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Gig ReviewsReviews
December 15, 2024
Terri Nas

[Review] The Killers @ Rod Laver Arena, Melbourne, 12/12/2024

Somebody Told Me… The Killers were in town, so I thought it was about time I go and check out the Las Vegas rock outfit in the flesh for myself. Following a recent trend of bands who want to make their fans feel like we did ‘When We Were Young’, the band have embarked on a tour to celebrate the 20th anniversary of the release of their chart-topping debut album, Hot Fuss. This is an anniversary tour with a twist, however, as the band are touring with 2 different shows on alternating nights. One show celebrates Hot Fuss and they play it in its entirety, whereas the alternate Rebel Diamonds show offers fans a variety of their monster hits across all 7 of their studio albums. Both shows are bound to be as brilliant as one another, but I was lucky enough to catch them on a Rebel Diamonds night.

I was breaking my back just to get in there, so after the Melbourne summer heat called for refreshments at the brewery next door, it was time to join the hordes shuffling into Rod Laver Arena to settle into their positions for the night. Kicking the night off was Australian band Radio Free Alice, and whilst I hadn’t personally heard of them, they certainly had some hardcore fans around me who were singing and dancing along to their upbeat tracks. By this stage the arena was packed wall to wall, and whilst the crowd was predominately millennial and older, it was refreshing to see people bringing their young children along to ensure they were receiving a well-rounded musical education. School was now in as the lights went down, the music fired up, and The Killers appeared on stage with frontman Brandon Flowers appearing in all his messiah-like glory, strutting around the stage adorned in a black sequinned pin stripe suit asking us, can you ‘Read My Mind’.

The distinct fiery intro of ‘Somebody Told Me’ had the crowd going mental, and I was transported back to my 16 year old self as I screamed along the lyrics with the 10,000 others around me. Flowers was on absolute fire with his smooth and powerful vocals blessing my ears, and his intoxicating energy that infiltrated every single cell in my body. ‘Spaceman’, ‘Jenny Was A Friend of Mine’ and ‘Smile Like You Mean It’ had the whole place jumping, and the confetti guns and visually spectacular laser light show that accompanied the entire set could only be described as seizure inducing but was incredibly mesmerising and just really topped off the vibe in the place. One lucky audience member had incidentally bumped into the band at breakfast that morning, and after chatting they discovered it was this guy’s birthday and that he’d be at the show. So that all being said, Flowers kindly dedicated ‘My God’ to the birthday boy who seemed bloody stoked with his 5 minutes of fame.

It was refreshing to look around the arena to see only a handful of mobile phones out during the show in comparison to a Gen Z-heavy gig I went to a few weeks ago where the number of phone screens in hands lit up the entire place up. Each generation thinks they are the most superior generation, but sorry I think us millennials win this round in terms of losing ourselves in the moment of a brilliant live show and not worrying about the little handheld devices that rule our life.

At times during the night, Flowers took on the persona of a passionate gospel preacher at a tent revival trying to ‘devil be gone’ his patrons (you know the ones), demanding responses to questions like “Did you order a good time tonight”? You bet your ageless rock star arse we did, and that’s exactly what was being delivered. Now, I’m not a religious woman by any means, but I would do anything and everything that this man with the gorgeous face and knee weakening smile told me to do. ‘A Dustland Fairytale’ with its intimate piano in the opening verse was just another on the setlist the crowd gobbled up as quickly as the band could dish it out. The emotive melody of ‘Be Still’ temporarily brought the mood to a sombre tone and had everyone’s emotions running high, whilst also showcasing Flowers’ vocal ability as his pipes effortlessly soared over the music. The crowd took over lead vocals for the first verse of ‘Runaways’, before one of my personal favourites from the Hot Fuss album, ‘All These Things That I’ve Done’. Flowers jokingly pointed out that they’ve just been ripping off U2 this whole time, and the gospel chords in ‘I Still Haven’t Found What I’m Looking For’ inspired this track from their debut album. During the bridge the crowd once again took over and were singing the chant, “I’ve got soul, but I’m not a soldier”, and it was honestly one of those spine-tingling moments that nearly gave me an outer body experience and had the goosebumps popping up on every inch of my skin.

