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Gig ReviewsReviews
March 17, 2023
Kynan Arden

[Review] My Chemical Romance @ Rod Laver Arena, Melbourne 16/03/2023

The Black Parade, after so many years, finally flooded the grounds outside of Rod Laver Arena for an iconic group that made an explosive comeback pre-Covid, and proved that their powerful performance ability had never wavered in the time they were seemingly gone. Joined by the wholesome pop-punk tunes of Jimmy Eat World, Gerard Way and his ensemble of hellhounds gave fans what they waited for as they tore the roof off the iconic Melbourne Arena.

 

Jimmy Eat World elevated the energy of an already eager crowd as they injected an enthusiastic dose of pop-punk. Performing an array of hits from their career, this band was a notably significant aspect to this tour given their history starting out and performing with My Chemical Romance, telling tales of their youth in high school and the hardships of starting a rock band at their age, in the community they grew up in. This wholesome, joyful ensemble concluded after a soaring audience roar with the unmistakable rock’n’roll hit, The Middle, a song of hope and the encouragement of following your dreams, no matter the lengths or time it takes. 

 

The interval between both sets was short and sweet, and after being entertained by an roadie seductively vacuuming the stage to the tune of Pony by Ginuwine, before the crowd collectively howled the lyrics to I’m A Believer. The lights dimmed and an ethereal synthy drone rumbled accompanied by fitting dark red beams. My Chemical Romance silently took position as the guitarist plucked the intro to The Foundations of Decay, and decked out in a ladies office attire covered by a long black overcoat, Gerard Way’s incomparable vocals swept us off our feet.

 

It was extremely difficult to keep off our feet throughout the entirety of this show. Decorated with an incredible backdrop of an apocalyptic city in ruins at the stern of the stage, MCR exceeded all my already high expectations with a heavy instrumental amplification accompanying Gerard Way’s vocal range from angelic youthfulness to monstrous screaming. And it’s not easy to rip the conversation away from the revered heartthrob frontman, as his undying energy and charisma really helped construct such a powerful show. The sold out audience was under his enchanting spell who screamed and jumped to until the perimeter of Rod Laver Arena opened an inch. It was notably difficult to not slip on the puddles of tears throughout the venue, which was understandable that this was such an emotional event for die-hard fans.

 

The middle of the night shined brightest and received the most noise as hit after hit brought the house down. Beginning with the chat worthy Teenagers, dedicated to Gerard’s ‘badass’ daughter Bandit, followed by the painful lyrics of I’m Not Okay (I Promise), all before pulling up to the 2010 era with Na Na Na. The real emotion hit upon hearing That G note. Of course familiar individuals would know this as the saddening first note introducing the undeniable classic, Welcome to the Black Parade, and oh boy when I tell you that voices were lost and tears fell like Niagara.  I tear fell to my eye not to the tune itself, but witnessing the impact that MCR and their music to has to especially younger fans, it’s this power of music that really makes one appreciate the art form. 

 

As stated before, the headbanger of a set remained unchanged for the remainder of the set. Gerard’s witty but in character quips and hollers to the crowd and the precise energy of the band kept thoughts away from any and all gig-weariness. The real kicker for me was the surprise reggae-inspired guitar skanks opening a personal favourite number of mine, Mama, a dark Cabaret tune that in my personal opinion, perfectly captures the Tim Burton-esc, gothic horror theme of My Chemical Romance, what with the catchy chorus declaration of “Mama, we’re ALL going to Hell”. The band abruptly closed the curtains on their performance in preparation for what surely would be an explosive and emotionally driven encore, after the packed arena of fans never broke from the streak of cheering; and screaming, the team re-entered to conclude the set with the heavy fast paced Vampires Will Never Hurt You ending with the follow up of the classic intro number to the album Three Cheers For Sweet Revenge, Helena, which was no better way to end this long awaited show. Gerard spiritually embraced all of us collectively in his warm arms quavering the chorus words “So Long, and Goodnight”, harmonised with the strained vocals of countless sobbing fans. 

 

Growing up, I couldn’t help but to catch an MCR hit every now and then, however from what I can remember I was always drawn to every emo theme and grew to admire the group. Finally witnessing a live show of theirs made me appreciate these beautiful memories of youth, and witness the emotional impact Gerard and his gang have on fellow youths, whether they got us through hard times, or phases of dark self reflection. My Chemical Romance, you were a treat. 

You can still catch My Chemical Romance at the following shows:

Rod Laver Arena, Melbourne – March 17,2023
Qudos Arena, Sydney – March 19, 2023
Qudos Arena, Sydney – March 20, 2023

For complete tour, ticket and VIP Experience information, visit: livenation.com.au

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Gig ReviewsReviews
March 17, 2023
Josh Mak

[Review] Kip Moore @ Margaret Court Arena, Melbourne 15/03/2023

As the sun began to set on this warm Wednesday evening, Margaret Court Arena was enriched by a multitude of Plaid shirts, trucker caps, denim, cowboy hats and boots.

With most gigs, fans come dressed up for the event in attire that one would usually associate with that genre. But with a country music show I get the sense that the fans are coming dressed as their true, authentic selves – and authenticity is the perfect adjective to describe both Randy Houser and Kip Moore.

Randy Houser began his set by demanding our attention with his powerful and commanding voice, accompanied by the glassy tones of his Stratocaster. Randy is a big man with an even bigger presence and I think he would have quite adequately managed to make himself heard even without the microphone.

The stage was adorned with guitar amps and fold back monitors, something I haven’t seen at a live show in awhile. Such a setup is probably considered old fashioned these days but there was a noticeably organic difference in the sounds coming from the band and damn did they sound good. As the saying goes, If it ain’t broke, don’t fix it.

