaks out into a banjo-led, high energy, square-dancing track, White Trash Wedding. After such emotional ups and downs, it was refreshing to end the show with strong feminist-led narratives; Goodbye Earl, being the bookend. With the entire arena on their feet – the superstar trio played out the night with electric guitars and a rockstar personas. Leaving the stage with a standing ovation, there was no hesitation in the room when Natalie shouted, ‘We hope you’ll have us back Melbourne!’

I doubt there would be a soul who would not be back for another round of The Chicks. Though it may be years into the future, the trio have truly stood the test of time, and are guaranteed to pack out venues across Aussie shores for decades to come.

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Gig ReviewsReviews
October 16, 2023
Nikki Eenink

[Review] Peach Pit @ Northcote Theatre 11/10/2023

For me, no band, ever, has better captured the feeling of nostalgia, of warm summer days, of platonic love and the happy-go-lucky experience of solo travel quite like Vancouver indie-rock powerhouse, Peach Pit.

During the depths of COVID lockdowns, I’d seen them play a “live” show through zoom. But I’d given up hope they’d ever travel down under. But then, on some glorious weekday – they announced their tour. Instantly, I scarfed up tickets. Since then, it’s been an exhilarating wait, that honestly made me a bit nauseous with excitement. Clearly, I wasn’t the only one. Their first show sold out so quickly, even with a venue upgrade. And their second show was essentially sold out as well, with a mere straggler of tickets left. We were certainly showing the 5-piece our appreciation.

The energy at Northcote Theatre was absolutely infectious. There was a buzz in the air that made the hairs on my arm stand up straight. Australian up-and-comers Eliza and The Delusionals played an ultra-short, ultra-punchy set. Ripping through some excellent tracks from their new album; Now and Then, as well as their superb collection of singles. We were in the mood and absolutely ready to rumble.

The next hour and a half have made writing a review nearly impossible. It’s rare you see a perfect set. But there is no better word for it than, perfect. Neil Smith on lead vocals and rhythm guitar, Chris Vanderkooy on lead guitars, bassist Peter Wilton and drummer Mikey Pascuzzi have come such a long way, even in three years. They are not the same band now as the band I watched, cooped up in my room, playing thousands of kilometres away. The addition of multi-instrumentalist Dougal Bain McClean (some people have all the luck), has undeniably helped push them into new heights of “chewed bubble-gum pop” perfection.

As the stage turns red, and spotlights flicker over the crowd, I see Smith’s bouncing mane of hair before anything else. Quickly, he’s followed by Vanderkooy, The Moustached Maestro as I affectionately call him. The rest of the band appears onstage, and we are faced with 5 dudes, in t-shirts and jeans. Not too baggy, not too tight. They’re Just Some Guys. But don’t let looks fool you. These averages Joe’s are about to do something crazy to my brain chemistry.

For context, Peach Pit have a melancholic take on surf pop. Their songs are heavy with slow, soulful vocals and driving lead guitar breaks. So, I was a little shocked when the fellas launch into a cover of Slayer’s Raining Blood. Smith steps up to the microphone and in his best metal voice growls for us to “get the fuck up motherfuckers”. He is a whirling dervish of curly hair and devil-hands as the instrumental cover rages. Suddenly, it stops, and we are taken into Being So Normal. There are perhaps no two songs less compatible. But god does it work. Instantly, I’m taken somewhere else. “Show ‘em Chris!” Neil moves over to let his high school friend work his magic on that fretboard.

The volume of songs Peach Pit have in their repertoire, is unbelievable. For a band less than a decade old, the setlist is 22 songs long, and there isn’t a weak link amongst them. Having released their third album, From 2 to 3, last year, I was expecting that to be the track list for the evening. I was wrong. “Because this is our first time here, we’re going to be playing lots of older stuff! For all of you who’ve bought our merch and waited so patiently. Thanks, so much guys! We love you!”

