loader
Post Image
Gig ReviewsReviews

[Review] Corey Taylor @ Metro Theatre, Sydney 28.11.2023

As a millennial Metalhead, few artists have been as prominent in my heavy music journey as Corey Taylor. Whether you know him as number eight the masked madman in Slipknot, the charismatic unmasked frontman of Stone Sour, affectionately as ‘The Neck,’ or the constant query in headlines and comment sections – ‘but what does Corey Taylor think?’ – his impact on the music world is undeniable. Tonight, we are lucky to see him stripped back, in an intimate setting performing a little taste of everything he’s ever been a part of ahead of his appearance at Good Things Festival.

Tonight, Taylor is backed by Clay J Gladstone, a regular on Sydney’s local AM//PM club circuit, delivering a punk rock emo fusion. Described on their Triple J Unearthed profile as a must-listen for fans of Violent Soho, The Used, and Stand Atlantic, Clay J Gladstone captivates audiences with their ‘heart on sleeve’ lyrics, emotive earworm bangers, and intense performances. Corey himself, recounting on stage, bestowed significant praise upon Clay J Gladstone, noting that while every potential support band that came his way was rubbish, Clay J had something truly special. You can’t get much more praise than that!

Not the weeknight or the pouring rain outside could dampen the energy of the jam-packed, sold-out show at Sydney’s Metro Theatre tonight. The anticipation is intense as “Corey! Corey!” chants begin before the house music fades away – this crowd is ready, unwilling to wait a second longer.

The band takes the stage first, launching into an auditory onslaught with precision. Mr. Taylor himself bounds on stage shortly after dressed in a suit jacket, kicking off Post Traumatic Blues from his latest solo album, CMF2. All five band members sport smiles by the end of the first song, clearly bewildered by the enthusiastic reception from the Sydney crowd. The time machine then transports us back to 2002 with a Stone Sour deep cut, Tumult. Since the inaugural Good Things Festival in 2018, Australia hasn’t witnessed Stone Sour live, making the revival of these songs nostalgic as many of us thought we wouldn’t hear them again!

While our love for Corey’s bands is undeniable, we are here to see him on his solo run. Strapping on a guitar he kicks off Black Eyes Blue which is such a beautifully crafted song bordering on ballad which had the crowd singing in unison. To everyone’s delight, they pull out a song for the couples (and bromances) in the form of Song #3 by Stone Sour. I wasn’t sure if he was being serious when he asked, ‘I hope you remember this one’. Multiple members of the crowd drape their arms around a loved one and sing it loud! I cannot wipe the smile off my face seeing Corey so comfortable on stage, his smile stretches ear to ear, interacting with his band members who all share the same energy and happiness.

In a brief break to chat with the crowd, Corey teases, saying “before I forget,” prompting a roaring response. Playing along, he asks if he’s missed something, building anticipation. After some playful banter, he declares, Before I Forget as the next song. Having seen Slipknot twice this year at Knotfest in Sydney and Download Festival UK, experiencing Corey sing this iconic track unmasked in an intimate 1,000-pack venue is unbelievably special.

There are few songs that artists turn their nose up at and flip off the crowd but that’s exactly what Corey does before dropping his head and giving into the peer pressure to play the Spongebob Squarepants theme. Quickly shortening the rendition, before asking if he can sing a song he actually enjoys playing, emotions were immediately switched on and turned to tears, to the sounds of the Slipknot heartbreaker Snuff.

The hits keep on coming, such as 30/30-150 and Through the Glass by Stone Sour, Midnight and Beyond from his solo work, it’s incredible that each projects songs are easily distinguishable. Usually when you have the same vocalist, they can be similar in style, although each are expertly crafted offering something different. The onstage chemistry between Corey and guitarist Christian Martucci is mesmerizing. Christian, who permanently joined Stone Sour in 2014 as Jim Root’s replacement, exhibits a seasoned partnership with Corey matching energy, bouncing off each other all night, Taylor even changes lyrics to praise his buddy.

