MOVIE REVIEW

A killer of a hit.  

Guns, a kickass lineup of actors and a whole lot of ridiculous fight scenes - what more could you want from a film like Gunpowder Milkshake? When assassin Scarlet (Lena Headey) abandons her daughter Sam (Karen Gillan), little does she know that her daughter will follow in her footsteps. Years later, while working for The Firm, Sam finds herself caught in between a rock and hard place; after a hit goes wrong and she rescues an 8 year old, starting a massive gang war. Written and directed by Navot Papushado (Big Bad Wolves, 2013), Gunpowder Milkshake is a hell of ride to the very end. 

Fleshing out the supporting cast is the fabulous Angela Bassett, Michelle Yeoh and Carla Gugino as the Librarians; Scarlet’s sisterhood of fellow assassins. Acting throughout the film almost as Sam’s twisted fairy godmothers, the Librarians’ ‘book collection’ is one of the film’s most entertaining features. Up-and-comer Chloe Coleman plays Emily, the wise-cracking kid that makes Sam question her purpose. Rounding out the cast is Paul Giamatti as Nathan, the head of The Firm, and Ralph Ineson as creepy mob boss Jim, who is dead-set on his revenge against Sam.

Visually, the film is stunning - a cacophony of neon and light run throughout, with a colour palette that is to die for. Like a comic book come to life, every colour is loud, and each character's look is iconic (no doubt we'll be seeing Sam's bowling jacket at upcoming comic cons). The library was a standout for set design, with its hidden secrets and themed rooms - especially when we see Angela Bassett and Michelle Yeoh colour co-coordinating with their backdrops - a big chef's kiss moment this was. 

By the end of the film, it’s easy to see where Papushado may have just drawn his inspiration from. Gunpowder Milkshake is almost a female-led John Wick, or a gun-laden Kill Bill, with its gratuitous ultraviolence, snarky one-liners, and jaw dropping fight scenes. Complete with the film’s Baby Driver-esque scoring and car chase scenes, not at any point does it feel like you aren’t getting same thing over and over again. One of our personal favourite scenes had to be when Sam has just lost control of her arms, and has a trio of assassins coming for her head. We won't spoil it for you, but it does seem that duct tape fixes everything!

Despite its absurdity and excessive moments at times, this was easily one of the most fun films we’ve seen in a long time! Just when we thought that a scene couldn't get any crazier, it went that extra mile every time. Gunpowder Milkshake is in cinemas now, so check it out while you can!

Opening up the 25th Japanese Film Festival was biopic Hokusai; a film depicting the eventful life of one of Japan's most renowned artists. Directed by Hajime Hashimoto (Another Battle/Conspiracy), Hokusai explores the painter's inspirations, struggles and battles against society's norms.

Set in the Edo period, when many artists' work was considered 'corrupt' by the shogunate, Katsushika Hokusai is a struggling artist who is just trying to survive. Playing the artist is Yūya Yagira (Nobody Knows), who perfectly portrays the immaturity and frustration that the artist faces. It isn't until he is discovered by the famous publisher Tsutaya Jūzaburō (played by Hiroshi Abe, Still Walking), that Hokusai is pushed to realise his potential and finds his own original art style. 

Throughout the film is the underlying fear and anger against the shogunate, and the oppression they had over artists and their work. Hashimoto opens the film with a raid on the publisher's office - in which the audience is thrown into the fray and pushed to the edges of their seats. It's a struggle that continues throughout, even when Hokusai is well into his later years (then played by Min Tanaka), and mentoring young artists and authors; all while they work in secrecy as tensions rise.

Of course a film about Hokusai wouldn't be complete without exploring his inspiration for his most recognisable piece, The Great Wave off Kanagawa. The film explores what defined the ukiyo-e artist throughout his career, through Hashimoto's thorough research of his turbulent life. Being both informative and entertaining, Hokusai was a love letter to the artist and his work, which defined Japanese art throughout the ages. Hokusai screened as part of this year's Japanese Film Festival, which is running until 5 December. Check out the program and book your tickets here.

https://japanesefilmfestival.net/films-schedule/

Lee Isaac Chung's touching Minari opened up the 12th Korean Film Festival in Australia; a semi-autobiographical retelling of the director's upbringing. Set in the 1980s, the Golden Globe winning Minari revolves around an immigrant Korean family trying to chase the American Dream, all while trying not to lose sight of themselves. 

Steven Yeun (The Walking Dead) and Han Ye-ri (Worst Woman) star as Jacob and Monica Yi, alongside their children Anne and David, played brilliantly by Noel Kate Cho and Alan Kim. Yeun's portrayal as the stoic Jacob is heart-wrenching, as we see him struggle to make ends meet while also trying to be a good father and husband, while Han Ye-ri's pain is visibly seen as she tries to adapt to the Yi's new life in the Ozarks. Youn Yuh-jung rounds out the cast as Monica's mother Soon-ja, whose unconventional grandmotherly behaviour is questionable at best. It is easily Soon-ja and David's interactions throughout the film that are a standout perfomance - with the film showing their heartwarming relationship developing over time.

The film itself is incredibly shot, with the beautiful, sweeping golden fields of the Arkansas farmland further emphasising how vast the land is, and how isolated and alone the Yi's feel at times. It isn't until catastrophe strikes (and strikes again), that the family learns the true importance of home, and what that means for some people. The Korean Film Festival is running until 16 December at ACMI - so make sure you check out their website for session and ticket info.

https://koffia.com.au/2021/" rel="noopener" target="_blank">The Korean Film Festival 2021

MELBOURNE

10 to 16 December 2021

ACMI

Federation Square, Flinders St, Melbourne VIC

Marry Me is the rom-com that we’ve been most excited for lately. With Jennifer Lopez and Owen Wilson starring at the romantic leads, we knew from the get go that we’d be in for a whirlwind adventure, filled with plenty of touching and hilarious moments. Supported by an equally talented cast, including Colombian crooner Maluma, GOT’s John Bradley-West, and the hysterical Sarah Silverman, Marry Me shapes up to be more than just your standard chick flick.   

Directed by Kat Coiro (Dead To Me, Girls5eva) and based on the graphic novel by Bobby Crosby, the film kicks off with power couple and musical sensations Kat Valdez (Lopez) and Bastian (Maluma), who are holding the wedding event of the century. After learning that her ’soul-mate’ has been having an affair with her assistant, the pop star chooses to throw caution to the wind and marries a stranger in the crowd. This so happens to be Charlie Gilbert (Wilson), who by absolute chance is holding a ‘Marry Me’ sign up at her concert.   

Marry Me takes you on a journey into the lives of a pop-star celebrity getting to know the average guy who’s living an average life. Charlie is seemingly the yin to Kat’s yang; he’s a divorced, single-dad working as a teacher and running a math club. The film’s social commentary on the differences and double standards between male and female celebrities and the surmounting pressures that come with being in the spotlight ring true to reality, as the fallout of Kat’s meltdown is shown through the eyes of different media icons.   

