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Gig ReviewsReviews
January 20, 2023
Noah Redfern

[Review] Pip Millett @ 170 Russell, Melbourne 18/01/2023

Swung RnB drums, groovy bass, sweet keys, tender vocals, a passionate crowd. The energy at Pip Millett’s debut Naarm/Melbourne show on Wednesday night could only be described as warm, as her opener Shanae stated a few songs into her set. The vibe was sensual, slow, groovy and passionate, a perfect mood for a smaller intimate venue such as 170 Russell, the old nightclub venue in the heart of the city.

Opening for the Manchester singer was Sydney singer Shanae. A short yet tight 20-minute set brought the crowd right where it needed to be, with slow-burns Illusions, Come On Over and key single Locking Eyes. Backed up with a smooth jazz electric piano, Shanae and her musical partner played sweet minimal, yet funky arrangements of their tracks which normally featured more hip-hop and electronic instrumentation, giving us the stripped back pseudo unplugged experience. Although she is small, Shanae is an artist to keep your ears and eyes on as she makes her way through the Aussie scene. My favourite track played was Some Type Of Way, simple for the pure passion in the vocal performance.

After a quick intermission, our headliner took the stage. Pip Millett opened the show with Think You Know Me, the intro to her 2022 album When Everything Is Better, I’ll Let You Know, Millett took us into her world, more specifically the current place in her creative journey. Choosing to open a show with a project’s opening track implies a level of continuity between the studio and live experience, which was both confirmed and contradicted by the following set.

Immediately after this opening number, Pip spoke to the audience. Her charming Northern English accent carried words of humour and modesty, as she seemed humbled and surprised that anyone, let alone a sold-out venue worth of people would come see her sing, yet there we were. Telling us “I came so fucking far to see you bitches” she launched into a medley of album tracks and hits, highlighted by the beautiful Do Well and Downright.

Her band was world class. A classy drummer, positioned side stage, punctuated the smooth RnB with a mix of acoustic and electronic instrumentation. The bass player took lead duties, carrying many of the low-end heavy tracks, with the guitar and keys players adding subtle rhythmic and spatial elements to fill out the sound. It’s always great to see an amazing RnB band showing us just how deeply in the pocket a team of musicians with killer chemistry can be. When Pip Millet took the chance to introduce her band, she teased them all saying, “Congratulations for being in my band, you’ve hit the fucking jackpot”, a sweet injection of cheeky confidence to contrast the music that mainly covered darker and sadder material. Pip is so clearly a person with much love for the people she works with, which always endears the music further to you when it comes from such a warm place.

My favourite songs of the night were Heavenly Mother, for its catchy and fun chorus, and Only Love, the closer of the new album, for it’s stripped back and minimal vibe. Pip also managed to do some of the best self-harmonisation I’ve ever seen, making her sound fuller and more emotional in deeper moments.

By the final track, the crowd had truly fallen in love. Make Me Cry, Pip’s sing-along hit made for a beautifully melancholy end, with her introducing it as the first song she released, and a song the reminds her of a long-lost time that still brings deep feelings to her heart. Her performance, her artistry, and her passion truly were a joy to see and made for a beautiful evening.

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Gig ReviewsReviews
January 12, 2023
Noah Redfern

[Review] Joey Bada$$ @ Forum Theatre, Melbourne 08/01/2023

Sunday night was a buzz on Flinders Street as hundreds of fans lined up around the block into Hozier lane for New York’s Joey Bada$$ and his epic show at Melbourne’s classic Forum Theatre. Making his grand return to Australia for the first time in a few years, the Brooklyn native is known for his infamous rise to fame in 2012 with his self-released, no major label mixtape 1999, and a string of fantastic albums to follow, as well as being a co-founder of hip-hop group Pro Era. Releasing 1999 at just 17 years old, he made waves with his lyricism well beyond his age and skill behind the microphone. This tour, the 1999-2000 tour, represents a celebration of 10 years of the debut record, along with promoting the brand-new sequel record, 2000, released in 2022. The hype was real.

Opening the show was South Sydney rapper, Gomeroi man and master storyteller Kobie Dee. At only 25 years old, Dee covers a lifetime of narrative. Focusing in on his home and community of Maroubra, Kobie Dee highlighted the issues of mental illness, drug abuse and youth suicide, discussing the importance of conversation and removing stigma from the subjects. He took time to pay tribute to lost loved ones, and to celebrate what they stood for. But as well, Kobie Dee brought the party, and brought it hard. Fan favourites such as This Life and Basics were anthems, with the whole crowd bouncing and singing along for the full 30-minute tight set. Kobie Dee represents the future of Aussie conscious hip hop and predicts high hopes for storytelling through music.