As they performed the infectiously catchy, Boots On, I witnessed the band display technical proficiency that was tastefully balanced with restraint. Note To Self, was an emotionally charged performance that encapsulated the heart felt lyrics of the song and moved us with its honesty.

Randy Houser has an undeniable earnestness about him and every time he addressed the crowd it was like a conversation with a dear friend. Playing in Melbourne is kind of like a home coming for Randy as his wife and extended family are locals, and Melbourne is without a doubt, overjoyed to claim him as one of us.

It’s easy for anyone to understand why Kip Moore is the Country music superstar that he is. A husky voice that soulfully regales us with relatable life experiences, a charismatic stage presence that demands devotion and I’m sure the ladies will agree that he’s pretty easy on the eyes too.

Country music is about the stories, but Kip takes it one step further and delivers a performance that is worthy of a stadium show. Beautiful light displays emanated from the stage, painting the audience in ornate colours and patterns whilst gnarly guitar tones echoed through the air, invoking more of a stadium Rock feel than what one would normal expect from country music.

Wild Ones, off Kip Moore’s second studio album was one of the crowd’s favourites of the night. As they sang along, I scanned the many faces in attendance and saw so much joy wherever I looked.

Somethin' 'Bout a Truck is quite possibly the best summary of all the things that make living in the country great, and from the way the crowd reacted, you’d be forgiven for thinking that they very well might be questioning whether city living really is as slick as it seems.

As a special treat for the Australian fans, Kip did a sensational cover of Am I Ever Gonna See Your Face Again by The Angels and the audience showed their appreciation by valiantly attempting to sing louder than the band.

Kip Moore and his band have a great chemistry, perfectly complimentary of each other while allowing individual members to have their moments to shine. It’s evident that they have honed their abilities through countless shows over the years and the experience shows.

Rock n’ roll had Los Angeles and Country had Nashville. Rock n’ Roll died or at best, is on life support – yet Country music is not only alive but thriving. Why is that? The reason is because Nashville cares and values its music, its artists and its traditions.

There are probably a million memes on the internet about country music and probably just as many jokes too. However, Country music is honesty and authenticity at its finest. Not qualities one would immediately associate with “cool”, but in my opinion – there ain’t nothing cooler than wearing your heart on your sleeve.

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Gig ReviewsReviews
March 15, 2023
Cassandra Hale

[Review] Rod Stewart / Cyndi Lauper @ Rod Laver Arena, Melbourne 14/03/2023

Rod Laver Arena was fit to bursting with many getting the memo that the nights proceedings would make an early start kicking off at 6.30pm. The crowds were filing in at a rapid rate everyone keen to not miss one second of this exhilarating night of live music ahead.

Jon Stevens has been a household name for decades, whether it is for his solo work, Noiseworks or his time in INXS, so it was well worth turning up early to catch his set. He gave us a quick fire 30 minutes with all the fans favourites. Opening with Touch he was off and running instantly engaging the rapidly filling venue. His normally raspy voice sounding even more so tonight but it did not hinder his singing ability one bit. Never Tear Us Apart, No Lies, Hot Chilli Woman, the hits were flying, his awesome band delivering the goods. It was the perfect warm up and the receptive audience loved the INXS classic, Don’t Change followed by the mega hit Take Me Back which had phone torches out and Rod Laver shining bright. Thanks Jon it is always a pleasure to watch you in action.

My love and adoration for Cyndi Lauper is no secret so I was overjoyed to see her again, this is her first tour since 2019, and I felt privileged that she had chosen Australia to ignite the fire again. Opening with Hole In My Heart, Cyndi exploded onto the stage with her technicolour suit and mauve mohawk, traditional in her eclectic style. With so many huge hits to choose from they came thick and fast with lots of entertaining banter in between, The Goonies ‘r’ Good Enough had the nostalgia levels high and happened to coincide with Ke Huy Quan (Data in The Goonies) taking out and Academy Award. Cyndi had her trademark jumps on point hands thrown wayward, still launching up on speakers and rolling on the stage, never missing a beat, a very impressive feat. Time After Time dazzled as torches lit up the room, the song so deserving of its stunning reception. I Drove All Night and Money Changes Everything two of my favourites, the massive screens showing a supersized Cyndi in full flight still hitting those long notes with precision and leaving the fans speechless.

There was not a microphone stand that was safe as Cyndi strutted the stage, whacking them into submission with every pass, one of her specialities that never grows old, she commands your attention and holds it for the duration. A stella performer and one who will stand up for her fundamental rights, a perfect segway to Sally’s Pigeons, her 1993 abortion rights song which has been re-recorded to coincide with troubling times in America. Girls Just Want To Have Fun saw everyone up and dancing, singing along as Cyndi held out the mic for us to take over the lyrics, which we happily obliged. True Colours saw out the set, this masterpiece raising the hairs on my arms, such a beautiful song and one we should all take onboard. Be yourself and don’t be afraid to let those ‘true colours’ show, very wise words indeed. As Cyndi left the stage with her amazing band to a standing ovation, I felt fully satisfied and Rod Stewart was yet to even grace the stage!

After a brief interlude it was time for the man himself, Rocking Rod Stewart. It has been quite the time since he has done the long haul to Australia, so we were champing at the bit to get a piece of Hot Rod action. Let me tell you from the minute that glorious man took the stage I was mesmerised. Opening with a crafty cover of Addicted To Love, Rod owned that stage his cohort of musicians and singers were of the highest calibre, crossing every t and dotting every i. The screens were enormous making sure not one person missed any piece of the action, wrapped around every inch of the stage, this show had every bell and whistle so I settled in and prepared to be wowed. And wowed I was, a blistering two hours with ALL the hits this show knew no boundaries and Rod outstanding in his delivery. You Wear It Well, the Faces classic Oh La La and Some Guys Have All the Luck just for starters.  Rod joking that “it wasn’t a bad turn our for a Tuesday night” and that “it’s been a long time and we are going to fu*king enjoy ourselves” his banter and cheeky wit were unending and gave us plenty of laughs between songs.