The original soundtrack, created for the film by Jennifer Lopez and Maluma, is easily one of the film’s strongest aspects, and is incredibly well written. While they consider it to be more of a ‘Kat and Bastian’ album rather than from the artists themselves, there are tracks that will stay with you for days. Our personal favourites included Marry Me, Love of My Life, After Love, and On My Way. If you are like us, you will have the soundtrack blasting through the speakers on the car ride home, and at least a few days thereafter.   

Marry Me goes beyond your standard rom-com and brings so much more to the audience than one could have hoped. This film is something truly special and was a refreshing take on the genre. Either way, it’s JLo and Owen Wilson - what more could you want in a film? Marry Me is screening now - so grab your tickets, grab your popcorn, and sit tight for a warm fuzzy, feel good film. 

As international borders have opened, and live music has well and truly started up again, Melbourne had a big welcome for our neighbours across the pond, BENEE and Muroki. Playing at our city's newest venue, Reunion Park, punters from all over the state descended on the Burnley location to catch the talented young kiwis live.

Opening up the night was Kenyan-New Zealander Muroki, whose blend of R&B and reggae earned him the first record deal on BENEE's own imprint label. Starting off with single Introducing and the catchy Surfin, Muroki got the crowd up and moving, before leading into something a little more mellow with Open Up. Written about a long-distance relationship, the single showed off Muroki's personal lyrics and powerful storytelling. A cover of Sam Sparro's Black and Gold was up next, which had the audience bouncing along in a singalong, and screaming along to each word. With the crowd well and truly warmed up at this point, Simple Pleasures and hit single Wavy kept the party going well until closing track Find Me. As Muroki's latest single, the artist's take on a dance track is incredibly catchy, and has us excited for his future work.

Given the last time we saw BENEE live was at Laneway Festival 2020, a lot has changed for the muso in the last two years. Her debut album Hey u x from late 2020 saw a slew of singles dominating the airwaves, and had the artist at the top of everyone's 'Ones to Watch' lists. Hot off the release of her latest album Lychee, BENEE now has a catalogue of hits after hits, and an insane stage presence kicked into overdrive. The opening minute or so of Make You Sick started off the packed set, and quickly got everyone's attention, before debut single Tough Guy had us all in a sway. Happen to Me, Find an Island and Soaked went absolutely off with the crowd, with BENEE telling us all between songs how excited she was to be in Australia - excitement that was mirrored back by the audience. Chilled out track Doesn't Matter changes up the mood for a few minutes, before the bass-heavyWinter sees Mallrat run out on stage for her lines. It's not a completely unpredictable occurrence, but still has the crowd collectively losing their minds over the moment.

Between songs, BENEE is a ball of energy; running from each side of the stage, letting her inner thoughts out and being candid with the audience. Her excitement and enthusiasm is refreshing and has everyone laughing throughout, especially when she tells us the story behind Marry Myself, before rolling into the song. Newer single Soft Side had the singer bring Muroki and crew onto stage, as well as few lucky members of the audience, where a dance party ensued. Dream pop hit Beach Boy and infectious hits Snail and Glitter kept the good times rolling, which made the build up to Never Ending all that more incredible, as the musos on stage rocked out at its climax. Before we knew it, the set was wrapping up with massive bangers Supalonely and Sheesh, which saw the artist and audience sad to see the show end. It's plain to see that it's only up from here for BENEE - and we're excited to see exactly where that is.

On the holiest of days, our team ventured to Hamer Hall for the annual Easter show: RocKwiz's Really Really Good Friday. 

Presented by Arts Centre Melbourne and Australian Music Vault in association with Renegade, we packed into the sold out one-off performance to see hosts Julia Zemiro and Brian Nankervis, as well as range of extra special musical and comedy guests take part in our favourite musical quiz show live. 

As the audience took their seats, the show promptly commenced and immediately launched into what can only be described as a high energy dance-off onstage to AC/DC's track High Voltage. Followed by a sing-a-long of the 'Hamer Hall anthem' lead by Nankervis, it was soon time to meet the 12 contestants hoping to be picked for the official showcase. With two rounds of questions, and the best four contestants being invited to continue, it was a battle of musical knowledge and talent as contestants did everything from impersonating Mick Jagger to Start Me Up, or singing and dancing to Twist and Shout - Bueller style. Both entertaining and hilarious, once the contestants were selected, it was time to begin - but first, a seven piece mariachi band walked down the aisles of Hamer Hall performing Friday On My Mind by The Easybeats. 

Brian Nankervis was joined by his co-host Julia Zemiro, who entered in style - sporting a moon boot and driving a scooter. Backed by the talented four piece RocKwiz Orchestra, we were ready to introduce our first two contestants, Hannah and Doonks. In the first half of the show we were privileged to enjoy musician and actress Grace Cummings perform her song Heaven, the legendary Brian Cadd play Don't You Know It's Magic, comedian David O'Doherty sing songs about protestants and a story about a mouse, as well as Bob Evans (AKA Kevin Mitchell) sing his new hit single Born Yesterday. 

With Grace, David and Doonks competing against Brian, Bob and Hannah, the 'human scoreboard' himself Dugald McAndrew polled the teams at 80-points apiece at the end of the first showcase. As a special treat, performer Mia Dyson performed her song Gambling, and ended the first half with a duet with RocKwiz Orchestra's very own Clio Renner to sing Don't Give Up by Peter Gabriel before heading to intermission. 

When we returned for the second half, we were now joined by new contestants Angela and Peter. New special guests emerged with comedian sisters Flo and Joan performing a song about being real sisters, and an old English folk song of their creation. Separated into opposing sides, Angela paired up with Bob and Joan, while Peter was accompanied by Mia and Flo. Highlights of the second half included reliving the glory days, with Bob Evans performing The Angels' hit Am I Ever Gonna See Your Face Again with an impromptu crowd sing-a-long, and special guest Kutcha Edwards performing a phenomenal rendition of A Change Is Going To Come by Sam Cooke. Subbing in for Joan, as Grace and Brian also returned, the final questions had the teams fighting it out until the very end. 

As the final scores were announce by Dugald McAndrew at 215 - 205, we were left with two final performances including Brian Cadd and Grace Cummings performing a duet of Cadd's hit Let Go, and a performance from the whole cast and crew of David Bowie's Suffragette City - with full mariachi band, RocKwiz Orchestra and even Flo and Joan on the recorder. The night was everything you could hope for, both for music trivia and in talented performers. For many people, the RocKwiz Really Really Good Friday has become a tradition and one that we hope to observe for many years to come. 

For more events coming up at the Arts Centre, head over to their website here. 

Making their second trip this year to Melbourne, and spoiling us with a Spilt Milk sideshow was Aussie faves The Wombats. The Liverpudlian trio are no strangers to our shores; so it was an absolute treat to see them back on an Australian tour so soon. Playing St Kilda's Palais Theatre yet again, the indie rockers took to the stage for a packed-out show and gave nothing less than their all.