Just to tease us the band looked like they were going to leave us in the lurch as they bowed and thanked us, but they didn’t depart the stage and instead flew straight into another hit from Hot Fuss, ‘When You Were Young’. Whilst Flowers was trying to convince us that “he doesn’t look a thing like Jesus”, I was thinking to myself “Mr Brandon Flowers looks pretty bloody god-like to me”. We were now in for a treat as Flowers introduced Australian rock royalty to the stage, Iva Davies from Icehouse, and the pair did a cracking rendition of ‘Electric Blue’ which once again had the crowd utterly thrilled and singing along. Everyone then left the stage and talk about leave us hanging! Every single person in that arena was frothing at the mouth for more Killers goodness, and after what felt like an absolute eternity waiting for them, they finally hit the stage again, firing up with ‘Your Side Of Town’. ‘Boy’ saw the confetti guns going off once again, before we were asked the big question in life, “are we ‘Human’, or are we dancer?” Well, I can tell you now that given the way everyone’s bodies seemed to moving for the whole night – consciously or not – it’s fair to say we were all the latter.

 I’d had a bet with my friend earlier in the night on whether Richmond player Jack Riewoldt would make an appearance on stage during a certain song (IYKYK), but sadly it was a bet I lost. The song in question, (which if you haven’t screamed it on a dance floor at the pub in your youth in between drinks and random pashes, then have you even lived?) was of course their global hit ‘Mr. Brightside’. This is what everyone was waiting for and once again had the whole arena bouncing and passionately screaming along to every word. After one hell of shit-hot set, The Killers bid us a sad good night, but not before drummer Ronnie Vannucci hung back by himself to throw his remaining drum sticks into the crowd and hilariously scull the remains of his bottle of wine which was met with an encouraging reception.

I’ve always loved Killers’ The music and went in expecting a great show, but my expectations were blown right out of the water at what an absolutely incredible live band they are. The charisma that Brandon Flowers exudes is hypnotising, as a collective they are one musically tight band, and the entire stage show manages to bring the glitz and glamour of Las Vegas but without the tacky. The force of this band is undeniable, and they have well and truly served their time in the industry to prove they are a continuous hit making machine that will continue to do just that for at least the next 20+ years. It’s been a while since I’ve come home that wired after a gig, and it’s such a euphoric feeling that you never want to leave you. If I was a fan before, then the band better get a restraining order out against me now, because I am OBSESSED. This is one band I never want to miss live again, and this was honestly up there with one of the best gigs I’ve ever been too. Open up your eager eyes and put them on your ‘must see live bucket list’, because you will regret it for the rest of your days if you don’t see them live at least once on your lifetime.

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Gig ReviewsReviews
December 11, 2024
STM

[Review] Wallows @ Margaret Court Arena, Melbourne, 9/12/2024

Local Australian artist Grentperez opened the night, and what better way to warm up the young, already energetic and enthusiastic crowd than a lovable goofball whose fresh music was not only a tremendous enjoyment, but also an example or great local Australian indie music. His set was nothing short of fun and friendly, with no shortage of tomfoolery, that made the whole environment feel less like a concert and more of a house party hangout, with juicy grooves to help us love our feet, and banter in between tracks that always included audience participation allowed us to decompress with joy. 

Wallows had the entirety of Margaret Court Arena in a grip of enthusiasm, as their intro rapidly built anticipation later by layer with large sheet casting shadows of the group opening with the slow somber Do Not Wait, all before the classic opening riff of Your Apartment ripped through the venue as the band was revealed. The boys’ laid back energy , as well as the seamless chemistry between them during in their performance was immediately apparent, through this energy delivering a sound that is both nostalgic and fresh simultaneously with a set list of tracks that can resonate with everyone.

Despite the venue being a large arena filled with hundreds and hundreds of screaming fans, the performance felt very intimate, similar to Grentperez in the sense that it felt like hanging out with friends watching mutual mates perform onstage. The charismatic yet chill interaction with the audience showed this enough, yet it skyrocketed when during She’s An Actress, Dylan slowly made his way through the crowd, taking time to high 5 fans in GA and connect with the audience, this followed shortly by Cole and Braeden, waded through the crowd to a smaller stage at the back of the GA, decorated with lamps providing mood lighting, where they performed a short acoustic set of three songs, Pictures of Girls, 1980s Horror Film and OK. Their fans singing along with them and sharing hilarious banter amongst all.

After the childhood mates made their way back to the main stage, after Braeden ran up and down the reserved sections of the arena screaming the lyrics of Calling After Me passionately, even though you could barely hear the band over the crowd screaming their adoration. Wallows provided an explosive encore to the show that was fuelled by the final volume of energy that the audience had been giving all night. It felt emotional and personal, hearing the boys turning their instruments and vocals both to 11, clearly showing their love of one of thier biggest hits Are You Bored Yet?, and Remember When to cap off the night.  