Looking much younger and fresher than his years Rod oozed charisma and charm, still wiggling his butt with the best of them. His energy was infectious, and it spread across Rod Laver Arena as the floor seats were empty their patrons on their feet from start to finish. Twisting The Night Away, It Takes Two and a killer Muddy Waters cover of Rollin’and Tumblin’ were next on the hit list and Rod’s band were blisteringly hot in their hot pink suit jackets, their skills exemplary. I know I did not give them the time they deserved but I only had eyes for one man, and he was holding my attention. Rod had an accompaniment of five of the most talented women I have ever seen, no instrument was off limits, no song unachievable, these girls were mind-blowingly good, and full credit to them they kept the show running during costume changes for Rod of which were many, and added another layer to this already packed to the brim show.

Forever Young, The First Cut Is The Deepest and the glorious Maggie May were next to tick off the list and had the arena singing along with gusto. The huge screens overloaded with wonderful accompaniments all night as Rod worked the stage with the ease of a well oiled machine, knowing exactly how to reel you in and keep you in the palm of his hand for the entirety of the show. The opening bars of Young Turks rang out after Rod joking yet again that the Perth crowd didn’t know this one. It was flawless in its delivery and had everyone’s adrenaline pumping, how many more hits could be left was the question. Followed closely by Rhythm of my Heart which saw Rod donning a blue shirt and yellow jacket in a show of solidarity with the Ukraine, this antiwar song hitting the mark perfectly.

Leaving the girls to give us a red-hot cover of Hot Stuff, Rod returning in full leopard print from head to toe as they took it down a notch with a set of five acoustics. People Get Ready, The Killing Of Georgie Part 1, Tonight’s The Night, You’re in My Heart (dedicated to his beloved Celtic soccer club) and Have I Told You Lately. This brief reprieve gave everyone a chance to catch their breath and revel in the brilliance before the last run of rocking tunes. Baby Jane, Stay With Me and Da Ya Think I’m Sexy nearly brought the house down to wild applause. The big screen alight with some questionable emojis that gave me a giggle, but it wouldn’t be Rod Stewart without a bit of sauciness. After a brief absence from the stage Rod returns to finish out the night with the sublime Sailing, it was a moment to cherish, and I will hold it with me for a long time to come.

There was so much more to this show but of course I can’t reveal everything, you MUST go and see it for yourselves. It will take you on a journey across the decades that have formed the man that is Sir Rod Stewart, and you will love every bloody minute!

You can still catch Sir Rod Stewart and Cyndi Lauper at the following shows:

Rod Laver Arena, Melbourne – March 15,2023
A Day On The Green, Geelong – March 18, 2023
AEC Arena, Adelaide – March 21, 2023
A Day On The Green, Mount Cotton – March 25, 2023
A Day On The Green, Mount Cotton – March 26, 2023
Qudos Arena, Sydney – March 29, 2023
Roche Estate, HUnter Valley – April 1, 2023
A Day On The Green, Bowral – April 2nd, 2023

For complete tour, ticket and VIP Experience information, visit: livenation.com.au for A Day On The Green shows please visit www.adayonthegreen.com.au

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Gig ReviewsReviews
March 14, 2023
Nikki Eenink

[Review] Mom Jeans @ Corner Hotel, Melbourne 12/03/2023

I was blessed with a treat for my inner teenager this week. Opening the night at The Corner Hotel was Suzi, a fairly new heavy hitter in Melbourne’s growing angry-girl-rock scene. Following on her heels was new emo fixture, Microwave. Then, after a night of high-energy dancing and cheering, comes Mom Jeans, the Pasadena natives who wrote the soundtrack of many people’s adolescence.

Suzi very much embodies contemporary Melbourne. She is an anti-folk newcomer, following in the footsteps of Australian icons, Camp Cope and Courtney Barnett. One of the things I love most about Suzi is how strongly she keeps her Australian accent in all her songs. She is embracing who she is, the city and the country that made her. She sings about the young Australian experience, unapologetically. To describe Suzi’s music, I would say it is a musical coming-of-age story. Songs like Amelia make me want to ride my bike around the backstreets in a movie-montage. I was struck by how unique and kitsch Suzi’s aesthetic is; a mullet/shag combo with bleached streaks on the front and sides, Haus of Dizzy earrings, band shirt. The song Everyone I’ve Met Hates Me hit the room hard. People were still moving, but with the weight that we have all had these feelings. Towards the end of the song, Suzi picks up the energy to a level not in her Spotify repertoire. The band is going crazy, and she’s singing her heart out into the mic. We are eating out of her hand. Looking into a mirror.

Following on with a short intermission are new(ish) post-hardcore guys, Microwave. A group of 4 guys, who you would not pick to be in a post-hardcore band. The front man, Nathan Hardy, is wearing a backwards baseball cap and looks very much like the high-school jocks from teen movies. The rest of the band, brothers Tyler and Travis Hill and drummer, Timothy Pittard, are all wearing non-descript black t-shirts. These are guys who could be anyone, totally unassuming. But then the music comes. Gritty, heavy on the drums, with guitar shredding and reverb pedals galore. Both Hill brothers are jumping around stage, somehow keeping a grip on their instruments. The room isn’t so much dancing as they are head-banging, hands thrown up in the air. The song keeping up was an absolute highlight of the set, with the foursome giving everything they’ve got to the crowd, who match that energy and keep pushing it higher. While the Atlanta natives are still fairly underground, I would pay close attention. It’s hard to toe a line between sensitivity and hardcore, and no one does it quite like Microwave.