The next hour is a blur. From driving drums and twinkling guitars of 17-year-old Nikki’s favourite song, aptly named Seventeen, to the shredding guitars of Psychics in LA – this set has it all. Old fans, new fans, stragglers off the street – everyone is jumping around, waving their hands in the air, transported to another plane of musical ecstasy. Go with your friends! That was when Smith says “This song is for when your best friend really pisses you off” you can share a look and laugh through the opening notes of Vicky. Go with your heartbroken friend, so you can scream the permanently-stuck-in-my-head hook of Shampoo Bottles. Go with your stoner friends so you can sway to the stoned lullaby that is Tommy’s Party arm-in-arm. Remember the better times. Be like the two guys in front of me, hugging and looking into each other’s eyes.

I’m so glad you’re alive!

I’m glad I’m alive too!

Fuck yeah, dudes. It’s hard not to be with Peach Pit as your soundtrack.

Private Presley has been in my top 5 favourite songs since its release. Wedged between the melancholic love-song that is Figure 8, and the summer picnic banger to end all summer picnic banger’s, Up Granville, it’s a surprise. Those early, gentle guitar notes slide over my eardrums, and I’m spellbound. Vanderkooy’s guitarwork and Smith’s pitch-perfect, dulcet vocals lull me into a dream. McClean comes out on fiddle, and the way he plays is so mournful, so beautiful, so heavenly it makes me want to scream. As we hit the climax of the song; all messy guitars, feedback, and flying hair, I realise this show is going to be one for the ages. Peach Pit is many people’s first introduction to the band, it’s slow, it’s sad, it’s iconic. Smith barely has to sing as the crowd carries us from verse to verse, chorus to chorus. A high school anthem for some, breakup song for others, and something else entirely for most – it’s an absolute showstopper.

Undeniably, and unsurprisingly, one of the highlights for the evening is Alrighty Aphrodite. The lights go orange, Smith abandons his guitar for his iconic, stoic dancing and I pick my jaw up off the floor. This song is So. Fucking. Sexy. It starts slow, with delayed guitar so it sounds like it’s wafting through fog. It’s gentle drumming feels like footsteps. The bass is present and driving. Smith’s vocals are haunting, gentle and sturdy. Exactly like the goddess for which it’s named; it’s magical, mysterious, thalassic, beautiful, and hot as hell. It infects my arms and legs, and my body is no longer mine, I follow where Peach Pit take me, and I happily resign myself to my fate.

As our penultimate finale, Chagu’s Sideturn is so high-energy, so fun, that the ache in my legs from standing is gone, and all I can think about is summertime. It’s so quintessentially Peach Pit. It reminds me of growing up in Seattle. I taste the ocean air of the Pacific Northwest; I stand under those blue skies. I want to curl up in a lawn chair with a Carlton Dry. Chris is an absolute God on the guitar. A force of nature. These guys are proof that simple, skilful musicianship can never be beaten. They dance together, hug while playing and are grinning ear to ear. They might be more stoked to be here than us.

We do a cheer for their Aussie guitar tech, Adam, and with another laugh and lick of the guitar strings, they’re off. Immediately, I’m aching for more. Luckily for me, I had bought tickets to experience the joy, the mystique and the indescribable resonance that is Peach Pit. Whatever it is, these guys have it. Go on and get a taste for yourself. But be warned, once you try some, it’ll become your favourite meal.

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Gig ReviewsReviews
October 13, 2023
Nikki Eenink

[Review] Weezer @ John Cain Arena, Melbourne 06/09/2023

With PAX Aus and Weezer’s headline tour in the same week, it’s an absolutely showstopping few days in Melbourne for white guys aged 27 to 50. And showstopping perfectly describes what greeted me onstage at John Cain Arena, Friday night. Californian indie Golden-Boys Weezer need no introduction. A perfect combination of meme-culture, unbeatable musicianship and perfect pop-banger to rock-solo percentage; they really are the upper echelon for anyone who enjoys teen movies from the 90s (or was a teen in the 90s). And so, before I introduce the cheese, the steeze “The Weeze”, let me tell you about their support.