As I’ve previously stated, in one emotional and triumphant night, Wallows had brought their indie LA sound to a city in which is perfectly fits the grunginess of Melbourne, and for any and all fans of indie rock, of all ages, the three childhood mates are a quintessential ensemble that perfectly captures why the genre is so beloved and relatable. 

Wallows third studio album, Model is available now. They finish their Australian run in Brisbane on the 14th.

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Gig ReviewsReviews
November 26, 2024
Terri Nas

[Review] James Blunt @ Rod Laver Arena, Melbourne, 24/11/2024

A sticky, humid Sunday night didn’t deter crowds from flocking to the city to soak up some live music, to fight off those Sunday Scaries we all tend to suffer from. Tramming my way to Rod Laver Arena, a bunch of people stopped off to go and check out The Offspring, but the rest of the tram crowd and I were headed over the bridge for a completely different experience, to be serenaded by the sweet dulcet tones of James Blunt. The UK singer-songwriter is currently touring the country to promote his latest album, Who We Used To Be. This is the superstar’s first trip back to Australia in 6 years, and it appears we have welcomed him back with open arms that might just never want to let him go again… or maybe that’s just me.

Settling into our seats for the night, my excitement levels hit a giddying high when I realised that we were sitting just 4 rows from the front. So many thoughts were running through my head:

“Am I close enough to reach out and grab his hand?”

“Will he remember me from that 15 second encounter we had 10 years ago where he shook my hand and said hello?”

“Is this the night he asks me to join him on stage to sing?”

Once I stopped living out these ridiculous fantasies in my head and landed back in reality, the lights had gone down and entering the stage was the support act of the evening, Pierce Brothers.

This was my second time seeing the Melbourne based brothers, and their set was absolute FIRE!!! The stage presence and energy alone that these 2 brothers emanate is next level, not to mention their incredible talent and sound. Playing and seamlessly interchanging between no less than 6 instruments between them: including, guitar, mandolin, percussion, didgeridoo and harmonica, this powerhouse folk duo really got the room pumping for the night ahead. Their upbeat set included It’s Alright, Genevieve and my personal favourite, Amsterdam, and there was not a body in the house that wasn’t moving along to their infectious beat and energy. From humble beginnings busking in Bourke Street Mall, it was evident how genuinely grateful and overwhelmed the pair were to be playing to a hometown crowd on a stage as big as Rod Laver. Their hearts were on their sleeve as they thanked not only James Blunt, but also the crowd for turning up and showing their support. Pierce Brothers finished their set off to a well-deserved standing ovation before calling it a night to allow us to prepare for the main event.

It was a quick break before the arena was once again drenched in darkness, and the man of the hour was set to take the stage. Ringing out around us was the soundtrack of a heartbeat with the visual of a heart rate monitor on screen, and as the beat was vibrating throughout my entire body, I could feel my own heart rate rising with excitement and I started to wonder if I was going to flatline at any second. I didn’t have time to entertain the thought for much longer as a 4-piece band entered the stage with Mr James Blunt in tow, full of his own excitement and guitar in hand opening his set with ‘Beside You’, a track from his latest album. We were encouraged to get up off our seats and feeding off Blunt’s contagious energy we all moved and sang along. Wisemen from his debut album, Back to Bedlam, was another early song in the set that was a crowd favourite and provided another sing along.

I’m always interested to see the type of demographic an artist attracts, but this was one show where it was impossible to pick given the mixed bag of people there. Blunt joked throughout the night that the only reason there were any men there was because they’d been dragged along begrudgingly by their partners, but I can tell you now from my observations that some of these blokes were bigger James Blunt fans than their partners, belting out his songs louder and prouder.

Despite being a fan and being familiar with his repertoire, I had expected to sit there in a melancholic daze listening to his soul-destroying tracks that have been the soundtrack to many a breakup. WRONG!! Right from the get-go, Blunt emanated this fierce energy in which he demanded that every person be up and clapping, dancing, or doing whatever the hell you wanted. This was the perfect way to emotionally recover from those moments where we were sitting there with tears streaming down our faces as we reminisced about past romances and loved ones no longer earth side. One of those songs that put my heart in my throat with its raw emotion and gut-wrenching lyrics was Dark Thought, another track from his latest album. A fun fact Blunt shared before singing this song was that he was good friends with actress Carrie Fisher (Princess Leia) and had even lived with her for years, and he’d written this about her after she passed. He even went on to explain that Goodbye My Lover – which was next on the setlist – was recorded on the piano that resided in her bathroom (celebrities, huh!). Both these songs brought a poignant stillness over the crowd, with the latter providing all the feels and goosebumps as the crowd once again took over the vocals and sang along to every single word.