After a brief intermission, the band returns for the encore. The unmistakable riff of Duality by Slipknot fills the room, as the venue begins to shake. Despite having just four members on stage, their performance echoes the intensity of the full nine (minus the keg). The night concludes on a high note with a cover of INXS’s Don’t Change, a choice Corey hopes won’t be considered meandering, expressing his love for the Australian band.

The sweaty, happy crowd pour out of the venue all raving on about a different part of the set which was their personal highlight. Collectively we know we witnessed something special tonight, treated to almost flawless renditions of songs we’ve cherished for over two decades. Corey was incredibly heartfelt with his thankyous, telling us that the reception he continues to receive is the reason why we are one of his favourite destinations on earth to tour.

Tonight’s performance was the first of 4 in Australia and if you are heading to Good Things over the weekend, catching Corey Taylor and co is a MUST. You will not be disappointed! I will be speaking about this show for a very long time.

Read More
Post Image
Gig ReviewsReviews

[Review] Mushroom 50 Live @ Rod Laver Arena Melbourne, 26/11/2023

Australia’s population is easily united by large-scale events and entertainment, particularly in relation to sport and politics. However, it is not often that our country, separated by vastness of land, cultural differences, and generational divides comes together over a musical event. Mushroom 50 Live was one of these once-in-a-lifetime occasions. A transcendence of humanistic differences, 50 Songs for 50 Years bought together the best of this nation’s talent, both past and present – a culmination of 50+ years of musical greats.

Acting as Australia’s founding father for aspiring musicians, a deal with Mushroom Records is one of the hallmarks of commercial success. Founded in 1972 by the late Michael Gudinski, Mushroom’s legacy has continued on both a national, and international scale. The excitement that filled Rod Laver Arena as thousands of lucky fans, music industry professionals, family, and friends, took their seats is simply irreplicable. With a line-up comprised of multiple generations of artists, there was bound to be something for everyone.

Long-time member of the Mushroom family, and a household name, Jimmy Barnes, opened the night in true rock and roll fashion.  Head to toe in leather, and pyrotechnics ablaze, Jimmy’s performance could not be faulted. Working the crowd as the rock icon he is, the energy was simply electric. As we were transported back to the 80s, long-time fans of the pub rock scene were given a moment to relieve their youth, whilst younger punters got a taste of what remains a legendary era of Aussie music. Powering through two of his hits, No Second Prize, and Working Class Man, 48 songs remained, and the bar was set astronomically high for the acts to follow.

Continuing the momentum, sisters Vika and Linda stole the hearts of the audience with their cover of Living in the 70s, the debut hit single from Mushroom’s own, Skyhooks. The pair’s angelic, ‘golden-age’ vocals paired with a jazz inspired musical arrangement created what was a uniquely surreal, cinematic feel. Stripping things back even further, Australian music sweetheart Missy Higgins gave a flawless performance of Wide Open Roads by The Triffids, which she had also re-recorded for the Mushroom 50 album. This set also bought with it a sublime 10-piece choir, whose performance in many of the evening’s acts was an absolute highlight. Treating fans to a familiar hit Scar, Missy had the room on their feet, swaying in gorgeous synchronicity, bonded by a shared love of music. The Rubens made a brief appearance, nailing their 2015 hit single Hoops. Flaunting the aesthetic of a highly polished garage band, The Rubens, are the epidemy of Aussie band music – and the foundation for many up-and-coming Melbourne indie rock bands.

The night at Mushroom 50 Live followed the ups and downs of moving through genres, and across eras from one song to the next; but what remained constant was a sense of family, and of celebration of life. Almost every artist who took to the stage, and every television host placed between acts could not help but to praise the beautiful character of Michael Gudinski. Michael founded Mushroom off his own passion for music, and for Australian artists the legacy he left for the industry is irreplaceable. Michael supported artists from all walks of life, regardless of their background. This became more and more evident as the night progressed, as we witnessed the stunning array of talent, all of whom were backed from the beginning by Mushroom Records.

A celebration of Australian music would not come close to complete without the inclusion of First Nations performers. Singing Australian anthems from the heart, Christine Anu gave a delightfully genuine rendition of My Island Home, sung from a pop-up stage at the back of the arena. Throughout the night this stage was turned to as a more intimate performance mode, away from the lights and cameras of the main spectacle. Goanna were up next, with their undeniable fan favourite, Solid Rock. The inclusion of Aboriginal instruments including digeridoo and clapsticks providing a feeling of authenticity and pride.