Regurgitator follow in the highly coveted Brisbane tradition of fuck-off punk rock. Their sound is somewhere between Kraftwerk and Limp Bizkit. The Smiths meets Grunge. Two entirely separate forces that shouldn’t come together, but when they do – musical nuclear fusion. The guitars are howling, the guys are bantering and we’re all completely enamoured by the Brisbane trio and their shit-eating grins. As is customary, they begin a chant immediately after their second song of; Oi! Oi! Oi! An Australian classic. A cultural must. “Are you guys ready to hear a song that goes faster than the last one?”  (Bong In My Eye – an absolute tune, of course) “Yeah this one goes so hard” One of them moans; “Uh! So hard!” And with a cackle that would make Jack and Jill run back up that hill, they throw us headfirst into Polyester Girl. After the guitars simmer a bit, ultimate Bass-dad Ben Ely asks us a question that really needs no answer; “We’re so excited. Are you excited?” We cheer, but clearly not enough. “It’s fucking Weezer, man!” Quan Yeomans, our ever-charismatic front man chimes in, “Weeeezer!” And so, of course, we cheer. And now that our excitement is excited enough, the show continues. Blubber Boy into Fat Cop into I Wanna Be A Nudist, it’s just out of control how many tracks these guys can deliver at full energy with no faults. Even when they are forced to restart on Blubber Boy, they’re still masters. The reason for the restart, is because the old adage that “White People Have No Rhythm”, was proven at John Cain that night. They get an entire crowd to clap along – no two of us had the same rhythm. The people of the Caucus Mountains were struggling to participate in the musical madness and wonder of Regurgitator. So, they get us to start. We clap, they follow; and they blow that stereotype back out of the water. After a really good bit “How many more songs do we have left? Are we out of time?” Runs it’s natural course, we are asked one final, tantalising question; “Should we do a naughty song?” But before they have time to deliver on this, Yeomans takes the mic. “My daughter should be here somewhere! She just moved to Melbourne! Where is she?” A sea of men shove their hands in the air. “You’re not her! You’re a fella!” when one of his Regurgitator brothers asks him, “Mate, are you even wearing your glasses?” And so, they give up. I hope she was there and had as good a time as the rest of us. The World of Sleaze and ! (The Song Formally Known As) take us perfectly into the World of Weeze. (These aren’t my words, I promise. Read on to find out who said that! Intrigue!)

Teal Album is one of Weezer’s more forgotten albums. A compendium of covers spanning 3 decades, it’s miss-able, but unforgettable. In what I like to consider an homage, they play us into the dimming lights, the unmistakable hush before a show, with Africa by Toto. An iconic song, an iconic cover, an iconic show is imminent.

To save you the read: I can, without a doubt, say Weezer’s Indie Rock Roadtrip is one of the best shows I’ve seen in years. Whether you’re a hardcore Weezer fan, a casual enjoyer or a Pinkerton defender – this tour has it all. These songs are so a part of the cultural zeitgeist that it’s impossible for the whole show to not feel nostalgic, treasured, and significant.

Rivers Cuomo, Patrick Wilson, Brian Bell and Scott Shriner are in an echelon all of their own. For the next two hours, we will be lovingly chauffeured through all of the bands biggest hits – and some of their smallest. With this foursome behind the wheel, you know it’s gonna be one hell of a trip.

Starting out strong with My Name Is Jonas, we are introduced to the vibe of the trip.

Picture this:

A cartoon, semi-idealistic version of America. We are Jonas, some kid living in the outer stretches of Los Angeles, completely lost in the world of our headphones. We jump in the car with some of our friends and start our long winding road North, and East. Turning the radio, The Good Life comes on. Out the window, we can see signs for American restaurants, but it’s all fantasy. “Jamie’s In The Box” “Bran Bell” “Up N Down Burger”. And the biggest fantasy of all, Weezer is on tour. Except that’s now. That’s us! This is fantastical. Immediately, we are on this trip with them through all these things that are impossible, fantastical, but oh-so real. Pinch me.

I will never understand what it is about hearing a singer mention the town their singing in that makes crowds go feral. But they go feral. Finishing Beverly Hills with “Living in Melbourne, Australia” set the crowd off. It’s like front-man Cuomos threw us gold pieces, we were loving it.