Next up was Powers Pleasant. Producer, DJ and Pro Era alumni, Powers brought the bangers. Over the years I have seen a lot of hip hop warmup DJs, but man, this was the hottest 25 minutes of heat I’ve ever seen before a rap set. Powers Pleasant toured us through quick edits of Denzel Curry, Freddie Gibbs, Kid Cudi, Lil Uzi Vert, Kendrick Lamar and even Nirvana with crazy fun transitions to match. The crowd was pretty much on fire by the time the set ended and the main act began.

Joining Powers on stage, Joey Bada$$ hit the stage just before 10pm, opening with the fan favourite and classic track of his debut, Survival Tactics. The classic chant of “Fuck The Police” was cleverly contrasted with the red and blue stage lights, setting the scene for a night of rebellious rap.

Not missing a word except to wave the mic at the audience for their support, Joey blew through classic after classic before addressing the crowd for the first time. Taking his time to bask in the love of the crowd Joey Bada$$ thanked us for our ongoing love and support, told us he was here for the day ones all the way to the new fans, instilling the further duality of the tour title, a reflection on the decade of music and the ongoing relationship with his fans. The connection of conscious rap, politically charged lyricism and a romantic edge penetrated the consciousness of all in the room.

Joey also took his time to pay tribute to hip hop legends we’ve lost in recent years, including King Von, Nipsey Hussle and the ever-controversial XXXTENTACION. Many hip hop shows have a moment such as this, where they look back on those fallen, but Joey’s was more than just a grab at tragedy, but instead a thought provoking moment of pain for friends gone. The ongoing issue of gun violence in the US is not a taboo topic to Joey Bada$$, and often enters his music as he is more than familiar with its sting.

The crowd was bouncing the whole night. It was clear that these fans knew their material, with every song a sing-along, every chorus a chant. The mosh was heavy and hard, but the energy was positive, with those falling being picked up to re-join the party. A perfect blend of love and anger, triumph and pain, joy and rage.

Highlights of the night’s set included Head High, Make Me Feel, Paper Trail$ and the chart-topper TEMPTATION which for me was the best of the show. Joey wasn’t satisfied to end on that track though, and despite the Forum’s strict curfew, he chose to “risk the fine” and play one more song because he’s Joey Fucking Bada$$, the crowd chanted. Ending the show with the banger DEVESTATED, the fans were left sweaty, messy but satisfied from a night of dope hip-hop and awesome music.

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Gig ReviewsReviews
January 9, 2023
Lucy Paterson

[Review] Aminé @ Forum Theatre, Melbourne 06/01/2023

On the 6th of January the beloved Forum Theatre welcomed in thousands of excited faces, eagerly awaiting for Aminé to hit the stage. Advancing into the foyer like an army of loyal troops, it was clear that Aminé fanbase was strong- united in their love for his intoxicating presence, and quirky persona. There was, however, one fan who was quite new to the scene, and uncertain of what to expect. This fan was me. I knew of Aminé, and of course was familiar with Caroline, the song that catapulted him to commercial recognition. However, it is safe to say, that my musical pallet surrounding alternative hip hop and rap was…rather dry. So, as I entered the Forum and took my spot amongst the buzzing crowd, I hoped and prayed that I might leave the show a little quenched.

And boy did I.

Starting off the night, Dj Classic warmed up the crowd with a classic game of call and response. Within a few minutes, strangers were acting like best mates, and it was clear that this pre show entertainment was there to lay the ground rules for the night: go wild, dance, but do it all as one. Following Dj Classic, B Wise took to the stage. I was majorly impressed with his ability to take the audience’s growing energy, and send it into the stratosphere. With songs like Who?! and Won’t Stop, B Wise demonstrated his slick lyrics and insatiable beats with incredible prowess; all the while maintaining a sense of gratitude and connection with his audience. With his concerted effort to look directly at his crowd, and his constant reminder to befriend and look after one another, B Wise felt like an artist at the top of his game, as well as a close and trusted friend. My favourite moment was when he took a moment to acknowledge his Nigerian roots before performing Ezzina, a song that oozed funk, heart, and soul. Side note: I still can’t get that guitar riff out of my head!