Many iconic acts graced the stage over the four-hour set, including Diesel, Ian Moss, Frente!, Deborah Conway, and Kate Ceberano. But the star-studded line-up had only just begun. The Temper Trap gave a strikingly poignant act, boldly choosing to perform two of the most recognisable tracks in Australian music history; Under the Milky Way by Australian rock band The Church, and their own smash hit Sweet Disposition. The sublime instrumentalism paired with an ethereal feeling backdrop of floating stars felt so out of place for an Aussie rock concert, yet was so perfectly received. An excited hum remained throughout the arena, as the crowd knew something special was still to come.

Closing out the first half was Aussie Icon Paul Kelly with his mega hit, Before Too Long, and a cover of The Sunnyboys’ Alone with You, joined by the band’s original guitarist Richard Burgman. The epic rock jams didn’t end there, as the First Nation’s band Yothu Yindi played their classic dance tracks Djapana and Treaty, embellished with flames, haphazardly flashing lights and the most intricate of rock instrumentals.

Beginning with a politically charged video compilation, the second half of the show dove deeper into the importance of messaging through music, and the influence of music icons on everyday people. Bliss n Eso put this message into practice with an emotional and moving rap set, alongside the ten-piece choir from earlier in the night. The phenomenally captivating stage presence didn’t end there, as international supergroup DMAs rocked audiences with their 2016 garage-band style single Lay Down. At first thought, viewers may have assumed 50 Songs for 50 Years was to deliver a few hit performances, alongside other ‘filler’ acts. However, these notions continued to be demolished by the incredible show of talent, all proudly Aussie-made. Household names including Machinations, Dan Sultan, The Teskey Brothers, Skyhooks, and Amy Shark left audiences wondering what final surprises were in store, as the catalogue of artists left on the bill grew smaller.

Birds of Tokyo were a personal standout, performing two of their international hits, Lanterns, and Good Lord, the arena was ignited – transformed from a glossy TV broadcast to an intimate early 2000s rock concert. The world class performance was breath-taking to experience, not only when viewing the stage, but after turning my head to the back of the arena, my eyes were met with the light of thousands of torches, glittering in the darkness like a magical sea of stars.

Mushroom 50 Live unfolded like a timeline. Fifty years of making noise, each decade equally represented – but now the time had come to hear from the future of the label. Recent signings including Logan, Wilson, and ‘Merci, Mercy’ gave performances worthy of international accolade. With such a solid foundation of music in this country, the sky is limitless for these young performers and their careers, and with backing from the best of the best, they are more than likely to become household names in the future.

As the star-studded evening comprised of live performance, and video cameos from the likes of Robbie Williams, Delta Goodrem, Vance Joy, Sam Smith, and Kylie Minogue came to a close, the nights successor Mark Seymour of Hunters and Collectors graced the stage. A digital duet of Aussie classic, Throw Your Arms Around Me, with none other than Ed Sheeran was adored by fans, but the finale Do You See What I See, truly took first prize. With the mighty revolving stage revealing the night’s band one final time, 2023’s biggest concert had come and gone. Left with nothing but rouge confetti in our hair, and wide smiles on our faces, it is safe to say all that attended Mushroom 50 Live have taken with them a sense of the ‘Mushroom family’. Closing the cover on the last 50 years of Australian music, and building a concrete and sacred foundation for musicians in the many decades to come.

Read More
Post Image
Gig ReviewsReviews

[Review] Froth and Fury Festival, Adelaide 18/11/2023

Leading up to this third instalment of the Froth and Fury Festival, I was certainly getting excited about the day leading up to it. Due to all kinds of circumstances, it hadn’t been since the last touring Soundwave Festival that I had attended a full day festival purely dedicated to music of the heavy variety. Looking at the schedule for the day it was apparent to me that I was going to be very busy getting myself around to all three stages to check out the line-up of local, interstate, and international bands on offer.