Opening their show as a Melbourne exclusive was Brisbane singer-songwriter Jaguar Jonze, whose alt-rock catalogue was the perfect way to start the night off. After releasing debut album BUNNY MODE earlier this year, Jaguar Jonze kicked her set into gear with raging track Who Died and Made You King?, and Cut  - both from her new release. Dark-pop anthem Murder saw the artist bring out a flute for a solo, much to the audience's delight, while her Like a Version cover of Nirvana's Heart-Shaped Box (that almost didn't make it onto the setlist) drove the crowds absolutely wild. Mammoth tracks Trigger Happy and Swallow (also from her debut album) went off without a hitch before the set came to a close with Jaguar Jonze's classic hit Kill Me With Your Love, which catapulted the musician's career. Running to the merch desk to secure one of her signed vinyl records, it's safe to say that we are already excited to see her again in Melbourne as soon as we can. 

Before long, it was time for the lads to make their triumphant return to the Palais' stage. Playing a whopping 20-track setlist, the Wombats' latest album Fix Yourself, Not the World was the star of the night; with plenty of tracks that have become instant classics. Starting off strong with hit track Moving to New York, as well as the opening song from their new album, Flip Me Upside Down, the crowd was up and dancing from the very get-go - with sparklers setting off celebrating the occasion. 

With almost 20 years under their belt, older single Techno Fan had the audience screaming along to every word, while Ready for the High saw a steady sway throughout the crowds. Super fresh single Is This What It Feels Like to Feel Like This?  off their newest EP of the same name goes off, and has singer Murph exclaiming 'this is more like an evening with the Wombats' - which the crowd agrees with an uproar. Next, it's 'time to bang on about some fruits'; as Pink Lemonade and Everything I Love Is Going to Die set the pace for the next part of the set.

We time travel back to 2006 for the quirky intro from Girls, Boys and Marsupials, before Kill the Director causes the audience to erupt into a mass singalong, which is swiftly followed up by the synth-heavy Jump Into the Fog. This Car Drives All by Itself is a fun, new mature sound for the band, while I Think My Mind Has Made Its Mind Up lends itself to some grungy riffs that are sure to get anyone bopping along. The band exclaims they have 'another song about lemons', as they rip into Lemon to a Knife Fight, which will truly have any old or new Wombats fan singing along to. 

Murph switches things up for a bit with an acoustic version of Lethal Combination, which sees the inside of the Palais lit up by phone lights. Joining Murph back onstage, bassist Tord Knudsen and Dan Haggis get the party started back up; and as the first notes on the synth ring out, we know we're in for a dance as Tokyo (Vampires & Wolves) starts up. The obsessive pop hit If You Ever Leave, I'm Coming With You and massive hit track Greek Tragedy drive the audience absolutely nuts, and the stage once again is filled with sparklers as the set nears the end.

All good things must come to an end, but that's okay when your encore consists of the slow-burning/big payoff Method to the Madness, let-loose party anthem Let's Dance to Joy Division, and what has become one of the Wombats' biggest singles, Turn. The encore leaves us all with smiles on our faces, which turns to wonder as the final song leads into its last chorus, and streamers shoot up into the theatre. It's a moment not to be missed, and a feel good memory that'll stick with us for a while.

Check out their website for all upcoming tour dates.

California-based singer-songwriter Ashlyn Rae Willson, aka Ashe, performed at Max Watts in Melbourne as part of her debut Australia tour, and her last headline show for 2022. 

Opening for Ashe in Melbourne was Australian indie electro-pop singer Phebe Starr who performed a variety of hits from her latest album Heavy Metal Flower Petal. With songs about learning to be more like a flower ‘because flowers are strong’, we danced along to some crowd favourites including Rollercoaster Man, Whiplash, and last track Air. Phebe and her band were electrifying from start to finish - getting the crowd reeled in and leaving them wanting more. Insider word from the band directly is that they will be touring again shortly, and we can’t wait to catch them in Melbourne sometime soon. 

In between the sets, most shows would find you looking at your phone or staring into space just waiting while the stage is set up for the main act. Not at Max Watts on a Wednesday night. The crowd were ready for a big night, and kicked off full-crowd karaoke to The Killers, Taylor Swift, and ABBA to name a few. Despite both old classics and new hits being played, everyone knew the word to every song, and were wrapped up in an audience singalong.

Before long, it was time for Ashe to join her adoring fans to close out her Fun While It Lasted tour dates for the year. The Moral of the Story singer was fresh off her latest album release Rae, and walked onto the stage to Rae’s Theme - which felt fitting for the start of the show. Drawing heavily from both her latest album and 2021 release Ashlyn, it felt like the perfect time to catch Ashe live in concert with a set chock full of hits after hits. 

The packed-out crowd filled every crevice of Max Watts, including the stairwell, all here to see Ashe and her supporting band in all their glory. The beginning of the set included the opening track Another Man’s Jeans complete with an incredible violin and guitar solo, I’m Fine and Me Without You. Ashe addressed the crowd to let them know ‘we’re doing alright tonight - the reality is this is my last headline show of the year, so I’m not asking you, I’m telling you that we are gonna make this the best show of the year’. 

Agreeing to set the bar high on the night’s performance, Ashe moved from out front and centre to behind the piano for Not Mad Anymore, before leading into Serial Monogamist - which had been requested as a set addition prior to the tour. People went wild for our personal favourite Emotional, before launching into Hope You’re Not Happy with a prelude about not wishing the people you used to love the best. Jokes were made about a ‘Marry me’ sign in the crowd, to which Ashe responded ‘tried that - got a lot of songs out of it!’ 

The next part of the set contained raw energy from the indie folk star with Angry Woman, a killer cover of Queen’s Somebody to Love, and Save Myself - a song dedicated to positively redefining a bad situation. After a wild few songs, it was time for everyone to ‘chill out’, as the band performed snippets of tracks Taylor, Love is Letting Go, Always and Love You Need. 

As we approached the last few songs of the evening with San Jose and omw, Ashe couldn’t help but marvel at the last show of the year’s magic. Throughout the set, we continued to hear ‘I want to come back [to Australia]’ - with the band encouraging everyone to bring a friend (or five) next time so they have an excuse to come back as soon as possible. The backing band consisting of Donnie Laudicina on guitar, Tim Spier on drums and Morgan Paros on violin and keys, were among many of the people thanked by Ashe for making the tour happen - and all received claps and cheers from the crowd. 

The band, who do not believe in encores, played out their biggest hits to finish with Till Forever Falls Apart, and Moral of the Story, before finishing on Fun While It Lasted. Receiving some flowers and a card from their loyal fan base, the band closed out by stating ‘I’m so grateful for you all - it’s insane’. From start to finish, Ashe’s contagious good vibes were felt by all, and left us with a warm glow hours after the gig’s end. We look forward to seeing more of the talented singer-songwriter when she’s next back in the country. 

For the first time ever, London band Sorry performed in Melbourne on their first headline tour down under. As fitting a venue as ever, Fitzroy's Night Cat was the perfect backdrop for the indie-rock  five-piece, who pulled in a huge crowd on their Friday night in our city. With their unique blend of post-punk, grunge, and indie rock, the band demonstrated that they are a force to be reckoned with in the ever-evolving London music scene.