Never one to shy away from taking the piss out of himself, before singing his hit High he joked that his singing voice sounds like a dolphin, but he’s the best sounding dolphin I’ve ever heard with his soaring falsetto that kicks in during the chorus. To accompany this song the crowd were instructed to do a Mexican wave when the chorus hit, and damn it was a cool sight to behold. Throughout the set Blunt floated between his guitar, piano, and even ukulele for the upbeat track Postcards, with all instruments appearing to be a comfortable extension of his body. At one point during a cover of Slade’s Cos I Luv You, my heart stopped as he jumped down into the crowd and I thought this was the moment he’d grab me and pull me up on stage. It wasn’t to be, and he opted to run a quick lap of the arena instead, much to everyone’s elated delight. You’re Beautiful was another that put the crowd in a frenzy, and by this stage with the numerous moments of direct eye contact we shared, I just knew he was singing this song directly to me. (Leave me alone, a girl can dream, OK?).

Rounding out his set with OK, he was back in no time to fulfill his encore duties. Now this, I was not emotionally ready for. The encore opened with his song Monsters, which he wrote as an almost eulogy to his sick father whilst he was (and is) still alive. Some may recall the viral film clip of a vulnerable and openly emotional James Blunt singing into to the camera through tears, only for the camera to pan out and have his father sitting right there next to him in the video. Somebody was cutting onions somewhere because my eyes were profusely leaking all over the place and fogging up my glasses as this song played out. Thank God he then lifted the mood again and followed up with 2 absolute bangers in Bonfire Heart and 1973, that had everyone up dancing and singing once again.

Love him or not, there’s no doubt that James Blunt is an incredible artist, and I think anyone who was here this night would agree that they didn’t want the night to end. His instantly recognisable vocals, heartbreaking melodies, and songwriting wizardry has the ability to make even the blackest of hearts break down in tears, and to me that’s a magical element to possess and one that many artists don’t. He did hint that he would be back to tour next year, in what I suspect will be a Back to Bedlam anniversary tour. You can bet your arse that I will be there front and centre. But for now…

Goodbye James. You have been the one, you have been the one for me.

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Gig ReviewsReviews
November 7, 2024
Cam Brown Visuals

[Review] Take That @ Rod Laver Arena, Melbourne 6/11/2024

The evening at Rod Laver Arena was a spectacle of lights, music, and sheer entertainment.

The audience’s anticipation could be felt as Sophie Ellis-Bextor, dressed like a dazzling disco ball, took the stage with her masked supporting band. The night started on a high note with her hit Crying at the Discotheque setting the tone for what would be an unforgettable performance.

Sophie’s charismatic personality shone through right from the beginning. After her opening number, she connected with the audience on a personal level, sharing a facetime call with her son Ray. She usually walked him to school in London, a routine she clearly cherished. This brief interlude added a layer of intimacy to the performance, making the audience feel like they were part of her world.

With the band now unveiled from their collection of animal masks, the energy only escalated. Sophie launched into another hit Music Gets the Best of Me, her vibrant persona fully engaging the crowd. Her infectious energy was palpable, and she effortlessly got the audience involved, encouraging them to sing along to Get Over You. The arena was alive with voices joining in, creating a sense of community and shared joy.

The musical journey continued with a seamless transition into a disco mashup. Classics like Lady (Hear Me Tonight),If This Ain’t Love, Can’t Fight This Feeling, and ABBA’s Gimme! Gimme! Gimme! (A Man After Midnight) had the crowd out of their seats. The arena turned into a massive dance floor, with fans singing, clapping, and disco-dancing the night away. The nostalgia and the lively beats transported everyone back to the golden era of disco.

Next on the setlist was a new song, Freedom of the Night. The performance was a visual treat, complete with an artistic ribbon display that added to the enchanting atmosphere. The audience took a brief moment to catch their breath, only to be swept up again with a cover of Madonna’s Like a Prayer. The familiar tune brought everyone back to their feet, and the energy in the room soared once more.