Not only was I excited about the line-up, I was also pretty happy with the venue. It’s hard not to love the idea of bringing together the fury of metal music with the frothy goodness of a cold beer, especially at Pirate Life Brewery in Port Adelaide, one of my personal favourites!

Having been to Pirate Life on quite a few occasions, I was very interested to see how they would have it set up for such a big event. I knew there was a big outdoor area for socialising already but was sure this wouldn’t quite be enough for this event.

Entering the venue in the late morning after opening time, I could see that the usual set up of the brewery was still operational for the general public, with an additional entrance behind for ticket holders to access the live music stages. Not only was the usual Pirate Life bar and shop open (including the regular barbershop parlour), but there was also the addition of a tattoo studio inside for the day’s event!

Once inside the Froth and Fury entrance, it became clear how they would fit everyone in for the day. Not only was there the main brewery area to accommodate, it seemed that all of the adjoining streets were closed off and being utilised to good advantage. Directly behind the main brewery building was the main stage (the Froth Stage). Looking straight ahead down the street I could see the stage that would accommodate the majority of the local bands (the Explosive Stage). Right in the middle, down a side street running parallel with the main stage was the third stage, the Fury Stage! These three stages were all far away enough from each other to allow all three to be running simultaneously without the sound overlapping, yet they were all close enough to make it easy to access all three without long walks between them.

Throughout this set up, there were long, shaded tables for eating, drinking, and socialising, a large merch shed, eateries, and plenty of accessible toilets. It seemed apparent right from the start that this event was very well set up and that I was going to be reviewing the day more as an experience than picking apart the individual performances of the bands in detail.

Not long after arriving, more than one person had described this set up as being like the schützenfest of metal!

As soon as I had surveyed the scene of the event, I attempted to plan my day, using my printed timetable which I used constantly throughout the day to remind myself of where I wanted to be and which band I needed to see. This planning exercise, however, proved to be difficult at times, thanks to the beautiful nature of the metal community. I found that I couldn’t walk more than a few steps without running into somebody I knew who wanted to stop for a chat. I personally love that about this community, it is seriously like one big family and it made this event even more special.

First up for me, was the Froth stage to catch my first Adelaide band for the day, Emergency Rule. Their set was suitably rocking and as they certainly weren’t the heaviest band on the line-up, it seemed like a great way to ease into things. Despite a couple of technical sound issues which were quickly rectified, they had the growing crowd interested and were a great warm up for a long day ahead. From here I headed to the Fury stage for the first time. Here I caught my next local band Descend to Acheron and their much heavier death metal set. For much of the day, it appeared that this stage was the place to be for the heaviest of metal. Although it was barely past morning, it was obvious that the punters were keen for a whole day of hardcore music as the ever-growing crowd were lapping up this wall of sound right from the start. From here, it was back to the Froth stage for me to catch my first international band for the day. New Zealand’s Devilskin hit the stage with a lot of energy and had the crowd worked up in no time at all. Jennie Skulander’s vocals were fantastic as they went from powerful and clean to a growl and back again with ease while guitarist Tony ‘Nail’ Vincent stalked the stage and interacted well with the crowd. As soon as this set was over, it was time for me to rush off to the Explosive Stage for another Adelaide band Chainsaw Preachers. I spoke to members of the band not long before their set and they wondered if their set was not heavy enough for this event. They certainly had nothing to worry about. Their brand of punk n’ roll was well suited to the occasion. There were definitely heavier bands on the line-up but the variety of heavy music that was featured throughout the day was what made it great. There were certainly enough people at this stage enjoying the performance and this did seem to be the stage to feature more of a punk sound that any other throughout the day.

I did somehow manage during this time to grab some lunch and some merch without missing out on too much live music. Thanks to the aforementioned great set up of the show, it was easy enough to get in and out without having to suffer the long queues usually found at music festivals. Worth mentioning also (and huge praise to the organisers) there appeared to be great access to everything that was available on the day for the punters with mobility issues. Accessibility and inclusivity sure looked to be covered.