Opening the venue that night was local singer-songwriter Chitra, whose soulful vocals got everyone up and moving. Playing a strong set, with singles Go Easy and In My Opinion being huge highlights, Chitra's complex lyrics had something for everyone. With her incredible storytelling ability and Julia Jacklin-esque voice, the young artist's set started the night off strong, and with us excited to see what she comes out with next. 

The Melbourne-based Radio Free Alice were also on supporting duties that night; taking their opener responsibilities seriously as they amped up the crowds. As energetic as ever, the audience jumped along to their feel-good tracks, including catchy singles I Gotta (Fall in Love), Paris is Gone and set closer Look What You've Done. Complete with saxophones, instrument switches and blasting drum beats - Radio Free Alice sure got the night started.l

The atmosphere in the venue was electric even before Sorry took to the stage, with a palpable sense of anticipation hanging in the air. As the first notes of As the Sun Sets rang out, it was clear that Sorry was there to deliver a night to remember. Key to the City and Snakes quickly followed, as the band set the tone for the evening with their signature blend of moody, atmospheric melodies and searing lyrics. Lead singer Asha Lorenz's haunting vocals, filled with a raw and unapologetic intensity, effortlessly carried the crowd through a rollercoaster of emotions. 

The twangy Willow Tree and Screaming in the Rain's intense build-up demonstrated the North Londoners' genreless approach to their art, while their older track Cigarette Packet garnered an eruption of screams from the audience. The band, consisting of bassist Campbell Baum, drummer Lincoln Barrett, and Marco Pini on electronics, provided the perfect foundation for Lorenz and co-vocalist Louis O'Bryen's dueling guitars. Throughout the set, the intricate guitar work weaved an intricate tapestry of sound, sometimes delicate and dreamlike, and at other times crashing with a sheer force that sent the audience into a frenzy. This was evident on tracks Tell Me and Baltimore - both from their latest release Anywhere But Here - which had everyone swaying and jumping about.

Let the Lights On switched up the pace, with its jaunty guitar work and Barrett's galloping drums creating the perfect pace for the crowd to dance along to. The brutally honest Closer and sickly-sweet Perfect heralded the show's ending coming to a close, before Sorry headed offstage just before their encore. The screams of the audience dragged out until the five-piece made their way back onstage for a loaded encore consisting of their huge single Starstruck, and the currently unreleased Jive; which saw the band off with a cacophony of instruments, feedback, and the audience screaming for more. With only two albums under their belt, we're excited to see Sorry perform back in our city in the near future.

Originally meant to perform on Aussie shores back in 2020, before the world shut down and live music screeched to a halt, indie poppers Glass Animals finally made their return to Melbourne. Hot off their Glastonbury performance, and with three albums under their belt, the English four piece toured their latest release Dreamland at John Cain Arena. 

Opening the show was Brisbane’s own Sycco, whose psychedelic pop has won the hearts of punters across the country, after snagging a nomination for Triple J’s Unearthed Artist of the Year back in 2020. Opening with bop Superstar, latest single Jinx follows shortly after, which the audience already knows every word to. Before we know it, Sycco’s set is ending, but not before she ends on a high with the song that started it all - Dribble. 

Rushing to the stage after their retro PC graphics ‘load’ the show, it’s clear to see how excited Glass Animals are to be back. The audience goes absolutely crazy when the set is kicked off with their classic hit Life Itself, which leads into catchy single Tangerine. Vocalist Dave Bayley is in top form, bouncing around the stage with unending energy, as the band launches into Poplar St and The Other Side of Paradise from their second album How to Be a Human Being. 

The dance party keeps going with mammoth hits Your Love (Déjà Vu) and I Don’t Wanna Talk (I Just Wanna Dance), while the nostalgic anthem Youth results in a mass singalong from the audience. All the while, the four piece give us one of the best shows we’ve seen in a long time, with their contagious good vibes, rounded off with fun retro neon lighting and graphics. Hit single Gooey from their debut album brings on a gentle sway from the crowds, before Bayley waves a pineapple around on stage, singing Pork Soda’s catchier than anything chorus, ‘pineapples are in my head’.

With the set drawing to a close, the band are offstage when a computer pop-up appears onscreen reading ‘do you want to install Glass Animals’ encore?’ The audiences screams are deafening when the cursor selects ‘yes’, and the band run back onstage. The hip hop heavy Tokyo Drifting starts off the encore, with its thumping breakdown sending everyone into a frenzy. Before the band play their final song of the night, Bayley gets emotional; telling the audience how the next song has found its home in Australia - leading into the opening notes of their Triple J Hottest 100 winning track Heatwaves. The stadium goes into an absolute frenzy, with all punters singing and jumping along to every word of the hit single. With good vibes all round, it’s good to have them back. 

Kicking off The Special Tour in Australia, the Queen of Self-Love, Lizzo, returns to Melbourne for the first time since 2020 with two packed-out shows at Rod Laver Arena. 

Opening for the night was Zimbabwean-born Australian singer-songwriter and rapper Tkay Maidza. From set opener Grasshopper, to her 2020 hit 24k, to singing about mean boys with So Cold, Tkay's catalogue is filled with a range of hits perfect for the stadium setting to get the crowd amped up. Performing songs from her albums Last Year Was Weird volumes 1-3, Tkay's immense talent continues to thrive with her new songs, including Flume collab Silent Assassin, and upcoming releases from her next album, including Ringaling. Throw in a Pixies cover, a song about letting toxic things go (Cashmere), and closing banger Kim, and it’s clear why it's always a delight to see Tkay live. 

Even before Lizzo makes her entrance, the screams of her adoring fans drown out any other conceivable noise. As the show begins, a clip plays explaining that the show is about celebrating all kinds of love, to live in the moment, love on yourself, and of course, enjoy the show bitch! 

Opening power anthem Cuz I Love You sets the tone of the show - it's high energy, fast-paced and it's all happening. Wasting no time, we're already onto Juice, the production having increased substantially since Lizzo's debut tours. As Lizzo tells the crowd, she did not come alone - in tow with back up singers, a crew of dancers and full band. 

The feel-good experience continues with 2 Be Loved (Am I Ready) and Soulmate, welcoming us to the Australian leg of The Special Tour. Lizzo was running up the walls, telling us 'I am hyper as shit right now', dancing alongside her girls and boys, twerking her way into our hearts. It's easy to see why her latest tour has been headline worthy all around the world. With more hits to follow with Phone / Grrrls, Boys, and Tempo (featuring a pre-recorded Missy Elliott), the crowd were in good spirits dancing and singing to every word by heart. 

During Rumors, the crowd is laughing at all of the text messages on the screen with ‘Lizzo played an alien flute in Area 51’ having us in stitches. The show had numerous standout moments, from the awe-inspiring opening to Jerome, to making everyone in Australia feel the love during Special, to Like A Girl and Birthday Girl / Happy Birthday To You; both party anthems and celebrations of people. The show begins to peak with Everybody's Gay; dedicated to all people in the LGBTQIA+, with Lizzo proudly wearing the flag and shouting ‘Happy Pride Bitch!’ across the stage. The show promised to be a celebration of self love and loving one another - and it delivered. 