Since many emo bands disbanded in the 2010s, it is oh-so rare to see a band as prolific as Mom Jeans continuing to tour, especially in Australia. But fear not! “If you keep coming to our shows, we’ll keep coming here! This is in our Top 4 places in the world to perform” (I wonder who came second, third and fourth). Keep going to shows, keep the spirit of teenagerhood, of community and embrace the silliness of nostalgia, and the shows will keep coming.

I was not a happy teenager. Maybe it was the 2am Tumblr scrolls, questionable Omegle calls, a chemical imbalance in my brain – we may never know. Something I do know, however, is that very few people who listen to emo music like Mom Jeans were happy teenagers. Convinced we wouldn’t survive high school, with no plans to live beyond 20. The future seemed like a dark, endless tunnel. And yet, there we all were at The Corner Hotel, covered in tattoos, scars, heavy eyeliner, band shirts, beaming grins and tear-streaked cheeks. Scanning the periphery of the room I saw couples embracing, an older woman singing along with her 20-something son, a young dad, and his daughter – wearing a Trophy Eyes shirt and blue crocs.  We all did make it. The future is now, and we are making it together – the wonderful soundtrack of Mom Jeans becoming an anthem of survival. Throughout the entire set, the crowd was screaming every line, word perfect, reaching the same volume levels as the band. And louder still, there were frequent heckles ‘fuck yes!’ ‘do a shoey’ or just ‘WOOOOO!’ at the top of someone’s lungs. It was euphoric.

The songs which I took so seriously in high school were being performed by a group of guys who looked like regulars at the local pub. Lead singer Eric Butler is rocking a mullet and moustache (très Melbourne Chic), Austin Carango on drums, wearing a baggy black shirt and baseball cap, and bassist Sam Kless wearing… very little. By the time I could see the stage through the sea of arms and bobbing heads, his shirt was off. It took all of about 3 minutes. The band don’t take themselves seriously at all, they embrace the goofiness, the jollity and the imperfection which all come with making music for a sea of SSRI teenagers unhappy with their hometown. They do, however, take the music seriously. They are seriously tight. Playing amazing math-rock riffs, never missing a single drum beat or tempo change. It’s very clear that the guys behind Mom Jeans love music, but equally love having fun. That’s the best way to describe the energy in that room, fun. After playing *Sobs Quietly*, Butler starts the opening riff to Weezer’s ‘Say it Ain’t So’; the rest of the band immediately join in, until Butler stops and says “We didn’t write that one. But we did write this”, and the foursome immediately break into White Trash Millionaire. One guy starts crowd surfing, his old-skool vans making him indistinguishable from everyone else in the room. The big guys in the middle of the room start moving around with ferocity only matched by the short girls in fishnets dominating the mosh. They break into several other iconic Rock openers in between songs, almost like we are privy to a rehearsal session, or a goof-off between friends. Everything from Nirvana’s ‘Smells Like Teen Spirit’ to Red Hot Chilli Peppers’ ‘Can’t Stop’. Music is about having fun, doing goofy homages to those acts who came before us who we love, embracing meme culture. Mom Jeans’ ability to include the audience in their jokes, breaks down the barrier between artist and audience – they too were unhappy teenagers, potentially with a horrendous side fringe, who made it through – and we see ourselves in them, and they in us. What a beautiful thing.

The song Edward 40 Hands helped bring the show to an end. Super high energy, lots of off-beat jumping and flailing limbs and flying beer. There was not a person in that room who didn’t know those words:

I don’t mind / That you lie sometimes / Because I lie too / Yeah, I’m just like you

Guitarist Bart Thompson began motioning for the audience to sing even louder. He abandoned his strumming and focussed on getting the energy up. There was no way to tell where the mosh ended and the floaters on the side of the room began – everyone was spending all their energy in this final moment of nostalgic bliss.

Finishing with their encore of Vape Nation 2.0, a heartbreaking solo song performed solo by front-man Butler, I saw people crying. These songs carried us through adolescence, but they hit so much harder as an adult. Butler’s voice cracked on the opening stanza;

I’m scared of losing touch/ I’m forced to ask if you know that/ The reason I try so hard to be nice/ Is so no one else will leave me behind

No one was screaming during this song, just tearful singing. Mom Jeans lyrics sting, but they also make us laugh, dance, scream. The community many of us thought we didn’t have, was made in that room.

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Gig ReviewsReviews
March 12, 2023
Noah Redfern

[Review] Drugdealer @ Corner Hotel, Melbourne 09/03/2023

The enigma that is Drugdealer, is a true ode to the gems of the 1970s. The brainchild of Los Angeles-based multi-instrumentalist and composer Michael Collins. I was a fan of Collins previous project Silk Rhodes, with it’s focus on groovy delicate soul, and was extremely keen to catch the larger folk rock end of his mind in Drugdealer. The Corner Hotel, a classic venue in Richmond, was packed with Lennon-esq young men on Thursday night, eager to step back to the seventies for a night of classic yacht rock and groovy balladry.

One could accidentally assume Drugdealer to be peers of Steely Dan, The Doobie Brothers, Looking Glass or Bill Withers, but you’d be surprised to find release dates in the mid to late 2010s. And the best part of this: the band knows it, and we’re all invited to be in on the joke. This made for a night that was equally musically joyous and hilarious.

