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Gig ReviewsReviews
January 29, 2023
Noah Redfern

[Review] Marc Rebillet @ Forum Theatre, Melbourne 25/01/2023

When I walked into the Forum Theatre last night, the first thing I noticed was the choice of clothing. Every second person was wearing bathrobes! I’d been well aware of Marc Rebillet and his brand of humour through his online presence, but nothing could’ve prepared me for the pure silliness in store for me at Marc’s debut Melbourne show. Delayed several times due to the troubles of the last few years, Marc has been waiting a long time to make his first appearance down under and, now that he finally has, he’s commenced his three sold out shows with a brilliant opening night.

Blowing up on YouTube, Instagram and TikTok, Marc Rebillet is a musician who specialise in improvisational beatmaking with a comedy angle, ala Reggie Watts, with a distinct Millennial twist. Many of his songs are goofy celebrations or warnings, such as VACCINATED ATTITUDE and YOUR NEW MORNING ALARM

Opening up for Marc was the brilliant Cry Club, a queer pop-punk duo from Wollongong. They dedicated their first song People Like Me to queer rage everywhere, and tore into a set of passionate, dancy rock music.

I was surprised and happy to hear them sneak into a cover of Olivia Rodrigo’s smash-hit Good For You, which was a killer sing-along. The also paid tribute to the goth gods of old, with the track Robert Smith, dedicated to The Cure’s fantastic front man, taking the opportunity, of course, to slander his fallen-from-grace peer Morrissey.

After Cry Club’s short but sweet warmup, the first sight we got of Marc was his face bouncing around the screen behind the stage, like a DVD screensaver from the early 2000s. This immediately set the tone for the whole show, as the crowd would cheer and holler every time the face got close to a corner, only to cry in disappointment when it wasn’t perfect corner. This continued for some time, until we finally achieved nostalgic perfection with a clean hit to the corner, and the screen faded to black. Then the show began.

Marc Rebillet took to the stage. Not to play a song, but to take a moment to bask in the crowd. He immediately began engaging with us, asking if we were ready, jumping into the crowd to get responses on the microphone, hyping us up with his boisterous personality. Then he jumped behind the laptop, and we were treated to possibly the funniest visualiser I have ever seen at a concert.

Marc’s computer screen was displayed on screen, with him entering his lewd but hilarious password, and us being treated to goofy folder names including “definitely not porn” and “beets”, but opening up the tour visuals, only to blow our minds. Cats playing piano, suggestive videos of fruit, turtles fornicating, the whole deal. Marc clearly had one feeling on the mind: horny. And the crowd was right there with him.

Jumping into beat making, Marc layered snares, hats, and percussion for many bars, teasing us before finally punching us in the face with a kickass bass, accompanied by pyrotechnics, pushing the crowd into an immediate up-tempo tech house groove. Mixing one beat into the next, with random stops to say something out of pocket and hilarious, Marc sat perfectly between techno DJ and the kid with too many sugary treats in their lunchbox, the energy built in those first few minutes managed to power a crowd of crazed fans for a full hour and forty minutes.

Mid set, a bra was thrown on stage. Typical display for a rockstar, but being his silly self, Marc was of course obliged to wear it for almost the whole rest of the show. Nothing stumps Marc Rebillet. Taking a moment to speak to a fan in the crowd, the fan responded that Marc was much smaller in person. Such a comment wouldn’t be great on most men’s egos, but this man will use anything for inspiration, so a beat is made using the statement as a key lyric. Nothing stumps Marc Rebillet.

In case it wasn’t already clear, near the end of the show Marc told us that there were no setlists, no plans, and that it was all made up on the spot. Authenticity doesn’t come much closer in live music than this. Ending the show with the hits GIRLS CLUB and FLAMINGO, Marc secured several thousand fans loyalty to the cult of Rebillet, and proved to me that he was more than a meme and in fact a deeply talented, and stupidly hilarious artist.

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Gig ReviewsReviews
January 24, 2023
STM

[Review] Mayhem @ Croxton Bandroom, Melbourne 21/01/2023

Even if you’re not into Mayhem or Black Metal, you would have heard stories of this band, they are one of the most notorious acts to play stages around the world. You don’t go to see Mayhem, you go to experience it. The last time I saw these guys they played De Mysteriis Dom Sathanas in it’s entirety and THAT was mind blowing! This time around, well… we will get there.