Heaven Help Me introduces the band, while Water Me has an intro to breathing exercises and meditation. From costume changes, crowd participation and most importantly Sasha the Flute, we see everything from Coldplay's Yellow, the song Coldplay, and two attempts of Truth Hurts - played a second time for perfection after they rocked so hard the lights stopped working. Taking time in-between songs to address the crowd, there are few artists that care so deeply about their fans. From hugging a baby (Charlotte, Queen of Australia), to taking BeReal’s and polaroids, signing merch to letting a fan touch her toes - nothing was off limits in this genuine crowd exchange. 

Closing out the show with her top-tier hits Good as Hell and encore About Damn Time, Lizzo's tour of Australia has well and truly commenced, with her second stadium show in Melbourne tonight before continuing her dates across Australia. All that Lizzo wants is for you to feel better when you leave her show than when you arrived, and we left feeling good as hell. 

On a quiet Tuesday night, we headed down to West Footscray to spend some time at Wrangler Studios; to see Frank Carter & the Rattlesnakes supported by A Swayze & The Ghosts. 

Not knowing what to expect for our eventful night ahead, we entered the venue with an open mind and eager anticipation, only to find one of the coolest venues imaginable to host a concert. Wrangler Studios has it all; an intimate rehearsal space with friendly and welcoming staff, an off-the-grid vibe, specials on cheese toasties and even a resident dog. The bar was set high for the night and we were ready for the music to begin. 

First up for the night were A Swayze & The Ghosts, an indie-punk rock band from Hobart. Having had a big year in 2019, we were eager to see these guys in action and they did not disappoint. Front man Andrew Swayze had everyone's attention for their entire set and brought an energy amplified by the intimate space and packed-out crowds. Their music, part-King Gizzard, part Parquet Courts had everything you could ask for in the support slot. Performing hits including Connect to Consume, Smooth Sailing and their breakthrough hit Suddenly, we can only see these guys getting bigger, so be prepared to get onboard. 

Before we knew it, the time had come for Frank Carter and the Rattlesnakes to take to the stage. Having managed to catch them at Primavera Sound last year in Barcelona, we knew it was going to be a special night to see the band perform such an intimate gig. The family-friendly show managed to feel extremely punk-rock, the atmosphere laid-back but each patron dedicated and versed in the bands full catalog. We knew it was going to be a magical performance. The band wasted no time launching straight into Tyrant Lizard King, Juggernaut and Vampires -the crowd going wild from the get-go. 

The band found the perfect mix of performing from their albums End of Suffering, Blossom and Modern Ruin whilst interacting throughout the set. We saw everything from a woman-only mosh pit (because they are sick of seeing only angry men get to enjoy themselves), through to a crowd-surfing child join Frank to sit on his shoulders, play the drums and later be crowned a god. The epic 16-song setlist contained everything you could want and more; Love Games, Wild Flowers, Fangs, Angel Wings, Heartbreaker, Acid Veins, Supervillian and Anxiety. 

There was plenty of premium banter and lots of laughs, and you could tell how much the band enjoyed every minute of the show. At times, the performance was emotional, honest and raw. Explaining they consider Melbourne and Australia to feel like a second home, each action felt genuine and you could tell even a small show in West Footscray meant the world to each person in the room, band included. The set finished with a bang, playing a series of hits including Kitty Sucker, Lullaby, Crowbar, Devil Inside Me and final song I Hate You. 

It was great to see the band perform their second night in Melbourne, after a sold-out show at Croxton Bandroom, in such an intimate space. A chance to see them at their best, was not lost on anyone present. Here's to hoping the band comes back to their second home again real soon. 

Mac DeMarco played a sold-out show at Festival Hall with special guests Pond and CHAI. We headed out on a Saturday night to catch the incredible line-up at one of Melbourne's most iconic music venues. 

The first band up for the night was CHAI, an adorable four-member, all-female band from Nagoya, Japan. Fresh off the success of their sophomore album Punk in 2019, and debut album Pink in 2017, the band played a series of their best hits to the enthusiastic and packed out audience. The band, consisting of Mana, Kana, Yuuki and Yuna brought Japanese punk rock to Melbourne, performing their kawaii songs for all to dance to. The band were extremely well received, echos of cries from patrons yelling for more CHAI. The stand out performance included the tracks Fashionista, THIS IS CHAI, N.E.O and Future. When the four-piece finished their set, the band told the audience, 'We love Australia, we want to come back again!'. We would love to see that show organised as soon as humanely possible. 

Next up on the list was Pond, the psychedelic rock group from Western Australia. No strangers to a Melbourne audience, vocalist Nick Allbrook and band wasted no time in rolling out their hits from albums Tasmania, The Weather and Psychedelic Mango. Despite having seen Pond a number of times before, the band remain an enigma, in that each show is unique and entertaining in an exciting new way. From opening song Hand Mouth Dancer with a flute solo, through to the fun dancing and wild energy from their frontman, the band performed a range of new and old hits to the crowds delight. 

The highlights in the set from our view were old song Don't Look At The Sun Or You'll Go Blind, a cover of Madonna's Ray Of Light which does her justice, and Burnt Out Star - bringing back the flute and wandering into the crowd to get the party going. As the band finish up, they deliver on the final tracks including Paint Me Silver, Daisy and The Weather. Pond, as always, proved themselves worthy of their acclaim and we can't wait to see the boys play again soon. 

Before we know it, it is time for the man to take the stage. As the smoke clears, Mac DeMarco and band emerge and the crowd erupts at Festival Hall as the screaming amplifies in every direction. The anticipation is significant, and it's clear to see that Mac has returned to a second home, here in Melbourne. Knowing the expectations are high, the band launches straight into On The Level and Salad Days to set the tone early that it's going to be a big night. As the concert begins, Mac addresses the crowd, exclaiming, 'Let's sing a show!'. 

It does not take long for the festivities to become a sing-a-long; an almost mandatory and frequent occurrence at his shows. From having everyone in the venue sing along to Nobody, through to asking people to shake their asses to The Stars Keep On Calling My Name, Mac has (and demands) total control of the vibe, and ensures that the crowd get on his level to enjoy their Saturday night. Finally Alone, Preoccupied and My Old Man are played, as we see the crowd captivated from every word - with parts of the audience moshing to the tunes and the others hugging it out. The concert runs like clockwork, and Mac decides to change the song order because, 'Who gives a fuck?'. Cue a sing-a-long to the track Here Comes The Cowboy.

Next, we hear Ode To Viceroy and Another One, as we are told to expect a 'big, sexy light show' - the crowd asked to light up their phones or use their lighters as the house lights are dimmed. Some premium banter comes out during the set and Mac decides to define his songs as either quiet or 'kill your parents punk rock'. Oedipus complex is discussed, and that's all you really need to know. One of the highlights of the night comes from unreleased track, I Like Her, which is beautiful and fits perfectly into the set as things wind down for a brief moment. Freaking Out The Neighborhood and Rock and Roll Night Club speed things up and we are back into party mode with Mac and crew. 