Opening for the band was Tex Crick, an Aussie singer-songwriter and keyboard player, and recent entry to Mac Demarco’s aptly titled record label Mac’s Record Label. He warmed us up with soft electric piano ballads, backed with a simple groovy drum machine, and a few friendly guitar lines from his single bandmate. Key tracks Peaches & Cream and Here We Go led the tight set, helping the packed crowd wind down and prepare for the laid-back evening.

With curtains closed, a bizarre news report announced the beginning of Drugdealer’s set. This described a recent controversy that apparently the band had run over a pack of quokkas while escaping a previous gig, which was allegedly only the most recent crime our stars had perpetrated. This was of course, just the first of many strange jokes to come.

The curtains parted, and Michael Collins welcomed us to the Drugdealer show. He told us this was his first time in Japan, “so Kawaii”, and that it was pleasant to be around such a simple people. This set the tone for what was a constant back and forth of true musicianship contrasted with bizarre humour for the following hour.

Largely playing keys and some guitar, Collins and bandmate Sasha Winn shared lead vocal duties, taking turns to play through the set, but the jokes were all Collins. He introduced us to the song Mad World, which was of course actually the hit Madison, the opener of their recent 2022 record Hiding In Plain Sight. Even namedropping controversial Aussie radio station Triple J during another track, no opportunity for goofiness was missed.

The tight engineering of the seventies drums on the records was not missed in the live setting, with just as much dry punchiness heard, and not a beat was out of the pocket. The guitarists and bassist grooved along to the beat, and our singers rode the waves with soft sweet melodies.

Highlights of the set included The End Of Comedy, Suddenly and Hard Dreaming Man, but my favourite track was of course Honey from the 2019 album Raw Honey. Such beautiful harmonies and vocal lines were not missed in the live rendition.

While the band is certainly self-aware of their throwback and potentially dad-rock tendencies, don’t let them sell themselves short – they’re a killer live band, with a set of gorgeous groovy rockers sure to get you dancing and smiling any day of the week.

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Gig ReviewsReviews
March 12, 2023
Noah Redfern

[Review] Lorde @ Sidney Myer Music Bowl, Melbourne 10/03/2023

Heading back up the hill yet again to Sidney Myer Music Bowl for another emotionally charged evening was not what I expected to be doing just less than a week after Bon Iver’s amazing set, but there I was. Ella Marija Lani Yelich-O’Connor, the Aotearoa/New Zealand born musician known to the world as Lorde, was here finally for her rescheduled half decade return to Naarm/Melbourne. I was lucky enough to catch her last time she was in town too, at the same venue, and I can happily say that she’s taking her live performance to the next level.

Opening for Lorde was MUNA, an LA-based indie pop three piece, known for their collaborations with the likes of The Knocks and Phoebe Bridgers. They delivered fun summer-pop, a perfect addition to Lorde’s Solar Power Tour. A fiery stage presence was led by lead singer/songwriter Katie Gavin, dancing across the stage and wooing the audience with sing-along moments. Favourite songs included Silk Chiffon, What I Want and Home By Now.

After our supports left the stage, the crowd was in a frenzy, having already exploded into waves of cheers every time anything remotely like Lorde moved around behind the curtain. The audience was full of old and new fans, young and not-so-young. Fans all three eras of Lorde’s career were clearly on display: the old Pure Heroine fans, the millennials and Tumblr kids, the Melodrama girlies, with their love of bisexual lighting and coming of age energy, and the Solar Power groovers, ready to ride the wave of an endless summer.

Opening with Leader of a New Regime, the dynamic slow burner deep cut from the most recent record, 2021’s Solar Power, Lorde introduced us to The Solar Power Tour. But of course, she wasn’t here to divide her fans, so immediately after this we were blessed with the back-to-back cuts of Homemade Dynamite, and Buzzcut Season. Dynamite was a true banger and crowd pleaser, but Buzzcut Season reminded me of days long ago, listening to Lorde’s debut on a road trip with my family, pondering what future laid in store for me when I finally grew up. These themes of aging, self-exploration and heartbreak became clearer than ever, hearing her full repertoire on display.

The stagecraft on display was captivating, with a long staircase in the centre of the stage, leaning against what appeared to be a glowing sun. This staircase would rotate throughout the show, sometimes having Ella climb up during heavier emotional moments. When the fantastic Liability, off 2017’s Melodrama played, she sat halfway up and told us stories for a few minutes before the song properly began, speaking softly over the repeated piano intro. She told us of how she’d finally fallen in love with our city, how she’d walked the streets and seen the spirit that guides us all. She then reminisced about the importance of the song, and the love she’s felt seeing how connected so many people have felt to it. A true tale of rejection, and coming to terms with one’s own instability, that’s become an anthem to so many people, especially those who feel left behind from the world around them.

During the track Stoned at the Nail Salon one line stood out to me and resonated heavily with the whole show. “Cause all the music you loved at sixteen, you’ll grow out of, and all the times they will change it’ll all come around”. Lorde’s music transcends these rules, as shown by the demographic present. It just keeps coming back again and again, and to be listening to songs, some written when she was just fifteen, and still resonating in new ways, that deserves a legacy.

Rounding out the set with many tracks off the new album, including Hard Feelings, California and Oceanic Feeling, the only new track I missed was Mood Ring, which did leave me a little disappointed, but I was more than happy to have this compensated by the sheer volume of classics from the previous albums. These included Green Light, Perfect Places, Tennis Court, the amazing Ribs and a victorious encore of Royals and Team. Lorde might be “Kinda over being told to throw my hands up in the air” but we were not. The energy and maturity of the performance was a lifetime ahead of my last time catching the superstar, and I’m so excited to see what she has in store for us next time she visits.