As In The Garage comes to a close, and 11,000 people sing-shout ‘No one hears me/ No one hears me’ Cumos speaks over us. “Have you guys heard? We’re opening for KISS tomorrow!” There’s some light applause. “HEY! WE’RE OPENING FOR KISS” and he hits a mean chord on his guitar. We respond with what Rivers decrees as a worthy level of cheer for the 1970s Rock-Gods. And, in their honour, they play a punky, high-energy, guitar-forward cover of Strutter. The way lead Guitarist Brian Bell moves his hands along the guitar is spellbinding. The fretboard is an extension of his arm, the sounds leave his hands and sit in the room in perfect harmony with all the other noise. It’s impossible to tell where that skilful ends and the hot-air of GA begins. Oh, and Bell whips out the double-necked electric in true KISS spirit – what an homage.

As a Green Album girlie until the bitter end, I swear I nearly popped a blood vessel when they launched into Photograph. This is the first full-band performance of the criminally underrated release since 2015. And it’s even better live. The insane visuals, Cuomos off-kilter vocals, and the pounding drums provided by Patrick Wilson bring this track to life. I feel like I’m in IMAX, but for sound.

Undone (The Sweater Song) is one of THE Weezer tracks. Starting out of nowhere, the melancholic, drifting, delayed opening notes are barely heard under the guttural screams of excitement for one of Blue Album’s most coveted. This song isn’t short, but it flies by. The foursome never seem to tire. They can just keep playing, perfectly, never easing up on themselves (or us). The energy never drops even for a moment. Cuomos and bassist Scott Shriner jump along the stage, one leg stretched in front of them, as Bell shreds the ultimate shred. Cuomos arms are a blur of strumming, he is absolutely caning his pale-green strat – but the pain is so worth the reward. The crowd is all hands, clapping predictably out of time, and people dance-shoving. As the music swells to its predicted finale – Cuomos puts his guitar to his mouth and starts playing with his teeth. Once he’s decided to give his enamel a break and the song finishes, he plants a big, loving kiss on the green body of The Little Guitar That Could.

Next up is an absolute highlight of the show. Rivers takes to the stage, alone. Armed only with an acoustic guitar, he starts to tell us a story of young love and heartbreak. The story goes something like this;

“I really liked this girl. She called me all the time, came to Christmases with my family- the whole thing. I thought she liked me too. One day, after we hung out she said she’s call me tomorrow. But she didn’t call. I waited by the phone the after that, too. And the next. By day 14 I realised she wasn’t going to call. So, on day 19 – I wrote this song.”

I didn’t recognise Waiting on You at first. Done just with an acoustic guitar, it sounded almost like a parody. Like Kill Me Please, from The Wedding Singer. It sounded like the very stereotype of sad 90’s Rock you’d expect. Where’s Matt Groening? Is this a Simpsons sketch?

Why? Haven’t you called me?

Did you forget me?

The Arena is alight with phone torches as Cuomos laments to us, fully aware of the comedy.

Mine, is the loneliest of numbers

Now, is the loneliest of times

You’re 19 days late

But still I sit and wait

The other three Weezer members come onstage and gather around the microphone. Barbershop quartet-style, they finish the lament. The house erupts with applause.

The next song is also a romantic lament of sorts. A ballad for Geffen Records Receptionist, Susanne hits even harder acoustic. Still gathered around the mic, it’s easy to see why Weezer disarmed and wooed this woman. They’re humble, talented, dressed in vans and baggy pants (Primo Skater Chic) at 55. Listen, Susanne, we get it,.Cuomos is beating out ‘Izzy, Slash and Axel Rose’ for her affections. This 5’6, hyperactive man is Geffen’s biggest Lover-Boy. As soon as they play, they transform. Roadies strap electric guitars onto Brian Bell, and we are treated to a wonderous ending of acoustic strums and electric licks. Suddenly they’re young again, somewhere else, and ultra-handsome.

We are showing them our appreciation. “Good on ya, Melbourne!” Some guy behind me, slurring and raspy screams back, “On ya, Rivers!”

“How is it? Chilling with The Weez at John Cain Arena.” The Weez. Said with such a tongue-in-cheek earnestness I can’t help but laugh. He’s an icom. The Master of The Shitpost.

Only In Dreams starts with River on acoustic for the first verse. Suddenly, they are all strapped with electrics again. And in a literal jump onstage – the tempo picks up. The visuals behind them are a waving red and purple. They are caning the shit out of their guitar strings. Shriner is a machine on bass. This song is so bass-heavy, and he has no issues being up to the task. Filling the room with warm, open, delicately layered bass with ease.