Before playing My Kind Of Woman, Mac asks a patron at the back of the venue if he wants the quiet version or full throttle, teasing Ave Maria and having Andy from the band give it his all. With a burp into the microphone, the band play the song flawlessly to an eager crowd. It wouldn't be an Australian show without someone throwing their shoe up on stage; so with a quick shoey and a no nonsense approach, he begins playing an extended version of Choo Choo. With two songs left, we finish strong with Chamber of Reflection and Still Together. When Mac briefly drops the mic, we get to see him do a handstand, stick out his belly and yell into the mic, 'What happened to my body?'. 

We know Mac likes to party, and the encore was extremely on brand. Swapping places with drummer Joe McMurray, who took to vocals for a medley of classic hits - Undone (The Sweater Song), Smells Like Teen Spirit, Heart-Shaped Box, and Thunderstruck - offering the best from Weezer, Nirvana and AC/DC. Mac found himself yelling out for some Cold Chisel. The first encore finished with a reprise of Still Together and the crowd was left satisfied they had seen it all. When Mac returned with Alec Meen on stage for the final encore, cigarette in mouth and tongue in cheek, they performed Watching Him Fade Away before ending the show. 

Seeing Mac DeMarco is always an experience and something everyone should do, as often as possible. There's music, comedy and a whole lot of fun - what more could you want?

Performing in front of a sold-out show at the Palais Theatre, MEL Live flocked to see Kacey Musgraves as the American singer songwriter visited Melbourne for the first time on her Oh, What A World tour. 

Supported by Bahamas, Canadian musician Afie Jurvanen brought his smooth folk rock tunes to the packed out Melbourne audience. With a drummer and backing vocalist in tow, the trio performed a relaxed-setting performance that was a little folk, a little jazz and extremely entertaining. 

Opening the set with So Free, the band won the crowd over with well-fitting Opening Act (The Shooby Dooby Song) as they played through their hits. Jurvanen took the time to speak with members of the audience, encouraging the younger punters for getting out and seeing some live music and commenting on the affordability of St Kilda coffee. 

No stranger to the Palais Theatre, having toured with other groups including Feist, Jurvanen marvelled at the beauty of the acoustics at the Palais, the moment not lost on the incredible performer. Finishing the set with popular songs Lost in the Light and All The Time, we hope to see Bahamas again soon. 

Soon enough, it was time for Spacey Kacey and band to make their grand entrance. From the moment Kacey took to the stage, it was clear to see that the country pop princess had some surprises up her sleeve. Opening with one of our personal favourites Slow Burn, Kacey wasted no time in showing the audience they were here to dance and party the night away. 

The Oh, What a World tour features a Kacey performing her latest album Golden Hour in full, with tracks including Wonder Woman, Butterflies, and Lonely Weekend commanding sing-a-longs from young and old. There was a perfect blend of pop and country music as the set went on and we were treated to Golden Hour, Die Fun, Mother and Oh, What a World. 

What we loved about the set was how professional everything went - as Kacey, a true performer - shone as one of the next big things both in country music and the music world in general. She spoke regularly to the crowd, made jokes, laughed and included her band in everything they did. The lighting was next level and the production both intimate and large at the same time. A key highlight for us was when Kacey asked the crowd if they’ve ever seen a huntsman spider and was truly horrified with the response. 

Catering to crowd requests by performing It Is What It Is, covering a classic Weezer track Island in the Sun and even responding to the week’s earlier controversies by doing a “Shoey” on her own terms, Kacey Musgraves summed it all up when she stated, “Basically, you’re welcome”. 

The set came to a close with Kacey performing her biggest songs to date: Space Cowboy, Follow Your Arrow, Rainbow and High Horse. As they departed the stage, adored by all who attended, we can only hope to see Kacey and band back on our shores soon. 

Supported by our hometown indie folk pop artist Didirri, the night started well at the beautiful Palais Theatre. With a guitar by his side, Didirri brought his charisma and personality to the stage as he laughed and joked and sung with raw emotions in a set that really meant something. 

Didirri himself acknowledged how far he had come over the past 2 busy years from busking on the streets of Melbourne to performing around the world alongside international talents, now including Hozier. What we saw was the excitement of someone doing what they love, as Didirri laughed and joked through his set, performing tracks from his EP and eventual debut album. 

Pivotal moments included a shout out to his mum in the audience, Frida Kahlo (not in the audience) and dedicating songs to his ex girlfriend and to our need to eventually deal with death one way or another. Formaldehyde was a personal favourite, as were Blind You and Jude. 

Before long, it was time for the main act as people settled in for the night ahead. A calm audience who had enjoyed the public holiday of Anzac Day took to their seats again as Hozier a.k.a Andrew Hozier-Byrne and his 7-piece ensemble came out to a series of applause and a feeling of anticipation. 

The Irish singer-songwriter opened with Would That I, before leading into Dinner & Diatribes and Nina Cried Power, all from his latest album Wasteland, Baby! Having successfully warmed up the crowd, Hozier encouraged people to stand up (if they wanted to) and get the party going. This was the perfect time to play some old favourites, rolling out Someone New and Angel of Small Death and the Codeine Scene. 

What proceeded was a series of songs from both his debut album Hozier and his latest, with key moments with To Be Alone, Almost (Sweet Music), Jackie and Wilson and Movement. It wouldn’t be a Hozier concert were it not for a sing-a-long with the audience of Take Me To Church, an almost religious experience in its own right to round out the set. The artist and the band, humbled in their success, spend time introducing one another to the crowd and praising all of the work behind the scenes that goes into putting on a tour. 

As the night came to a close, the encore consisting of Cherry Wine, delivered by Hozier and a stripped back stage presence was beautiful. They welcomed back the band to perform their final song of the evening, Work Song. The night was an incredible experience and we wish everyone attending tomorrow night a great time. 

It isn’t often that Tuesdays are interesting. However, Christine and the Queens have now set a new standard for early-weeknight gigs. The MEL Live team headed down to the Forum Theatre in anticipation to see the French sensation, and her latest album Chris. With expectations high, the night left us amazed at the raw talent of Héloïse Letissier and her back catalogue from her two successful albums. 

Opening the set was a gaggle of backup dancers, huddled around in packs. The audience is confused at first as to why there is a mass of people whispering loudly on stage. That confusion is swept aside as Chris herself practically levitates onto the stage, launching into Comme si and following up with Girlfriend, much to the delight of screaming fans.

On stage, Christine and the Queens translates loud and clear - this is a show for everyone. Chris and band switch seamlessly from ballad to 80’s synth-pop tracks, giving everyone what they came for. The audience is treated to Paradis Perdus, a mash-up of fellow French artist Christophe’s track of the same name, and Kanye West’s Heartless. With a single spotlight shining down on her, the song is easily one of our highlights.

Belting out hit after hit, tracks such as 5 dols, Saint Claude and Doesn’t Matter go off without a hitch, and the Forum is transformed into a dance party. In between songs, Letissier is cool, calm and collected, not to mention hilarious. Her words resound with the audience, encouraging everyone to embrace the weird, and to be happy in their own skin. There is an overall feeling of love throughout the theatre - one that continues throughout the entire set.