By this point in the night, the crowd of newly formed friends were as prepped as they could be for Aminé‘s entrance. So, when that moment came, and aminé danced his way onto the stage, the wild cheers was exactly what I was expecting. Kick starting his set with Mad Funny Freestyle, Aminé’s kooky lyrics and hilarious wordplay were accompanied by spectacular visuals that were as creative and dynamic as his rapping. Between Aminé‘s commitment to jumping around the stage, and the backdrop of neon coloured lights that featured garish yellows and hot pinks, it felt like we were witnessing the inside of Aminé‘s brain: an explosion of absurdity and playfulness. From start to finish, the Forum stage transported itself into a visual exploration of Aminé‘s creative genius; one where we got to witness his bouncy melodies, giddy synth, and hyper pop influence come to life.

 

It’s one thing to bop along to Charmander in the car. It’s another thing to experience it in a sold out venue, where it’s infectious energy and fast paced flow had me feeling so carefree that I almost felt weightless. What I also loved about Aminé‘s was the variety in his performance. Just when you thought the night might become one dizzying mosh, he’d bring us back down to earth with performances like shine that highlighted his slower melodies and more delicate, vulnerable vocals. I was particularly impressed with his falsetto in Shine and the smooth, glitzy guitar in the background. Aminé‘s musical confidence really showed itself through his ability to hook the crowd. Whether it was through a sugar rush state of energy, or a more reflective, down to earth moment, the crowd was there to drink in every moment and savor every minute. Finishing off the night with a consecutive performance of Spice girl, Caroline, and Reel It In, these three crowd pleaser songs provided a climactic high point that left the audience in a state of total appreciation and bliss. I left the Forum feeling more connected to hip hop and rap than ever before, and I have Aminé and his generous fans to thank for that. All in all, it was certainly a night well spent, and I cannot wait to see what craziness Aminé conjures up next. 

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Gig ReviewsReviews
December 13, 2022
Kynan Arden

[Review] King Gizzard & the Lizard Wizard @ Palais Foreshore, Melbourne 10/12/2022

There is something about outdoor gigs that really makes a live show shine to the max. May it be the atmosphere, the fresh air, the beautiful St Kilda scenery, or the inviting lack of condensation within crowds of people. These outdoor venues are certainly popular and drawing in the crowds time and time again. And what better way to enjoy such an event than with the legendary King Gizzard and the Lizard Wizard.

Upon entering the Palace Foreshore venue, the vibe of the crowd was exactly as I envisioned; the smoke in which you can’t differentiate between the smoke machine or vaping teenagers and the sight of breskies passed around between patrons and fans alike. Civic swiftly opened the event with a very electric demonstration of local Melbourne Punk, with a very fitting visual look of the band members especially one of the guitarists with an axe hanging at his knees and a cigarette out his mouth. You could tell the crowd got pumped up with this energy awaiting the main event, fuelled by a local ferocity of youth wanting to express emotion through music that fit.

As the foreshore packed tightly together, punk band Civic was followed ever so closely by Stella Donnelly, and what can I say, the wholesome indie vibe of her performance really brought us together collectively, resonating with our youthful feeling of liberation and happiness through music. We looked through her apologetic complaints about her hairstyle (which visually trumped this self-feedback as the sun made her kissed-by-fire locks shine as bright as her musical capabilities) and gazed ever so admirably at a different but graceful alternative set of tunes. This support really stood out and I will be paying close attention to her musical journey, as I’m even at the moment enjoying her track Lungs, which was a personal highlight.

We crammed together awaiting the main act for the night, and even with an ever so casual entrance to a roar of applause and screams, the boys of King Gizz after a long year of touring were ready to perform a monstrous set on their home soil….and oh boy did they deliver.

The first half of their set perfectly set up among us with Crumbling Castle, The  Fourth Colour, and Planet B, all explosive tracks that created chaotic mosh pits that even I found myself in, and my enthusiasm heightened as I returned to my colleagues dripping in sweat with a dangling untucked shirt. Every individual member of the legendary local band perfectly demonstrated their technologically heightened music skills, from robotic, wavy synths, to Michael Cavanagh’s mind-blowing drum fills and solos, and the ever so entertained theatrics of the lead singers and guitarists, flipping their guitars around behind their backs wowing all of us.

The rest of the set felt incredibly ethereal and psychedelic, as the group performed veteran length versions of most of their hits filled with guitar/synth solos and the unbreakable groove between bass and drums that kept our feet tapping tirelessly. Even while admittedly unfamiliar with a lot of these live tracks, I found myself belting the chorus of Iron Lung, a song they described as “being about vaping”, along with newcomers and fans alike. Even people who had not experience the magic of King Gizzard were absolutely drawn to this funky, prog experience. I found myself in various trances, completely losing myself in this positively manipulative style of music, as my appreciation and love for these local boys grew exponentially.