As the night drew closer to the main act, Sophie’s penultimate song, Heartbreak (Make Me a Dancer), a 2009 collaboration with the Freemasons, kept the momentum going. The crowd’s excitement was tangible when Sophie asked if they were ready for Take That. The arena erupted into cheers, which grew even louder when the opening chords of her biggest hit, Murder on the Dance Floor filled the venue. The band donned their animal masks once more, bringing the vibrant, bubbly, and energetic opening act to a triumphant close.

Seven years after their last performance in Australia, Take That, now a trio led by lead singer and songwriter Gary Barlow, along with original members Mark Owen and Howard Donald, returned in triumphant fashion.

Entering from the top of the stairs to their 2008 release Greatest Day, the crowd was immediately on their feet, singing along upon Gary’s cue.

With Mark and Howard banging on their bass drums, they seamlessly moved on to Giants. Howard then took the lead vocals for Everything Changes, with Gary moving to the piano and Mark on acoustic guitar, expanding the six-piece backing band.

It was Marks turn to lead as he took over main vocal duties with their 10th number 1 hit, Shine. Gary returned to the lead vocals, accompanying himself on the piano for A Million Love Songs. His powerful and appreciative tone made it evident why he has been the lead vocalist from the very start.

The trio took the audience on a historical Take That musical journey, narrating their story through a medley of hits and earlier songs. Tracks like I Found Heaven, Pray, and the Bee Gees cover How Deep Is Your Love featured original dance moves that elicited screams from fans who had grown up with those iconic routines. The hits kept coming, and the crowd was grateful for both the nostalgic thrusts and the band’s history lesson.

Songs like Patience, The Flood, and Get Ready for It filled the middle of the set before the band moved into some new music with a track called Windows. The entertaining set, which had an air of musical theatre and cabaret, thrilled a wide range of fans, many of whom likely remembered their 1995 concert.

Increasing the energy with a disco portion of the show, in their bright white shimmering outfits, These Days and This Life were some of the crowd’s favourites. However, nothing matched the roar when they went onto their most famous song and only number one hit in the US, Back for Good. The audience sang in unison, their voices filling the arena with an almost palpable sense of nostalgia and joy.

With heartfelt thanks to the band, crew, Sophie Ellis-Bextor, and the enthusiastic crowd, Take That finished off the evening with Rule the World to a phone-lit arena. The glow from thousands of screens created a starry canopy, under which the final notes of the night resonated, leaving fans with memories to cherish until the band’s next return to Australia shores however with the current record it may be awhile off yet.

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Gig ReviewsReviews
October 1, 2024
Midnite Mitch

[Review] Cradle of Filth @Northcote Theatre 27/09/2024

It’s been 5 years since Cradle of Filth have haunted these shores, playing their Cruelty and the Beast album in its entirety. The Australian Invasion 2024 tour has nearly sold out across Australia showing how much we love the Filth! Cradle of Filth have sold out 170 Russell the last couple of times and on this tour they are playing at Northcote Theatre, which is a 500 person increase in capacity and it still sold out! This would be my 4th time to the venue, and I decided to change it up and stand upstairs this time around to see if the sound is better or worse, I was not disappointed.

Northcote Theatre fills up quickly, it is already half full at 7:20 when locals Hybrid Nightmares take to the stage. This is the bands 3rd time in supporting Cradle of Filth, having had the chance to tour with them previously, I’ve seen these guys around the scene since they first started and it’s unreal seeing bands hard work pay off. Bringing in their A game tonight for a sold-out show, Hybrid Nightmare’s melodic black metal sound gets the crowd moving and headbanging within their 25-minute time slot, they play phenomenally, and the outfits tonight are on the simplistic approach, as opposed to previous years that I have seen them. It is quite clear that Cradle of Filth are an influence on these guys when it comes to stage performance. It’s always good seeing bands that put effort into their stage craft as well as their music, even if it as simple as wearing uniform colours.