We can’t say we’ve seen many acts with such a powerful stage presence, but now strongly believe that everyone should have the self confidence and entourage of talented performers that appeared on stage. While most of Chris’ tracks are in fact in French, and not everyone in the audience knows the language, there are no language barriers at this concert. What isn’t conveyed by the back up dancers is filled in by the emotions from Chris and her storytelling; the stage her paper, and the dancers her words.  

In all the years we’ve been attending shows, this one in particular felt important. The crowd, diverse and immersed, were in a constant frenzy of emotions - ready to party and ready to be loved. Christine and the Queens created a safe space for music lovers to unite, embrace and to be themselves. The night, a celebration to let your freak flag fly and to stand out. 

The show’s overall message, if you take anything away, is the importance of being unapologetically who you are meant to be. This is a show we will never forget. 

We look forward to their imminent return. 

Performing two packed shows at the Forum, American singer-songwriter Nessa Barrett sold out two nights across a busy weekend in December. We attended her all-ages show on Sunday night and enjoyed every minute of her last show in Melbourne during her first tour in our country. 

Opening act Oliver Cronin came down from Byron Bay to dance and party with the enthusiastic audience. From opening track Great Minds Think Alike, his nostalgic Memories and future-facing Hope You're Doing Well drew cheers from the audience in a set worthy of a headline show. Alongside his band, Cronin performed everything from his hit The Way You Like It, that some fans knew from his TikTok Lives, to handing out disposable cameras during 10,000 Hours. The set resonated with the crowd, and concluding on Boys Don't Cry among some other hits, he left an unforgettable mark demonstrating why he's a new addition to our ones to watch. 

Nessa Barrett's first visit to Melbourne was a spectacular; the night kicking off with a grand entrance, as Barrett emerged to the opening beats of scare myself, accompanied by clips of Betty Boop dancing in hell. The audience's energy surged during american jesus, as she embraced the local spirit, picking up an Australian flag from the crowd and playfully altering the lyrics to 'Australian Jesus' at the end. As the mood shifted to a sultry, Lana Del Rey-esque ambiance for tired of california and heartbreak in the hamptons, Barrett addressed the crowd speaking candidly about it being her last show in Australia. Tales of selling out the show, how much fun she's had on tour in Australia and her eagerness to return only further excited an already excitable audience as she performed madhouse alongside a bunch of clown and circus imagery. 

The next part of the show was a change in the mood with Barrett asking the audience, 'Who is ready to cry?', which set the tone for a heartfelt rendition of club heaven; dedicated to losing a loved one and the healing processes involved. We're told there is one thing guaranteed for the show - tears will be shed. In the next song lie, we take a brief pause as Barrett stops to help an audience member, before launching into the front row during lovebomb to spend some time with her fans up the front. Barrett then sat down with her guitarist Dan for an intimate performance of motel whore, before performing sincerely and lucky star - a lesser-known gem that captivated the audience and left a mark. 

Her performance included a haunting cover of Gnarls Barkley's Crazy, before the biggest cheers of the night during die first - where we all got a little emotional. Performing plane to paris on a stool, an intimate approach to the song hanging off of every word, the energy surged again during dying on the inside - a fan favourite that had the entire venue singing along. As the night progressed, gaslight ended with her yelling 'slay' to the crowd before performing our favourite moment of the night during the one that should've got away - which was just incredible. In a lighthearted moment, when asked to partake in the Australian tradition of a shoey, Barrett humorously declined, quipping, 'Not today, not ever - it's disgusting', much to the amusement of her fans.

The set concluded with an unforgettable finale featuring girl in new york; a recent release that has already seen remarkable recognition from fans. The night came to a resounding close with i hope ur miserable until ur dead and BANG BANG!, during which Barrett ran around the stage, declaring she had saved the best for last. Barrett's first Australian tour was completed, and we can only hope that Barrett stays true to her word and returns to Australia to see us all again real soon. We will be there. 

US singer, songwriter and creative 070 Shake travelled across the globe to meet her adoring fans, who packed out Northcote Theatre in celebration of her first tour of Australia and New Zealand. 

Support duties were managed by Lithe; a Melbourne-based singer, songwriter and producer whose music and overall vibe were a logical choice to open the night’s festivities. With not one but two hype men on the decks, Lithe drew in the early crowds and won them over with his smooth, entrancing R&B beats. Getting the crowd pumped for what was to come, we loved everything from newly release song All For What? to his popular Lots of Love, and his most popular track Hold Out. From catching Lithe for the first time, it's clear to see that he is going places and we look forward for what's to come. 

070 Shake AKA Danielle Balbuena, is the rising star in the hip-hop and alternative R&B scene. With a genre-bending style and collaborations with some of the biggest names in music (Beyonce, Nas, Fred again..., Pusha T, and Kid Cudi to name a few), it was so special to have the chance to see the talented performer play songs from her debut album Modus Vivendi, latest album You Can't Kill Me and a series of collaborations and unreleased tracks. The crowd were throwing themselves at the performer, as she sang, rapped, danced and partied the night away, bringing everyone together through her music. 

From receiving flowers from a crowd member after opening with a cover song of Ye's Violent Crimes, to opening with some of our all-time favourites with History, Skin and Bones and Glitter, you could not ask for a better start to a performance that only continued to peak. Danielle told the crowd, 'I want to have a beautiful night with you guys tonight, if nothing else exists there's just us right now' as she led into Vibrations and The Pines. 

While some performers sound identical to their recorded tracks, 070 Shake's raw energy and party vibes further added to the releases we know and love; extending songs out and changing intros to further add to the live experience. The party went to the next level during Nice to Have and Fred again...'s Danielle outro looping again and again. Taking the time to tell everyone it's the furthest she's ever been from home, 070 Shake expressed her immense gratitude and thanks to the crowd for understanding her music and for understanding her. 

The remainder of the set perfectly blended everyone's favourite tracks, some of the best music from her latest album, and a few hidden gems and unreleased songs from an upcoming album to appease everyone's requests. From Under The Moon, Medicine and Blue Velvet, things calmed down a little before racing back up for Cocoon, and of course, Honey - where the crowd were asked to open up the pit and have some fun. Taking the time to make quality connections with the audience; 070 Shake signed t-shirts and vinyl for fans, and encouraged the crowd to jump up on people's shoulders. It was clear it was important for the artist to let the audience know they had been seen - with a genuine connection. 

The set closed out with unreleased song Elephant going off, a slow and eerie intro to Guilty Conscience that will stay with us for days, Flight319 as a chance to live in the moment and appreciate the preciousness of life, and finishing off with another Ye cover - Ghost Town. As the night came to an end, Danielle tells the crowd, 'I'll remember this moment forever, I promise' - and we want to let her know, the feeling is mutual. 

Florence + the Machine bring love, dance and positive vibes to Melbourne.

Florence + the Machine graced us with their presence, delighting thousands of fans on a Friday night to perform at the Sidney Myer Music Bowl. Touring their fourth album, High as Hope, the band’s first performance since 2015 had them welcomed back to Melbourne with open arms. 