This was my first time heading to the Croxton Bandroom and it’s a pretty decent venue, just a bit smaller in capacity to Max Watts in the city but the layout is great as you can get a good view of the stage anywhere in the room. I stood to the side of the sound desk, as is tradition, cause you know, there is no better place to hear it than standing next to the people mixing it.

Kicking off tonights disorder is Melbourne’s own Werewolves. I have been wanting to see these guys live since hearing their album What a Time to be Alive back in 2021. These guys came out and gave the crowd a complete 30mins of solid machine gun precision blasts, it was incredible, they did not let down my hype or expectations at all! The room was filling up pretty quickly and I did have a bit of a laugh to myself as it was stereotypical black metal fans in the crowd, standing, arms crossed and nodding their heads in time, a couple of people were head banging and getting into but yeah, just a bit funny when people play the stereotypes, in saying that, each song was met with applause and screams of appreciation so everyone was still into it. If you can, go and catch these guys play, Dave Haley is one of the best drummers going around and watching him is always impressive. Ending on their first single of What a Time to be Alive, I Don’t Like You with “Don’t get the shits now, this is out last track” got the reaction they wanted from the crowd with more movement and involvement, Im really keen to go and see these guys play again somewhere.

Next up is Ulcerate from New Zealand. Coming off the back of blistering blasts and thrash guitars these guys had a polar opposite approach, with their Progressive Doomier style of playing, no less impressive though. Their drummer is unbelievable, his fills and playing style had me focusing more on him than anything. Ulcerate had a 45/50min set and played probably the same number of songs as Werewolves had in 30mins, they seemed pretty long and intricate. There were a couple of issues when the guitarist changed to a cleaner tone, I found that it got lost in the mix and unfortunately the room was pretty damn full at this stage so there was no chance of getting closer, what a shame that they played to a 3/4 full room. A quick thank you to the crowd was the only interaction from Ulcerate, they came out and got the crowd in the mood for the instilling anarchy coming up next.

By the end of Ulcerates set, the room is completely full, looking around, people are getting hyped and excited for what we are about to witness. As I watch the stage set up and looking up at Hellhammers drum kit is nuts, its massive! You can’t see him playing it, you just hear it. The stage goes dark, smoke fills the air, then everything goes red and the opening track of Daemon, Falsified and Hated explodes. Atilla takes the stage like a ghoul that has just come out of the grave, the guy is next level. Cloaked, painted and baring a bone cross he moves erratically and with the strobe lights, it even looks puppet or animated, eerie effect but goddamn it just adds to the experience of The One True Mayhem. They play 3 Acts through the set, first 5 or 6 tracks are newer material with the likes of Malum and Bad Blood, then they dissapper and all come back fully cloaked to give us tracks from De Mysteriis Dom Sathanas. The crowd go absolutely nuts for Freezing Moon. I could never get sick of hearing those drums live, the amount of reverb on them is crazy. The Third and final act was the Deathcrush EP, banners showing black and white pictures of the original or line up from the ep, and the band coming back out to Silvester Anfang then kicking into Deathcrush itself! This is the second time I’ve seen Mayhem, the first being De Mysteriis… in it’s entirety, now that was unreal, seeing a classic album played in full but I left being greedy and at least hoping to hear Deathcrush, finally hearing it live was just incredible and to the effect that these guys put in on stage, it definitely hit home.

No one left disappointed that night, full house, all bands played tight and incredibly well and the set had songs from all eras of the band, how could you be disappointed? As I said at the start, seeing Mayhem, one of the greats of the genre is an experience and anyone that is into Black Metal should be trying to see these guys at some stage. Clearly Australia gets it with 2 out of 4 shows sold out.

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Gig ReviewsReviews
January 21, 2023
Emily White

[Review] Grace Petrie @ Northcote Social Club, Melbourne 19/01/2023

Crowds lounging on the carpet of a band room is a site rarely seen, more the happenings of a local festival, or a Day on the Green. The atmosphere leading up to Grace Petrie’s sold-out Melbourne show was certainly a comforting one, with bodies replicating the scene of a lazy Sunday afternoon at home. The cult following of the self-proclaimed ‘sad lesbian folk’ musician had clearly gathered in Melbourne previously, as it felt that each person in the room knew the words and rhythms to every song that was to come.