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Gig ReviewsReviews
March 11, 2023
Lucy Paterson

[Review] Aurora @ Palais Theatre, Melbourne 09/3/2023

Aurora is truly one of the most triumphant artist of our generation, and on the 9th of March I, along with a sold out Palais Theatre audience, were humbled to be in her presence. The best way I can describe Aurora’s performance was that of a re birth, as she used her music to gently guided us to unleash our inner animal, let go of societal judgement, and embrace the raw experiencing of being human. However, I get ahead of myself! Let’s start from the beginning.

I entered the charming Palais venue with deep fondness, as I am well acquainted with its well-worn walls and earthy green carpet. When the support act Blusher made their way onto the stage, I thought their youthful energy paired perfectly with the venue’s vintage aesthetic. Newness was meeting with tradition, and I was loving the ambiance that this was creating. The Palais stage has welcomed countless up and coming artists and the trio of women that make up Blushers certainly left no crumbs; making their mark from the moment their hands touched the mics. Blushers performed with such finesse, confidence, and hypnotic power, that their 30 minute set felt like a delicious glimpse into what a full length Blusher show may look like, and you best believe that I will be in attendance for it. As someone who doesn’t listen to a lot of pop, Blushers truly won me over. Their use of the silky, dream like synth and hard hitting bass became part of what makes their sound so irrespirable. Their performance of Dead End, a song that celebrates that celebrates youth and ‘going out on a Tuesday’, had everyone out of their seats, myself included. Seeing these three powerhouse women grooving on stage with their synchronized dance moves made it impossible to resist doing the same, and I definitely saw a few strangers pull out some moves together. Finishing their set with Softly Spoken, this spicy track sealed Blushers as a band that aren’t afraid to pair their sweet melodies with biting, unafraid lyricism. This duality is clearly a signature aspect of Blushers that is quickly becoming part of their appeal and growing fan base. One of the sweetest moments of the night was when they gave a shout out to their devout fan, who has been at all of their performances. I loved to see the growing relationship they have with their fans, despite this being their debut tour. If the love the crowd had for Blushers is anything to go by, I would say that this trio is on their way to global pop domination.

After a half hour interval, Aurora’s entrance could not have been met with a more captivated attention. All eyes were on the dimly lit, misty stage. Three thousand breaths were being held, as we watched this tiny figure make her way to the front of the stage. I was six rows from the front, and I can safely say that seeing Aurora stare out into the crowd, shrouded in a dark silhouette, was one of the most hauntingly beautiful images I’ve ever seen on stage. And so, just like that, an hour and a half of pure, spellbinding magic was set into motion, with Aurora as our trusted enchantress.    

After having a few second to soak in Aurora’s presence, her dark anthem Heathens kicked off the night; snapping the audience out of their mystified spell, and plunging us into a cosmic darkness that made me want to break free of my human form and become pure matter. Heathens acted as an introduction to what kind of instrumental, vocal, and performative experience we could expect from tonight’s show:

A fusion of angelic yearning, and animalistic chaos.

With each song that Aurora performed, I could not help but notice how her whole body moved to the music. From her ballerina like twirling, to her wolfish crawling and crouching, to the way her fingers delicately danced in response to each note, it was as if she were composing the pieces right in front of us and throwing her whole self into it. It wasn’t hard to see just how much of Aurora’s soul exists in each song.

The majesty of this performance, combined with her reflective talking segments on life, love, and the beauty and the oddities of mankind, made the night felt like a communal un shedding of pain and suffering. To be there in that room, being serenaded by ethereal harmonies and watching people dance their way through songs that deal with respecting nature, and respecting the things we don’t understand, was more than my little brain could comprehend. I think I will be comprehending it for a long time. My favourite performance was definitely Infections of a Different Kind, as it displayed the rawness of Aurora’s vocal abilities on a new level. There was such beautiful range to Aurora’s song choices that left the audience with no idea of where the night was headed. The performance of the dark, cinematic Churchyard shook every persons souls, whilst Exist for Love comforted us in it’s lilting blend of three part harmonies and pristine guitar accompaniment.

 To me, Aurora is one woman who both channels The Sublime, and crafts a performance that is expansive and utopian in it’s message and aesthetic. The way that Aurora appeared to us was almost like an other worldly being; dressed in all white, blessing us with anecdotes that celebrated uniqueness, and stories of acceptance and kindness. Ultimately, Aurora’s show gave new meaning to the title of her latest album called The Gods We Can Touch, for she is our all inclusive and all accepting voice of truth and reason; a vision of the hope, the change, and the courage that this little old world relies on in order to be nurtured and thrive. Finishing off the night with Cure For Me, a song that champions her defiantly positive message of self love, I left that night feeling a little lighter and happier in myself, and optimistic about the world and people around me. I guess that is the power of Aurora, and I cannot wait until she returns to Melbourne.

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Gig ReviewsReviews
March 10, 2023
Nikki Eenink

[Review] Florence & The Machine @ Rod Laver Arena, Melbourne 08/3/2023

Melbourne’s Rod Laver Arena is in the top 10 busiest venues in Australia and New Zealand. Tonight, it is home to opening act King Princess and headliner, Florence and The Machine