This is Infected Rain’s first time in Australia, playing on a near sold out tour, where you would want to make sure you come in hot and make a great first impression, WELL GODDAMN! Did they ever!? Straight off the bat, they sound great, with heavy groove laden guitars and some electro backing tracks. Lena takes the stage, and everyone stops to watch and listen to her first scream, what a wicked voice! After the first song, a guy yells “WILL YOU MARRY ME PLEASE!?” the crowd laugh and Lena just smiles, laughs, and kicks on, showing that she can take the heckling and then also have the ability to carry the stage talk when tech issues happen after the second or third song, “There’s a problem in the kitchen!”. It is an important skill when being a front person for a band, you need to be able to make chat and you also need to be able to keep it from getting weird and awkward, Lena clearly has no issues in that area. Once they get over the tech issue and the songs are rolling, Infected Rain have the room at their control, bodies are moving, heads are banging, Lena commands and Melbourne responds. The band have an amazing energy, the guitarist is constantly throwing himself about and putting his whole body into his performance, the bassist plays incredibly well, just sitting in the pocket of the songs and creates the perfect heaviness, she then takes center stage at one point and has a little bass melody, as a fellow bassist, I appreciate this moment!  At the end of their set, a massive circle pit opens, it’s a great view from above, and it’s probably the biggest one I’ve seen in this venue, taking up nearly the entire floor. For a first time in Australia, I think they were convinced to come back, I have definitely been convinced to catch them again!

I don’t think I have missed a Cradle of Filth tour for the last decade, since turning the Godspeed on the Devils Thunder tour, they are one band that I have consistently made an effort to see live each time they come to Australia, I think I have even done Silver Tiger Media’s live review the last 3 times! I really enjoy Cradle of Filth! The intro to Existence is Futile begins and the crowd go nuts, Zoe Federoff, the latest female vocalist/piano player comes in with her intro note held beautifully and the band kick into Existential Terror. From the upstairs section, the sound is coming through reasonably clear but from the looks of things Dani, is not overly happy with what is coming through his inner ear monitors, there is a quick word with the stage sound tech before kicking into Saffron’s Curse and She is Fire but I don’t know what it is for Him, but he seemed bothered by something. The band are playing tight as always, the leads and twin melodies are cutting through mix as expected but we hit Dusk and her Embrace and something jumps, whether a guitar paused too soon or not soon enough, but something was amiss, but the band recovered so quickly, it was impressive, which is why I wanted to mention it. Yes, bands can play flawlessly and it’s always a good time but for me, after seeing them so many times and probably never seeing a mistake, not that I’m calling this instance a mistake, but seeing how a band you idolize handles a slight on stage and then recover so quickly is remarkable. Cradle of Filth write amazing music, they play incredibly well, and they handle situations with ease. It happened, they recovered, to anyone else, probably not even noticed, but to me, someone who has seen them play a fair bit now, and literally taking dot points on their performance, I thought THAT fact was incredible.

Dani’s stage banter is always a good laugh, he always has some Aussie joke, this time it was a comment about illicit crimes, something that we (Aussie’s) would know all about. He then also made the comment while introducing Necromantic Fantasies “This is a newer one, all you old school fans can go to the bar now, I saw you walking”. The encore kicks in with A Bruise Upon The Silent Moon, which is the intro to probably one of my favourite Cradle of Filth albums, Damnation and a Day, I get super excited to finally hear something off this album and the band kick into Promise of Fever! It was unreal! Finishing up their set with Cruelty Brought Thee Orchids, Her Ghost in the Fog and of course, From the Cradle to Enslave, the crowd are relentless, you can’t help but move around and bang your head to theses songs! When those keys kick in for …Cradle to Enslave, you just get this energy!

Even after years of seeing Cradle of Filth live, they still don’t disappoint, I notice something a little different each time I see them, but I have never left disappointed! I left the show, thinking I will be heading back upstairs for gigs at the Northcote Theatre, it’s a good view and great sound. Also I will go and find another Hybrid Nightmare show, go check out Infected Rain’s back catalog, whilst also remembering how Cradle of Filth have lasted this long in the business. They are damn good at what they do!

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Gig ReviewsReviews
February 24, 2024
Tess

[Review] P!nk @ Marvel Stadium, Melbourne 23/02/2024

Melbourne is experiencing an exciting few months filled with major music events. Last week, the city hosted performances by Blink 182, Taylor Swift, and Matchbox Twenty, and this week the momentum continues with Slash featuring Myles Kennedy, and the much-loved Suzi Quatro gearing up for the Red Hot Summer Tour in March.

The start of a P!nk concert feels like the rush of zooming down a roller coaster’s steep drop. It’s a thrilling and wild journey, where you find yourself catching your breath in anticipation..

In other words: Just. Hang. On.