The night commenced with support from New Zealand artist Marlon Williams and his four-piece band, The Yarra Benders. Warming up the crowd for Florence, Marlon wasted no time in opening with his track What’s Chasing You, his buttery voice and folksy guitar wowing the crowd and getting them ready for the night ahead. Oozing charm and cool, Williams continued to deliver, performing Party Boy and Vampire Again to a receptive audience. Williams’ unique sound was genre bending, wavering between indie rock, blues and folk, and was the perfect choice to open the night. 

After intermission, it was finally time for Florence + the Machine to join the party; anticipation building as the crowd waited, marvelling at the beautiful and natural stage design as the band took their places. A lone figure emerges from the shadows and takes her place, swaying in a trance, and barefoot in a peach dress. Florence opens the performance with June, and the crowd settles in for a big night ahead - already hooked on every word. Following it up with her latest single Hunger, Florence begins to dance across the stage, floating on air as she belts out the powerful chorus. 

Addressing the audience, Florence ever so kindly explains to her fans that a Florence concert is “active” and audience participation is a big part of the night, encouraging people to get up out of their seats and to sign and dance along. 

It’s the perfect moment to launch into her expansive back catalogue; performing crowd favourites Between Two Lungs and Only For a Night. Looking around the venue, it’s clear to see that everyone is mesmerised by the flurry onstage - Florence racing around, belting out her lyrics without fault. Her wild energy is unleashed as people cheer, when she leads into Queen of Peace; her raw and wild energy having her dance from end to end, twirling, singing, jumping around. 

Mid-way through the set, Florence takes the opportunity to speak to the audience about her love for Australia, and her appreciation to her fans. 

Reminding us of her humble beginnings, she thanks Australian for being one of the very first places to offer them a headline slot - performing at Laneway Festival back in 2010. 

Throughout the night’s festivities, Florence continues to speak to the crowd with a purpose, highlighting what’s important to her, telling us about her music’s meaning and about the current state of the world. South London Forever tells us about the special meaning around the place you grow up - the memories, the moments and how it shapes you as a person. Patricia was a chance to speak about toxic masculinity, and how we should be supporting all people - highlighting everyone in attendance had shown their true colours by supporting women, and supporting Florence + the Machine. Dog Days Are Over was a chance for something different; with Florence requesting for everyone to nicely pass on the message to get off their phone, or alternatively, to yell “get off [your] f**king phone!” at each other.

Delivering hit after hit, the set was concluded with fan favourite Cosmic Love, Delilah and finally, What Kind of Man. Florence took the opportunity to jump off stage, rushing up and down the aisles of the Bowl to sing, dance, and party with each of her fans. Making their grand re-entrance shortly after leaving the stage, the encore was a chance for her to spend time with different sections of the crowd while performing Moderation, Big God, and finishing a magical night with Shake It Out. 

As usual, Florence + the Machine performed to a sell out crowd, created something truly wonderful and intimate, finding beauty in being vulnerable and being yourself. The band will continue to spread their joy across Australia, performing at A Day on the Green, Brisbane and in Sydney. 

The world is a different place but some things remain. Music and love. 

The long-awaited return of Crowded House has arrived; with a new lineup including founding members Neil Finn and Nick Seymour, supported by producer and keyboardist Mitchell Froom, guitarist and singer Liam Finn and drummer Elroy Finn. Taking over the Sidney Myer Music Bowl for two incredible shows, our team was fortunate to attend night one in Melbourne of the Dreamers Are Waiting tour - aptly named from their seventh studio album which took home the ARIA for Best Adult Contemporary Album in 2021. 

Opening for Crowded House at this momentous event was one of our favourite Aussie bands, Middle Kids. The Sydney alt-rock trio consisting of Hannah Joy, Tim Fitz and Harry Day, were our team's first show back post-pandemic at the Melbourne Recital Centre, and we couldn't have been happier for them to be sharing the stage with such an iconic and influential band. Their set primarily focused on songs from their ARIA award winning album Today We're The Greatest,and debut album Lost Friends. Playing a set comprising of their greatest hits, highlights for the audience included Never Start, Your Love, Lost in Los Angeles, R U 4 Me?, Questions, Stacking Chairs, Edge of Town and Today We're The Greatest. Middle Kids' set engaged the early arrivers from the get-go, warming up the stage for what was to come. 

Once it was time for Crowded House to kick off, we buckled in for the solid two hour setlist ahead. With the legendary band's long and successful 35 year career, with a barrage of endless hit to choose from, the biggest question on our minds was what hit tracks would be played. For many, the night would be about reliving the best music of their time. For others, it was seeing a band they've grown up with, all thanks to their parents.

Crowded House wasted no time in showing the audience they meant business; opening with keystone tracks Weather With You, Mean To Me, and Fall At Your Feet. The band, fronted by Neil Finn with accompanying vocals from son Liam, spoke about how much they've missed Melbourne, and about how growing up they didn't have a choice but to love our great city. Following on with Don't Stop Now, the band invited Middle Kids back onto the stage to provide backing vocals to Dreamers Are Waiting tracks Playing With Fire and To The Island. 

Before launching into Pineapple Head, Neil responded to a punter shouting out to him; 'I don't know what you said, but it sounded really positive. We have a kind audience.' Performing Show Me The Way, the band then began to dig deeper into the back catalogue with an incredible guitar solo from Liam Finn in When You Come, a quieter acoustic track Private Universe, crowd-favourite Four Seasons in One Day and Sister Madly. Taking a minute between songs, Neil engaged the crowd and announced 'It was worth the wait. Thank you for hanging in with everybody'. 

Next up on the setlist was Love Isn't Hard At All and Silent House - a beautiful song about long goodbyes. It was this moment in the concert which felt like a turning point that kicked things up a notch, with everyone rising to their feet and belting out every word to World Where You Live and Don't Dream It's Over. Closing out the main set, the band performed Whatever You Want and Locked Out, which ended with Liam pulling some incredible aerial guitar stunts, and one of our all-time faves - Distant Sun. 

While punters waited for the band to return, there was a murmur in the audience who were debating what songs might be included for a stacked encore. Returning with the full band, Neil and co launched into Something So Strong - receiving the loudest reaction from the audience in the night. Sneaking in a snippet of Split Enz's I Got You, this was followed by It's Only Natural, which kept the good times rolling. As an audience member held up a sign with a song request, Neil took a moment to deviate from the setlist to give them what they asked, performing Not The Girl You Think You Are. The six song encore concluded with Liam on vocals for Goodnight Everyone, and Neil belting out Elephants and Better Be Home Soon. 

The 25 song set list was all that we could have hoped and dreamed of - a perfect mix of the classic hits and the band's incredible new album. As Crowded House took their bow, a punter managed to jump up onto the stage to join in their celebrations, as Neil exclaimed 'I would've hugged you, but we're in a bubble!' Leaving the stage and the screaming crowd, we commenced our trek back; our conversations drowned out by thousands from the full capacity crowd singing Better Be Home Soon over and over as they proceeded on their journey home. 

All in all, the expectations on the show could not have been higher, and all punters went home knowing that live music is officially back in full swing. 

Crowded House will be performing a second show at the Sidney Myer Music Bowl on Saturday 9 April 2022. All upcoming tour dates can be found here.