Queer icon, Michaela Straus, known by stage name King Princess, played a powerhouse set, all while dressed in a lace dress over baggy jeans – an obscure choice that felt so natural on the Brooklyn native. About halfway through their set, King Princess turns to one of her musicians and says, straight faced, “Uh-Oh Antwon, it’s pussy time” before launching into certified banger; Pussy is God. While the arena is only half full – people are filling the whole of the space, dancing at the back – spinning with each other and jumping. King Princess is entirely self-aware of the genre changes her set provides; ‘Now for juxtaposition, who wants to hear a sad lesbian song?” If I was picturing a ‘Sad lesbian song’, Change The Locks would be it. Heartbreaking and full of yearning, it is a beautiful ode to lost love and youthful melancholy. Coming out of the ballad, Straus has noticed a lull in the crowds’ energy. Grabbing the mic, they command our attention; “Guys you have to get more excited, I don’t care if you fucking like me or not. Get crazy! Get loose. Let’s get crazy.” And so, we do. The crowd starts jumping, hooting, and hollering. Straus goes from shredding guitar, to grinding and dancing on the ground – pulling out all the stops, without breaking a sweat. In the middle of major hit, 1950, they stop. Almost teary, they take a moment. “Australia’s always been a place that’s supported me. Shout out to the Queer community in Australia.” Looking through the crowd and seeing Queer couples of all ages kiss each other, hold hands, sway together – it is a beautiful moment of community, love, and connection. Finishing the set strong, King Princess is back with a smirk; “Let’s praise the rock lords!” Let Us Die is the perfect closer. Finishing the set by throwing a pick into the crowd – we are primed for the main event.  

An installation, mimicking a pile of half-melted candles in some old European cathedral, is moved onstage. Microphones are scattered around the periphery. There is a buzz in the air.

My housemate turned to me; “Have you ever seen Florence live?”

I shook my head.

With a smirk, he turned back to the stage; “You’re in for a treat”.

And, my god, what a treat it was.

The lights go black, and underneath the candles, a strobe goes off. There is nothing for a moment, and then Florence comes onstage; draped in blue lace, shoe-less, red hair flowing over her lithe frame. There could not be a more perfect opening track; Heaven Is Here. She moves in a way somewhere between rhythmic and jagged. She is possessed by the sound. So are we.

She moves seamlessly into a haunting rendition of I Am King. She stands tall, arms spread out wide, lace sleeves filtering the purple light now filling the stage. This feels more like a Church sermon than a concert; this is The Gospel According To Florence Welch.

Suddenly, the energy shifts, and we are swept into Ship To Wreck. The crowd goes nuts – free from their trance. They are jumping and screaming and singing, and so is Florence. The next few songs, Welch dances around the stage, gliding from one end to another, motioning for her captive audience to sing even louder. In a moment between songs, she laughs a little into the microphone – “To those of you who know me, and those of you who’ve been dragged along tonight and are wondering, ‘What the fuck is this?’ – welcome to the show. It is so much better if you just give into it. I promise. If you do everything I say, you’ll be fine.” Who are we to disobey? While performing Free, she simply raises her hand on the lyric ‘as it picks me up’ and lowers it ‘puts me down’, and the whole crowd follows her, as if under a spell.

When it is time for one of Florence and The Machine’s biggest hits – The Dog Days Are Over, she tells all of us to put our phones away, to “Be here, connect with each other.” There is not a phone in sight and everyone, even those of us in the seated area of the arena, jump together and sing together in beautiful, free catharsis. Her voice is unbelievable; she is a Kate Bush, a Stevie Nicks, and yet, something else entirely. It rings smooth and clear and fills up the entire stadium with ease.

Welch then makes her way offstage and into the crowd for Big God.  She approaches the crowd and holds a fan’s face with gentle hand. As she sings to them, she wipes away their tears, and then pulls away to stand above the barrier which holds back the crowd. The lights onstage stop their changing from red to purple and go black once again. She is lit by a single spotlight, and as she sings, fans clamour to touch her. Reaching up to hold her hands, her arms, anything. In the darkness, all you can see is hands reaching up through the spotlight. They are desperate to be bestowed with some of their Messiah’s goodness, to be washed clean of their ills by this religious figure which stands above them.

Florence Welch is a master of tone-shifting without breaking focus. Jumping immediately into What Kind of Man, the stage pulsing with red light that bathes all 14,000 of us. Her body moving with every flash. The stage and her are one being. And then, suddenly, she is speaking again, the stage lights a gentle violet. Her voice is cracking, as if she is about to cry. “I invite you all now to hold onto each other”, and so we embrace or hold hands or press our feet together. The father and daughter in front of me, the older lesbian couple, the high school best friends – all wrapped up with each other. We are treated to a song that was not played at all on the tour before her closing Australia and New Zealand leg, The Bomb. She dedicates this one to her support act; King Princess, because it’s her favourite song.

Choreomania brings another run into the crowd. This time she sprints to the back, the crowd parting for her like the Red Sea. She stands above them, and once again they desperately reach for her.

You said that rock and roll is dead/

But is that just because it has not been resurrected in your image.

The crowd is screaming these lyrics back to her, people coming out of nowhere to gather around her.

Like if Jesus came back, but in a beautiful dress.

The arena lights up as Florence raises her arms to the sky, and the crowd follows in perfect, mirrored synchronicity. I’m not a religious person, but I was covered in goosebumps. She was delivering a sermon. Her crowd her devoted followers (one man had been to 42 shows). It was like the most beautiful, loving, joyous cult you could imagine.

Finishing with a mix of My Love and Restraint, she begins pulsing, raising her arms, moving her body in almost inhuman ways. Then, pushed out of her trance she begs – “This is the Dance Fever tour! For years we couldn’t gather like this. This is the resurrection of dance. I want you to leave everything you have here, in this room”. And the crowd goes ballistic. After 2 hours of songs, they are still going with as much vigour as they did for the first track. She is infectious.

Previously, Florence hasn’t played Never Let Me Go, at her live shows. “It was written at a time where I was very sad, and very drunk. And if you could imagine in terms of Florence and the Machine songs, what has to be the Saddest and Drunkest? That is very sad and very drunk. So, it sort of hurt too much to sing it. But I’ve had a lot of time to think about what performance means to me, and connection with you means to me.”  And as things go quiet before she sings, voices scream at her “I love you!” and we all cheer. Voices sing alongside her, tears well up in all of us. It’s heartbreaking. It is a reclamation.