The night kicked off with a very fitting support, local blues musician Georgia Rodgers. The one-woman show boasted a sultry, 60s aesthetic over a red-washed stage. The contrast between her unashamed, typically self-deprecating humour, and the powerhouse vocals that were to follow was such a breath of fresh air. Simultaneously providing a nostalgic feel using steady bass notes paired with a deep, husky voice – somewhat reminiscent of a mellow Elvis track.

Georgia’s quirky confidence played on through the set, as the instrumental depth of the songs began to surge. If you had closed your eyes, you would picture at least three guitarists on stage as she continued to layer stunning riffs over one another, leaving the audience in awe and an almost trance-like state. Her lyricism was a treat for the ears, as very literal storytelling was paired with tongue-in-cheek play on words; ‘I just need one line… to say to you’.

Watching Grace Petrie for the first time was like reuniting with an old friend; her stories so familiar. A smoky orange state filled the stage, as Grace nonchalantly made her way into the light – the adoring fans standing still, itching to hear the message she had come to share. Accompanied by composer Ben Moss, this duo act was set to deliver two hours of thought-provoking, nostalgic folk anthems.

Bounding straight into upbeat protest anthem If There’s a Fire in Your Heart, the passion of the crowd was enough to send shivers down my spine – chanting ‘to build a world on peace and love, it’s never too late’. Torn between wanting to dance the night away and sitting still to admire the beautiful poetry – this track took my mind to an Irish Pub, the room smelling of beer and the fellowship between everyone present. The seamless duo made it impossible not to be moved by the beautiful and purposeful lyricism, coupled with the sounds of traditional folk fiddle and melodeon.

The pair did not shy away from socialist themes, however songs like Storm to Weather provided not only a deep and meaningful message, but also a beacon of hope singing ‘we will dance again next year’ in reference to COVID-19 lockdowns and isolation.

Grace described her music on many occasions as ‘angry’ and ‘sad’, being – in her opinion – the two pillars of folk music. However, this was not the case with the next song Ivy, a beautiful story of family, accompanied by the harmonies of Ben Moss.

LGBT themes can be difficult to write about in a genuine way, but this is one of the many ways Grace connects with her followers. Being a largely queer audience, the relatability of Grace’s life experience is a comfort for all that listen to her music – this was so abundantly clear as she had the room in stitches over The Last Man on Earth. To be a true role model, in Grace’s case, is to not hold back on themes of relationships, self-acceptance, and personal growth.

Sturdy Oak, a solo piece by Ben Moss was a breath of fresh air from a male musician – a poem about issues of masculinity, wrapped in the imagery of a metaphor about trees. This portion of the show was a change of pace, the story of being a man, from the perspective of a man; a song so beautifully written you could have heard a pin drop in the audience as he bridged the gap between masculinity and the (almost) all-female crowd.

Running with the theme of poor leadership, the music came to a halt during a beautiful rewrite of The Old Man’s Tale by Ian Campbell, poetry delivered in acapella style. The silence in the room was unlike anything I had experienced at shows in the past. The pain and anguish in Grace’s voice was extraordinarily haunting.

Getting the sense that something magical was about to take place, the feminist LGBT anthem Farewell to Welfare did not disappoint. This stunning, upbeat, Celtic-style song, paired with sombre lyricism was gut-wrenching to hear, yet relatable to majority of the room. This show although minimalistic at a glance, was anything but in its messaging. Meanwhile in Texas was another stand-out moment. A song about abortion rights paired with the almost meditative state of the crowd was terribly bittersweet.

IKEA and Black Tie began wrapping up the night on a more positive note. The message shared about growing up and being exactly who you are is invaluable, particularly for the young women present. Combined with cheeky rhymes and crowd participation, this show had hit its emotional and thematic peak. With the crowd at her fingertips the show closed out with The Losing Side, an upbeat singalong encore.

Spending the night with Grace Petrie and Ben Moss felt like a conversation, a friendship, and an unconditional love that is rare in today’s online-based musical culture. With every important conversation bleeding directly into her next song, a night spent with Grace Petrie is one that should not be missed.