Of course, Island in The Sun gets a play. It’s so nostalgic, and wonderful. Everyone is out of their seats, swaying together, putting their arms up, singing. It’s like the final shot of a movie, where everything’s worked out. We’ve gotten into college, got the girl of our dreams and are watching fireworks on the beach. No notes, a perfect 10.

Growing up in Seattle, Washington. I am hard-wired to recognise Mount Rainier. And there it is. On the projection screen. We are driving through the cascades on this road-trip to the home of Grunge, of 90’s melancholia, of general antics and too-much noise. All My Favourite Songs gets Cuomos on keys. And he slaps them happily as we sing along. Lyrics that are so relevant, so painful. This 2021 release from Weezer shows that the band isn’t just a group of fossils peaking 30 years ago.

Cuomos openly hates Say it Aint So, so I was not expecting it to be played. But then that opening lick plays. And the sound that left my body was inhuman. He might hate it, but the song is one of the all-time greats. A Banger to End All Bangers. God-Tier. To save himself singing the chorus, he just stands – arms and legs spread, a starfish under 5 spotlights, as the pre-chorus lick goes and 11,000 of us, in perfect, ecstatic harmony scream:

“Say it aint so! Your drug is a heart breaker.

Say it aint so! My love is a life taker.”

My personal favourite part of the song, the bridge, is magical. The lights turn red and then purple and blue, and swirl around the foursome.

“This bottle of Stevens, awakens ancient feelings”

They start to slam on their strings and build until it’s all noise and 3 simultaneous solos that wind and weave and become alive together. It’s like nothing I’ve ever seen before. These songs I thought I knew, are so much more vivid in Weezer’s guiding hand.

“Are you guys enjoying the road trip?” Cuomos asks us. Does he even need to ask? He grins at the amount of noise we make in response. “It’s not a road trip ‘til dad takes a photo”. And he pulls out a polaroid. Referring to himself as Dad makes him even more likeable. If such a thing is possible. He snaps pics of all sides of the room and takes us into the end of the show.

Hash Pipe is such a phenomenal way to finish their main set. It’s aggressive, fast and punchy. The visuals of bats eyes, faded, bloodshot and spinning is such a great homage to the King’s of Stoner-Core. For the Guitar Hero friend next to me, it was a pretty huge closer.

Thank You and Good Night has our foursome standing on steps at the back of the stage, shredding together. I hate encores, but my fingers and toes are crossed for more.

And more is what we get.

The Waste Land is muddy, grungey and layered. They walk onstage and add to its layers one by one until we are carried on an almighty wave of perfect sound. Black Sabbath are pissing their pants a little with this one.

Surf Wax America is so quintessentially Weezer. It’s jumpy, fun and best shared at a barbeque. Blue Album remains one of the best in any genre, because of its versatility. This is not the same band they were just one song ago. But I am loving it. We all sing off-key, delighted and carefree.

A testament to the absolute mountain of songs Weezer has in their arsenal, is a major hit I had completely forgotten about in the fun and the fervour. Buddy Holly. Everyone’s favourite Spike Jonze music video. A staple in the Weezer canon. It’s amazing for one of a band’s major hits to have escaped my mind because I was so enraptured by everything they had going on. These guys could play one chord and I’d be spellbound. Another Blue Album staple, we are quick to show our adoration. The video in the background is of people roller-skating around. And while we can’t roller-skate, we can dance. And dance we do. With fun little licks, delightful harmonies and a beat that’s impossible not to move to – this song really has it all.

At this point, they’ve proven they’re an unbeatable unit with unbelievable, untranscribable skill. But it’s fucking ridiculous they played for 2 hours with no mistakes. Oh, what I’d give to bottle those 2 hours and live there.

Buddy Holly packs a punch, and so they leave us stunned, thrilled, desperate for another forgotten-hit. I’m in a daze, and this was 2 days ago. You could not ask for a better night.

If  Weezer have 1 fan it’s me if they have no fans I’m dead. I love you Weezer. And you would too. Buy tickets next time, I promise you’ll leave happier, bouncier and beachier.  And maybe just a little bit stoned.

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