On her Summer Carnival stadium tour’s Friday night show, P!nk delivered a mesmerizing performance amidst a backdrop of colorful neon flamingos, oversized mirror balls, and whimsical flying bananas, all complemented by her signature, breathtaking circus-inspired acts. Now at 44, P!nk has mentioned in recent interviews, feeling at the pinnacle of her fitness, which was evident in her dynamic bungee cord stunts during the vibrant kickoff with Get the Party Started, intertwined with a hint of the Eurythmics’ Sweet Dreams (Are Made of This), and the lively Raise Your Glass, highlighting her incredible energy and agility.

P!nk’s ability to deliver both vocally and visually, even while performing complex aerial maneuvers, surpasses that of many artists who perform with both feet on the ground. My plus one, who has a lifetime background in theater and was experiencing a P!nk concert for the first time, was completely amazed. It was quite a sight to see her experience her first P!nk concert; it reminded me of the excitement of discovering something wonderful for the first time. The way P!nk manages her vocals while engaging in spins and flips was truly remarkable. 

P!nk took a moment to reminisce about her initial performance at Marvel Stadium, known back then as Telstra Dome, in 2002 during the Rumba festival, where she shared the stage with Bon Jovi, Shaggy, and Australian acts Natalie Imbruglia and Bachelor Girl. There seemed to be a few loyalists in the crowd who were there as-well! Even when simply standing at the microphone for Who Knew, dressed in a glittering, silver outfit with matching ankle boots, P!nk’s performance was as powerful and confident as ever, her voice as strong as her physical presence. It was about here she spied a gift held aloft by a fan who clearly knew her weakness. TIM TAMS !!! But wait…. “Are these new” Alecia exclaimed?! “They are blue?!….. DOUBLE COATED!!!! Can they still be used to drink coffee through?” The crowd answered as only a 40thousand crowd can, much to Alecia’s delight. 

Armed with a strong selection of tracks from her latest album Trustfall, P!nk faced the challenging task of integrating new songs with classics from her 23-year repertoire. The setlist she crafted managed to encompass the breadth of her career, featuring anthems like Try, with its powerful chorus ideal for stadium singalongs, the emotive and dance-heavy What About Us, and the uplifting F*!king Perfect. A standout moment was Just Like Fire, which was seamlessly blended with Benatar’s Heartbreaker, creating an energetic fusion highlighted by Justin Derrico’s electrifying guitar performance. 

In a captivating moment, the youngest dancer of the troupe, Madelyne Spang, took center stage with a beautifully haunting dance during the spoken introduction of Turbulence. P!nk then emerged, offering words of encouragement to Madelyne, reminding her to breathe. Following this tender exchange, P!nk joined veteran dancer Khasan Brailsford at the top of the catwalk for an impressive solo aerial performance, which then evolved into a thrilling aerial duet.

P!nk also found room in her set for a few cover songs, delivering a unique take on Bob Dylan’s Make You Feel My Love, inspired by Adele’s version, performed on the piano. Later on, she included a rendition of the 4 Non Blondes hit What’s Up? adding her own flair to these classic tracks.

In a quieter segment of the concert, P!nk shared the stage with her 12-year-old daughter, Willow, for a touching performance of Cover Me in Sunshine, a track they released together in 2021. Following this, P!nk took a moment to sit at the edge of the catwalk alongside guitarist Justin Derrico for a series of more intimate performances. The acoustic rendition of Don’t Let Me Get Me particularly resonated with me, stirring emotions deep within my 50-year-old heart. The albums M!ssundaztood from 2001 and Can’t Take Me Home from 2000 remain my cherished favorites. P!nk’s talent for conveying deep emotion through her music was profoundly evident in the poignant ballad When I Get There, a heartfelt tribute to her late father. 

However, it wasn’t long before the energy shifted back to vibrant pop rhythms with I Am Here. P!nk chose to perform this piece barefoot, declaring it the only way to truly connect with the song. She likened the experience to being a dolphin, suggesting the importance of letting worries slide off effortlessly, just as water does off a dolphin’s back. Of course, P!nk couldn’t stay away from the adrenalized pull of something acrobatic. She joined some of her dancers for a unified routine during Trustfall while other members of her pack blissfully flipped on a trampoline behind her. P!nk joined them at the top of the setup, watching their “trust falls” onto the coiled canvas. P!nk’s remarkable qualities, such as her endurance, authenticity, and rich, powerful voice, are all worthy of praise. However, the greatest gift she offers during her concerts is the freedom to truly enjoy oneself.