From here I really had to get organised to catch all the bands I wanted to as there were a few sets overlapping. The rest of my day seemed to be all about sampling all of the great bands in smaller doses than I usually would. Despite wanted to see the entire sets from all of the bands, I actually really enjoy this aspect of festivals in some ways. It certainly makes a twelve-hour day fly by, and I sure don’t get bored for a second! Within this next hour I managed to get to all three stages, seeing more local punk n’ roll from Cull-The Band, local thrash metal from Hidden Intent and some emo-metalcore from Melbourne’s Windwaker. It was fantastic being able to see such different sub-genres of metal so close to each other. Hidden Intent, having not long returned from playing the huge metal Wacken Open-Air Festival in Germany, had the crowd fired up, getting into circle pits and enthusiastically flashing their metal horns to the stage, while Windwaker had their crowd bouncing up and down in a less raucous manner.

Among the next few bands I caught were Sydney’s Red Hook, Melbourne’s Mannequin Death Squad and Germany’s Beyond the Black…all three female-fronted bands with powerful vocals clearly demonstrating that heavy music is not as male-dominated as it once was. All three bands put on an entertaining high-energy show with memorable songs that will stick with you for days. I was especially impressed with how big Mannequin Death Squad’s sound was despite being a two-piece act. It sure sounded bigger than one guitar and drums!

New Zealand’s Alien Weaponry were up shortly after and were one of the highlights of the day. Their thrash metal with lyrics in the native indigenous language, te reo Māori seems to really set them apart from many other bands on the scene. They had the huge crowd enthralled for the duration of their set.

Following them on this stage was the Gold Coast’s Sunk Loto, performing their album Between Birth and Death in its entirety for its 20th anniversary. They were yet another band today performing a high-energy set and they had the crowd singing along to the majority of it. Everything Everywhere was one song in particular that had everybody in full voice.

Since this event was held at Pirate Life Brewery, it only seemed fitting to have two pirate themed bands on the line up. On the Explosive Stage was Adelaide’s Captain Hellfire and the Wretched Brethren while on the Fury stage was Queensland’s Lagerstein. Both bands brought the party atmosphere to their sets and added some light-hearted entertainment to a fairly serious day of metal.  Not long after the sun had set, it was time for California’s Suicidal Tendencies to hit the stage. This was one of the bands that I was really looking forward to seeing. They certainly did not disappoint! Right from the start, they were manic on stage! Front-man Mike Muir may be in his 60s now, but he still moves non-stop like he always has, like an angry teenager. The entire band, including Metallica’s (and ex-ST bassist) Robert Trujillo’s teenage son Ty on bass, all spent a lot of the set running the length of the stage, jumping on and off amp cabinets, rarely slowing down to take a breath. When they closed the set with their hit song Institutionalised, Mike Muir jumped into the packed crowd and sang the entire thing as he worked his way throughout the enthusiastic punters before the set was over.

Closing out the show was Brisbane’s The Butterfly Effect on the Froth Stage while Sweden’s The Halo Effect took care of the heavier end of things on the Fury Stage.
I started with the lighter side of things with The Butterfly Effect before I moved over to check out The Halo Effect. My plan was to return to The Butterfly Effect for the remainder of the night but although the band sounded tight and had the crowd singing along and enjoying the show, after Suicidal Tendencies, I needed my night to finish off with something heavier so returned to the Fury Stage to end my night with the melodic death metal on offer. The Halo Effect, despite having a very heavy sound with Mikael Stanne’s vocals being typically angry sounding, the band seemed to be having fun and had the crowd at this stage also in good spirits. It seemed to sum up the day really. Heavy but happy and great fun!

To sum up such a huge outdoor gig…the team from Disruptive Productions who have presented Froth and Fury, describe themselves as ‘three crazy music fans who never really grew up who want to being music to Adelaide. To give young Adelaide bands a chance to play alongside big acts to show promotors that Adelaide is worth the effort!’

This is clearly an event made by people with a massive passion for heavy music who have done a phenomenal job! I get the impression that this event will continue to grow and could truly become a destination gig for heavy music fans all over the world! Regardless of which bands may be on the line-up for future Froth and Fury Festivals, if you love heavy music, I highly recommend attending just for the great experience and for the love of metal!

Read More