I left the foreshore among the crowds of patrons absolutely stunned, as even I, who had a general understanding of their vibe, did not expect the magical experience King Gizzard and the Lizard Wizard gave me, and I will ‘Fore-SHORE’ (hah, see what I did there) be catching more and more of their live sets in the coming years.

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Gig ReviewsReviews
December 10, 2022
Lynda Buchanan Photography

[Review] Chase Atlantic @ Festival Hall, Melbourne 8/12/2022

When the LA based Chase Atlantic announced they were heading homebound to Australia for their Cold Nights tour I couldn’t help but get caught up in the excitement. I knew I had to be there in Melbourne to capture in person, their unique style of blurring the boundaries of genres. As I made my way to the upgraded venue of Festival Hall, the fans were already flocking in to get the best vantage point, so I joined the stream of people and got ready to immerse myself for the next few hours.

Opening tonight’s show was Queensland’s own Xavier Mayne. If you like The Weeknd then it’s pretty safe to say you might dig what Xavier is throwing down. He is definitely one to watch with his high energy performance jumping around all over the stage entertaining the crowd while being supported by drums and guitar. Long time Chase Atlantic fans may recognise Xavier from another project of his, The Young Art, who opened for Chase Atlantic back in 2016 on their Paradise tour.

Up next, Matthew Victor Kopp, who performs as Running Touch, was a clear favourite of the crowd when he hit the stage. For the fans who knew him as one of the founding members of Melbourne’s own OCEAN GROVE it seemed an extra treat to see him perform as part of his solo project. Starting his set atop a ladder, Matt alternated between various instruments and his microphone during the performance, much to the delight of the crowd, all while being accompanied by a drummer. His musical talent was evident and in full force, with the entire set being marked by his enthusiasm and unusual performance style.

As an intro video flashed on stage, the fully packed venue erupted into screams, the visuals on the screens continued: asteroids circling a smouldering planet, falling leaves and swirling heads.  Everyone could feel the rumble of the bass under foot as the headliner’s show began to unfold; one of the best feelings in the world. I didn’t think it was possible, but the enthusiastic crowd kicked it up a notch as Jesse walked out onto the stage. A fantastic way to begin the show, complete with fire bursting from various parts of the stage to warm up the crowd.

Starting off the night with the title track Beauty In Death from their 3rd studio album released in March last year. They immediately took charge of the crowd at the upgraded venue of Festival Hall. Lead vocalist Mitchel Cave was all over the stage in every position imaginable while maintaining his vocals with the passion the punters were there to see. Security was kept on their toes most of the evening handing out waters and pulling young ladies from the barriers that were a little overcome with the heat and excitement of seeing Chase Atlantic.

Jumping seamlessly from Too Late into Drugs and Money as if on cue, the crowd were almost as loud as the boys, singing every word of every line from their self-titled studio album, released back in 2017. There is no denying Chase Atlantic’s stage presence. Their limitless energy is infectious and makes you feel youthful.  Syncing perfectly with each other, the chemistry between them is flawless, and their smiles and banter on stage show that they are doing exactly what they love.

As each song bled into the next, including Cold Nights, Like A Rockstar & Slow Down, the audience were seen dancing, jumping and having an amazing time. It was impossible to find a single person who was standing still, and the mood in the air never dropped. In fact, as we galloped towards the end of the show, the crowd only grew louder, if that was even possible.

Although the show was over, you could still feel the overwhelming emotion oozing from the crowd as they left the venue, having just experienced a full-on, high energy Chase Atlantic show. This is one show you do not want to miss so if you are sitting on the fence, jump the hell off and buy the damn ticket!

You Can Can Still Catch Them 

 ENMORE THEATRE, SYDNEY
THURSDAY DECEMBER 15
 
THE TIVOLI, BRISBANE
FRIDAY DECEMBER 16
 
POWERSTATION, AUCKLAND
WEDNESDAY DECEMBER 21

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

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Gig ReviewsReviews
November 24, 2022
Tammy Walters

Crowded House @ Rod Laver Arena, Melbourne 22/11/2022

Crowded House dried off after a wet and muddy A Day On The Green performance in Geelong over the weekend, to deliver a showstopping career celebration.

Following stunning sets from openers Grecian acoustic four-piece Maistrato and ‘Sea of Love’ songstress Cat Power, Mitchell Froom, Liam Finn, Elroy Finn, a kilt wearing Nick Seymour and a blue velvet blazered Neil Finn emerged on the Rod Laver stage for a two and a half hour exploration of their own legendary, and adopted, catalogue.