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Gig ReviewsReviews
January 20, 2023
Noah Redfern

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

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

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

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

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

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

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

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

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Gig ReviewsReviews
January 18, 2023
Megan Milner

[Review] Thy Art Is Murder @ Roundhouse, Sydney 13/01/2023

We are not spoiled with a four-band line-up of top-tier talent every day. Tonight’s show is just that. Extreme metal, western Sydney titans Thy Art Is Murder are accompanied by three international heavyweights, Spite, Chelsea Grin and Whitechapel. Strap yourself in, we’re in for a night of heavy riffs and even heavier vocals! 

Californian hardcore/deathcore/downtempo maniacs Spite are kicking off the festivities, and the band I am most looking forward to seeing. As they take the stage, the sun is still in the sky leaving the Roundhouse more illuminated than usual. Frontman Darius Tehrani commands the stage with energy too large for the small space, as being the first band on the bill their drumkit is in front of another. Half of Spite’s 8-song set is taken from their latest release Dedication to Flesh, a heavy-hitting no holds barred album that delivers from opening to closing track. Lord of The Upside Down, Caved In and IED give the crowd minimal recovery time, only a chance to warm themselves up for a huge night of moshing.  

I’m happy to see just how many punters came down early to catch them! Rounding out Spite’s set is Kill or Be Killed and Crumble, two monstrous songs that showcase their sound perfectly. I’m a big fan of deathcore, but there’s something about Spite’s dash of metal in the mix that really makes them stand out. Their set is far too short, although as this is only their first time in Australia, I’m hoping it’s the start of a beautiful relationship that results in many frequent visits. 

Just as I’ve had time to purchase a Spite shirt from the merch booth, the lights dim for Utah’s Chelsea Grin. The last time we saw them was with Born of Osiris in 2019, and in such time they’ve released two new albums, Suffer In Hell and Suffer In Heaven and I’m looking forward to seeing them again. Opening with Recreant, we get a sense that they did not come to mess around. Desolation of Eden, the album Recreant is taken from, had a very different line up, one of the most notable is frontman Tom Barber (ex-Lorna Shore) who’s been with the group since 2018 and is one of the most talented vocalists in the scene. His ability to jump from screams and lows is seamless and astonishing, all with a smile on his face. New track The Isnis gains a great crowd response as horns are cast in the air and pits are widened. Stand outs of Chelsea Grin’s set for me personally are taken from 2018’s Eternal Nightmare, Dead Rose and Hostage.   

As for Spite, Chelsea’s Grin only really tickled their catalogue of music. I sure hope next time Chelsea visit, they have a longer set to really get into how great this band is as their popularity is soaring. 

I’m already beyond happy with tonight’s performance, as Tennessee’s Whitechapel arrive. I’ve been a fan of theirs since 2007’s Somatic Defilement and they will always hold a very special place for me, the excitement has gone up a notch! In the last few years, their sound has expanded from the heavy deathcore flavour we know and love. Clean vocals have seeped through the mean demeanour, as showcased in their opening track When a Demon Defiles a Witch. Phil Bozeman has a very distinctive voice and evokes monstrous growls from such a small frame with ease.  

Bassist Gabe Crisp provides the low end on the strings with force while all three amazing guitarists Ben Savage, Alex Wade, and Zach Householder give their own personal touch to the songs that make Whitechapel one of the biggest heavy bands around. They steamroll through a selection of hits such as Brimstone, Doom Woods and Black Bear which gets the floor bouncing and is impossible to keep out of.  

This is Exile makes us long-time fans happy, even my brother with short hair can’t help but attempt to headbang to this Whitechapel classic! A Bloodsoaked Symphony and The Saw Is The Law round out their blistering set, 8 years in the making.  

The exhausted punters head to the bar and outside area for one last breath before the headliners arrive to take what’s left from this crowd’s energy tanks. 

We Like To Party by The Vengaboys fills the venue, making the metal crowd laugh and dance unaware Thy Art Is Murder lurk just behind the stage. Opening with Reign of Darkness the crowd pushes out a monstrous circle pit to the dark red lights only just illuminating the band members. The crowd scream ‘You will see the true face of panic’. 