Finishing with Shake It Out and Rabbit Heart, I left feeling very much lost for words. It was more than just a show. How could I possibly capture the energy left in that room?

Welch has been very open about her history of anxiety and depression, as well as alcoholism. Clean and sober for several years, you can feel a weight is lifted from her. As she dances around stage – effervescent, ethereal, divine, she reminds us that there is a simple divinity in being alive. There is so much joy, along with the pain. That no pain is too great to overcome. “I gave my hard emotions to you, to protect. Thank you.” Just as we keep her pain safe, we keep each others pain safe. This was a show about connection, to ourselves, to loved ones, to strangers. It was a beautiful reclamation of femininity, queerness, truth, and selfhood. That despite all the hurt, all the heartache, all the grief – we can still dance, barefoot, sharing our fear, our hopes, our doubts, and people will be there to scream and sing along with us. Florence holds us with her music. It was as cathartic for us as it was for Welch, who seemed so happy, lost in the moment, fully present and alive. She is a symbol of overcoming, of community and of love. I left, teary-eyed, feeling closer to myself, excited to face a new day and rejoice in being alive.

I have seen God. She is a woman. And her name, is Florence Welch.

You can still catch Florence & The Machine’s Dance Fever Tour

Tickets available here 

Mon 13 Mar 2023
Qudos Bank Arena
Sydney
Joined by King Princess
 
Fri 17 Mar 2023
Brisbane Entertainment Centre
Brisbane
Joined by King Princess
 
Tue 21 Mar 2023
Spark Arena
Auckland
Joined by King Princess
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Gig ReviewsReviews
March 10, 2023
Megan Milner

[Review] Sacred Reich / Vio-Lence @ Manning Bar, Sydney 08/03/2023

I stand tonight in the heart of many happy metalheads. After multiple cancellations, delays, and pandemics; we blew the dust that had settled upon our tickets from 2019 for the Aussie Thrash Fest has arrived. Sydney is the second stop on the tour, which began in our nation’s capital. Before the grand finale in Melbourne, Brisbane and Adelaide will also be decimated!

A double header of these thrash titans is sure to be a wild ride.  

Founded in 1985, at the height of the Bay Area thrash movement, Vio-lence came up alongside fellow Bay bashers as Testament, Exodus, Death Angel, Heathen, Forbidden, Laaz Rockit, Dark Angel, and of course Metallica. Tonight, we celebrate their very first visit down under. Aussie fans may have thought they’d never see Vio-Lence on our shores as they’ve had many stints together, only recently reforming in 2019 after their 2003 split. 

Sadly, guitarist and founding member Phil Demmel (ex-Machine Head) isn’t with them on this tour. One man down doesn’t stop remaining members storming the stage and throwing down Bay Area style! Red lighting creates a menacing atmosphere as they ferociously fire through many well known songs including Serial Killer, Calling In the Coroner and Kill on Command. Vocalist Sean Killian is a true professional, commanding the stage ensuring every punter who makes eye contact with him, he’s returning. A nice surprise was seeing Christian Olde Wolbers (ex Fear Factory) on bass duties. He’s been with Vio-lence since 2020 and is having a great time up on stage. He’s always had a wonderful stage presence and gives his everything, a great addition to an already solid line up. Vio-Lence have ignited the crowd with their merciless set, most songs coming from 1988’s Eternal Nightmare. As this is their first time to Australia, Vio-Lence fans have been waiting a long time to hear these tracks. There are smiles a plenty as their time is wrapped up with Phobophobia, Upon Their Cross and World in a World. 

As the sounds of Sacred Reich ride through the outdoor smoking area, fans are dropping everything to run inside. By the time I’ve rushed in with the masses, The American Way has kicked off with many fists in the air, singing along. Vocalist Phil Rind takes a moment to say hello to the crowd. When asked if anyone was born after 1994, a fair few hand rose. Rind chuckles and informs us all that 1994 was the last time Sacred Reich were on our shores with Sepultura. 

Most of the songs tonight come from their latest album, 2019’s Awakening. Including Divide & Conquer, Manifest Reality and Salvation. World renowned skinsman Dave McClain (ex Machine Head) is holding down the beat with precision and concentration. I’ve been seeing Dave play since I was a young teenager and I’ve always admired his style, tonight his bass drum emanate through each one of us bringing a whole new meaning to feeling the music! One confused crowd member may not know where he is as he screams for ‘Holy Wars!’ (of course, by Megadeth, not Sacred Reich.) Phil handles this well by giving his two cents on which albums he likes, because the one thing we all have in common tonight, is thrash metal!  

I can’t help but watch new blood Joey Radziwill, on rhythm guitar. He is pouring all his energy and enthusiasm into his axe tonight, headbanging at every moment, not missing a note. Free and Who’s to Blame garner great responses from the crowd. Sacred Reich have always been a little different to the rest, preferring to cover social and political issues than the more demonic elements of their peers but despite the intense subject matter and the furious riffing of the likes of Death Squad, frontman Phil Rind’s beaming smile, friendly on-stage demeanour and positive inter-song banter was at odds with those weighty topics. 

The night appeared to fly by after such a lengthy wait, which was testament to the band’s powerful, hugely entertaining performance. Long-time axeman Wiley Arnett kicks off Surf Nicaragua to close tonight’s set, igniting a small riot on the floor of the Manning Bar. 

As the punters saunter away from the stage, hungry for 1 more song, smiles are still wide on everyone’s faces. The merch table is many people deep while security attempt to clear the venue. To experience a bands first trip to Australia, and one almost 30 years in the making was truly special. Hardline Media proving once more they are a promotor for the people. 

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