Purple and golden hues lit up the stage as they launched into ‘Distant Sun’ from their 1993 Together Alone, opening the evening in style. By way of introductions bassist Nick Seymour exclaimed his excitement for being back in his hometown of Melbourne, with Neil continuing to introduce each band member from where they hail from; ‘Now you know about the world where we live, and here is ‘World Where You Live’’, he says before the band jump into the track from their self-titled debut. This would trigger a location theme that continued throughout each song, as the band entered down memory lane (or street), pinning each song to its birthplace address, mapping out Melbourne’s Crowded Houses.

Whilst the arena was seating only, the energy was palpable for the Australian darlings, a sentiment duly noted by Mr Finn. With a quick guitar change to bare an acoustic, he commented ‘Get your singing voices ready Melbourne’, before acknowledging an audience members’ “polite but stern” ‘Go Neil’ heckle. It was time for a stunning rendition of ‘Fall At Your Feet’, as written at 11 Osborne Street. ‘I can sense Melbourne has beautiful voices’, Finn comments, leading the audience in an acapella chorus of heavenly proportions. 

Joining the stage with his sons Elroy Finn on drums and Liam Finn on guitar and backing vocals turned the house into a home. The chemistry amongst the musicians was undeniable and their sound was crisp and impeccably tight. It also allowed for quality banter between Neil and Liam, with discussion around birth stories and delirium being shared around the conception of ‘Pineapple Head’. 

Following ‘Show Me The Way’ and ‘Goodnight Everyone’, the upright piano discreetly tucked into the corner of the stage became the centre of attention. A spotlight illuminated the frontman as he sat at the antique instrument to undertake his Split Enz composition ‘Message To My Girl’. Finn’s vocals did not waver throughout the entire 2 and a half hour performance, and on this ballad it was evident that nearly 40 years post formation, his pipes are as strong as ever.

Jumping back to the centre of the stage with his guitar, the band re-emerged to take on ‘Nails in My Feet’ and ‘When You Come’, before being joined by support act Maistrato for an instrumental jam, ‘Private Universe’, ‘Some Greater Plan’ and ‘Four Seasons In One Day’ with Elroy Finn up front on brushes. A stage left exit of the four piece, meant for a stage right entry of Noel Crombie who brought back the artform of playing the spoons in a solo and for ‘Sister Madly’. “He’ll have a bruise on this knee tomorrow,” joked the frontman.         

After a gorgeous version of ‘Whatever You Want’ as dedicated to Dr Claire, it was time for a trio of hits and massive crowd singalongs. ‘It’s Only Natural’ got the ball rolling feeding into the crowd’s energy. Dun di, dun dun di, dun dun di… the phone torches start to illuminate the arena for a captivating, showstopping performance of ‘Don’t Dream It’s Over’. Melbourne definitely had their singing voices ready for this number, with Finn playing into the powerful acoustics for singalongs and harmonisations. A moving moment from a well-rounded set that would conclude on a high note with ‘Something So Strong’.

A quick fakeout before a full encore saw the band return to play brother Tim Finn co-write, Split Enz power-piece, ‘I Got You’. In a night of family affairs, memory lanes and Australian anthems being celebrated, it was only fitting for Nick Seymour to be reunited onstage by brother Mark Seymour of Hunters and Collectors for an angelic Finn/Seymour duet on ‘Throw Your Arms Around Me’. 

For a third time that evening Maistrato appeared on the stage to help close out the night. ‘Weather With You’ was simply delightful, with Finn again leaning into the singalong setting supplied by the Melbourne crowd. The crowd engagement was a major player in the evenings proceedings, and helped to shape the setlist with Finn warranting a request from an audience member “because she asked nicely” to play ‘She Goes On’; resurrected for the first time live since 2010 with Finn commenting “I’m glad I remembered it!”.

What better way to send a crowd home after an epic evening of classic songs than with the Temple of Low Men star, ‘Better Be Home Soon’. The stunning harmonies, the gelling of guitars and drums, the vocal offering of the crowd, the Grecian twists from Maistrato elevating it, the final silent pause before the legendary frontman drove us home on the prolonged ‘soon’; a perfect send off.

Crowded House invited us into their many homes last night across Melbourne and we left as part of their family with full bellies from the 24 courses they served. We can’t wait to visit again! 

Crowded House final 3 shows

Kings Park & Botanic Garden, PERTH

November 25th, 26th and 27th 

Tickets here

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