Vocalist CJ McMahon’s skeletal mic stand towers over him and the front centre of the stage, forcing him to sing upwards similar to Lemmy. Tonight’s performance is a truly special one, the 10th anniversary of their second full-length album Hate being played in its entirety. The mad crowd barely have time to hi 5 their mate before we’re cast into The Purest Strain of Hate. Drummer Jesse Beahler is a madman behind the kit and keeps tempo with precise concentration. I spot him looking into the crowd and smiling at the response his band is getting from the wild Sydney crowd.  

Songs such as Immolation, Dead Sun and Defective Breed annihilate the Roundhouse still cast under dark lighting and smoke, adding to the drama of the undeniably heavy music. CJ is belting out some exceptionally heavy vocals, but that doesn’t stop him from having a bright smile across his face for most of the night. The band are truly appreciative of the reception and the love is sent back in droves. Doomed From Birth rounds out the Hate album and the band takes a short break backstage, while the crowd calls out for more!
Thy Art return to the stage for 3 encore tracks, which must have been hard to choose from their catalogue. Death Squad Anthem, Holy War and Puppet Master wrap up tonight’s gruesome events. TAIM consistently delivers goods in a way that inspires unending mayhem and fan love with horns raised as they scream out the lyrics until the last note. 

I feel very proud to see an Australian band reach the success that Thy Art is Murder has garnered, especially headlining a tour in their own country with three international supports.
The entire east coast run of this tour has sold out with very limited tickets left for Adelaide and Perth. Do not sleep on this tour. 

With 4 spectacular deathcore acts, there really is something for everyone and even if you head down for one band, I’m sure you’ll fall in love with another. 

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Gig ReviewsReviews
January 12, 2023
Noah Redfern

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

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

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

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

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

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

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

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

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

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Gig ReviewsReviews
January 9, 2023
Lucy Paterson

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

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

And boy did I.

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

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

 

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

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Gig ReviewsReviews
December 21, 2022
Noah Redfern

[Review] The Crystal Method @ 170 Russell, Melbourne 16/12/2022

Returning to 170 Russell was like a rush of nostalgia for me. Memories of old gigs and dirty club nights on a Saturday. Nostalgia was certainly the key for this evening’s entertainment, as both The Crystal Method and his support act Black Cab dealt in it as their main theme.

Opening the show was Melbourne’s own Black Cab, a three-piece electronica group with classic roots. With clear inspiration from New Order, the band dealt a constant vibe for their entire set. The drummer played almost entirely 16th notes for the whole show, an incredibly bold move for a live band. That kind of rhythmic consistency is generally limited to raves and prog shows. In this case, it held a strong backbeat and pace for a crowd of mostly 50-somethings to bop along to. Layering on synth pads, arpeggios and effects, the band built a danceable sound with a bright palette. About 10 minutes into the set, the singer began to add a layer of ambient vocals, adding to an already solid sound.

With every song gradually evolving into the next, it was a surprise when their set ended, as it felt like one fantastic long dance hit drawing me further and further in.

Once the main act began, there was almost no stopping him. What was once a duo, is now one man (Scott Kirkland), and The Crystal Method lives on through him. Taking us back to the 90s, to the height of the Big Beat movement, the show was a non-stop rave-ride through the soundscape that defined the genre and the era. The sound featured sampled guitars, huge drums, massive basslines and all contrasted fantastically with insane visuals. These featured spacey sci-fi worlds, cityscapes and even concert footage from stadium shows of yesteryear. It felt like a journey to another time, and I was invited along for the ride.

Half-way through the set, Kirkland took to the microphone to pay tribute to fellow big beat icon, Keith Flint, of The Prodigy fame, who unfortunately passed away in early 2019. He played their mega hit Firestarter, which then blew the lid off an already insane crowd.

Finishing off the show with the hits of Busy Child, Name of the Game and more was the obvious choice, but still sunk in deep with the audience of diehard fans. The real skill was in creating an almost two-hour set of constant big beat bangers, remixes and classics to bring the house down on a night of nostalgia, rave and pure ecstasy.

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Gig ReviewsReviews
December 14, 2022
Cassandra Hale

[Review] The Killers @ Rod Laver Arena, Melbourne 13/12/2022

It wasn’t quite the summers night we were expecting but the fans turned out in force united by their love of music. The wait had been long, four very long years in fact, but the time had arrived, and The Killers were playing in Melbourne for the first of two capacity shows at Rod Laver Arena on their Imploding The Mirage tour. Hot off the back of their open-air show at Mt Duneed Estate Geelong which wrapped up to rave reviews, I was keen to see what all the fuss was about. Plenty had turned out early to nab a prime position, myself included, and I was thankful I did, as the crowd started packing in swiftly behind me.