In a dazzling display during her So What performance, the singer, covered in a shimmering outfit, took the concert experience to new heights—quite literally. She was secured in a harness connected to wires, which allowed her to execute a series of spectacular aerial flips across the expanse of the stadium. Hovering above the awe-struck crowd of almost 40,000+ fans, she belted out the defiant lyrics, “So what, I’m still a rock star,” with unmatched energy and charisma. This moment wasn’t just a highlight of the show; it was a vivid declaration of her unstoppable spirit and undeniable status as a rock star. Her ability to blend vocal prowess with daring acrobatics in front of a massive audience not only captivated everyone present but also solidified her reputation as an exceptional performer, truly living up to the title of a rock star in every sense.

P!nk plays again tonight in Melbourne with tickets still available at https://www.livenation.com.au/artist-p-nk-348049. 

Before setting off to Adelaide, and Perth before heading back for encore shows at Melbourne, Sydney and Brisbane. And finishing off this incredible tour in Townsville on 22nd and 23rd March. 

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Gig ReviewsReviews
December 15, 2023
Megan Milner

[Review] Royal Blood @ Hordern Pavilion, Sydney 13/12/2023

The Hordern Pavilion transformed into a rock playground on Wednesday night as Royal Blood, the notorious UK rock duo, graced the stage in support of their latest album, Back to the Water Below. Along for the ride were local acts Psychedelic Porn Crumpets and The Buoys, as supports for the entire Australian run. It’s been a long 5 years since their last headline run in Australia, and releasing two new #1 albums in their absence, fans are chomping at the bit to see them once more.

Psychedelic Porn Crumpets, hailing from Perth, took the night up a notch. As the second support act, sthey brought their unique brand of heavy drums and intense rhythms to the stage. Their setlist, featuring tracks like Tally-Ho, MundungusNootmare (K-I-L-L-I-n-G) Meow!, and Hymn for a Droid, showcased their ability to seamlessly blend heavy and (dare I say) psychedelic elements, the perfect addition to the evening by complimenting the headliners. There is no doubt that they gained many new fans tonight.

Before the show, the audience was treated to a prelude of Rage Against the Machine, Queens of the Stone Age, and Arctic Monkeys, over the venue PA – they sure know their clientele tonight!

As the lights dimmed, Prodigy’s Firestarter signalled the arrival of tonight’s headliners. Purple hues bathed the stage as Royal Blood emerged, front man Mike Kerr sporting sunglasses, and drummer Ben Thatcher, true to form, donning his signature hat. The set kicked off with Out of the Black instantly lighting up the crowd. From the first chorus you can hear the venue singing over the band, and this doesn’t stop for the remainder of the evening. As the first song is wrapping up Thatcher jumps down from his drum kit and motions for the crowd to split in two. He then hops down into the masses and joined his fans, snapping photos.

A brief hello led straight into an enormous set featuring hits like Come on Over, Boilermaker, Typhoons and Lights Out, each met with a louder roar from punters. During moments of banter between Kerr and fans, he says ‘a lot has changed in the years we haven’t been here but one that remains the same are the shoey chants.’ As he has newfound sobriety, he asks for a volunteer from the mosh pit to do one for him as he plays us the next track. One of the highlights of the night was Little Monster, which was met with howls from the crowd so loud that Kerr steps away from the microphone to the front of the stage to allow us to sing.

In a 2017 interview with The AU Review, both members expressed their hatred of encores, Mike Kerr said ‘we’d rather do our thing and destroy the place, and leave’. Although Royal Blood are now an encore band!  Returning with unexpected twist as they were joined by Chris Young from Psychedelic Porn Crumpets for Waves, from their latest album. A collaborative ballad showcased not only the seamless synergy between the two bands but also the exceptional vocal prowess of Kerr. The evening reached its pinnacle with the chart topper Figure It Out, ending on a truly unforgettable moment as fans dug deep and gave every last ounce of energy.

Royal Blood’s performance tonight, was nothing short of spectacular. The duo demonstrated an unparalleled mastery of their craft only honed by years of dedication and touring. From the power of Troubles Coming and How Did We Get So Dark? to the emotionally charged encore featuring hits like Waves and Ten Tonne Skeleton, the night was proof of their evolution as musicians. The energy, the flawless execution of their extensive setlist, and the unexpected collaboration with Psychedelic Porn Crumpets created an impression that stayed with the audience long after the last note had faded. I lost count of how many times I exclaimed after hearing the first note of the next song, the hits did not stop coming all night. With an absolutely stacked 18 song set list, this was easily the best I have ever seen Royal Blood and it only makes me hungrier to see them again.

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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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