Opening the coveted support slot was Alex Cameron who was looking the goods in his three-piece suit and definitely gave off the Brian Ferry vibes. Strutting through a 45 minute set he kept the fans entertained with lots of cheeky banter, endlessly reminding us of this sax player and business partner Roy Molloy and his backing vocalist/keyboard player Jess Parsons. He was shown plenty of appreciation from the ever-expanding crowd as he belted out songs such as Miami Memory and Sarah Jo. A terrific addition that had RLA singing along was a cheeky cover of Island’s In The Stream which was very well received. Having co-wrote quite a few tracks with The Killers he was quite comfortable on stage and had plenty of fans up front singing along to his songs.

Feeling well warmed up it was time to move on to the main event, the one we were all waiting for, Las Vegas rockers The Killers! The anticipation was building and the energy quite frenetic as the lights dropped to squeals of delight and the band filled the stage. Bursting out bringing the stage to life was vocalist Brandon Flowers was straight to it with My Own Soul’s Warning followed closely by Interlude. The stage was awash with lights, projections on the giant screens and confetti cannons turning Rod Laver into quite the spectacle as we were coated in the colourful offerings as they descended in slow motion. When You Were Young got the floor bouncing and showed just how tight The Killers are as a live band, Brandon making use of every corner of the stage as he delivered the mega hit with gusto. There was no time for chat between songs, packing in as much as they could in their allotted time, Jenny Was A Friend of Mine, Smile Like You Mean It and Shot At The Night flying out in rapid fire.

Human was coupled with intriguing videos on the big screen, covered with tiny boxes filled with dancing figures it was quite captivating.  Spaceman really hit the mark with Brandon easily making the transition from keyboard to launching off risers in a heartbeat. Engaging with the crowd on every level, and ripping out that stunning smile on autopilot, Somebody Told Me turned up the heat with red lights, smoke machines and lasers cutting a wicked picture across the stage, the energy was palpable in the arena as the floor moved as one collective group. Runaways gave us all a chance to catch our breath before we all welcomed a sing-a-long of “we can’t wait ‘til tomorrow” on repeat as Brandon told us to “think about it” it felt like a special moment and one I was glad to be a part of.

Another huge hit was Caution off the 2020 Imploding The Mirage album, this came complete with the whole rear of the stage igniting in sparklers projected out via baby smoke cannons, this was not just a feast for your eyes it was a whole banquet and we could not get a seat at the table quick enough.  All These Things That I’ve Done had all our voices primed and ready for ‘I’ve got soul, but I’m not a soldier’ which echoed back across Rod Laver as the masses didn’t miss an opportunity to be involved in this amazing spectacle as green and gold confetti exploded over us. With a speedy exit from the stage, it was time to start the chants and clapping to draw them back out, and it didn’t take long as they returned with The Man. With the arena on their feet, it was a glorious encore as the confetti cannons shot out million-dollar bills with Brandon’s picture showing he really is ‘The Man’ and of course I pocketed a few for prosperity’s sake. Bling (Confession of a King) from Sam’s Town was next up then the one we had all been waiting for Mr Brightside. Starting with a slower remix of the song I was left wanting but not for long as they jumped into the OG radio version and boy oh boy did Rod Laver erupt. Hands in the air, punters bouncing in unison, it was the perfect end to a spectacular live show and I now see why The Killers are one of the worlds biggest bands.

If you are yet to catch The Killers DO NOT miss this opportunity there are just a few shows left on the tour, so get out and see some live music and I guarantee the memory will make you Smile Like You Mean It for years to come!

Wed 14 Dec, 2022 Rod Laver Arena, Melbourne – Lic. All Ages

Sat 17 Dec, 2022 Hope Estate, Hunter Valley – Lic. All Ages

Mon 19 Dec, 2022 Qudos Bank Arena, Sydney – Lic. All Ages

and newly announced intimate show

Mon 19 Dec, 2022 Liberty Hall, Sydney – 18+

Tickets available: https://www.frontiertouring.com/thekillers 

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