Concert Review

California-based hip-hop artist Hobo Johnson and his band the Lovemakers made their return to Melbourne, playing one of the city's prime live music spots, 170 Russell. We were lucky enough to be there, and what we witnessed was pure magic.

Opening the stage that night was local five piece band Big Words; a band who isn't afraid to blur the lines between genres. Led by Will Scullin and Kieren Lee, the band has already garnered a decent following, and it was evident why. Playing fan favourites The Answer and TTYDTM, an electronic-infused hit, Big Words had the audience swaying and bopping along throughout their entire set. With their summery vibes and genre-bending, it only made sense for them to open the stage for Hobo Johnson. 

When it comes time for Hobo Johnson and the Lovemakers to come on stage, the audience is practically chomping at the bit. Taylor Swift’s Love Story starts blasting through the speakers, and Hobo Johnson’s voice sings in unison, which is soon drowned out by the crowd’s screaming. The band launches into the opening notes of Mover Awayer, and the man himself jumps onstage with a never-ending energy.

Hobo Johnson's (aka. Frank Lopes Jr.) unique blend of hip-hop, spoken word and brutal honesty is refreshing; his lyrics carrying a sense of insecurities and rejection that we can all relate to. It's the kind of music that all audience members screaming along to the lyrics have a connection with, and is a welcome departure from the typical themes synonymous with the genre. Leading into Romeo and Juliet and newer track Subaru Crosstrek XV (performed as slam poetry), the crowd is going absolutely crazy, and begins chanting - demanding a shoey. 

To say the 25 year old is confident onstage is an understatement; we'd not had that much of a laugh at a concert in a looong time. Lecturing the audience on the mistreatment of a certain pop star, the band has everyone jumping along to Ode to Justin Bieber, soon after bringing the mood down with Happiness - a track from his latest album The Fall of Hobo Johnson. Running through his impressive catalogue, he breaks into all time favourite Peach Scone - the track that had him go viral. Just when we think it can't get any better, he tells the audience 'I am in complete control right now', and tells us all that we better love the next song coming up. Well, it's a cover of Vanessa Carlton's A Thousand Miles, so of course everyone goes absolutely off. What follows is what Lopes considers his legacy, You & the Cockroach (if you haven't heard this song, please get right on it), and final track I Want a Dog - a newer track that has the crowds swaying.

Coming back onstage for their encore, the band launches in to punk-infused Typical Story - an absolute ripper of a track, and one that we're sure will be in many peoples' Triple J Hottest 100 choices. It's a punchy end to a perfect concert, and the best possible ending track for his set. Given the fact Hobo Johnson has come a long way since living and making music out of his car, it'll only get better from here.

Bringing their Fever Dream tour to Melbourne, Icelandic indie folk-pop band Of Monsters and Men played to a sold-out crowd at the Forum Melbourne. Having caught them previously for headline shows and at festivals, we knew what we were getting ourselves into and were excited with anticipation to sing, dance, cheer and have a fun time. 

Opening the stage for the night was local band Loose Tooth - a three-piece whose sugary guitar work mixed with gritty vocals had the audience bopping along from the get go. With hilarious banter and some talk over tea, Loose Tooth warmed up the crowd and had us all ready for more. Highlights of their set included Keep On, All The Colours Gone and Sherry. 

Before we knew it, the time had come for the main act. Already in a dancing mood and ready for venue-wide sing-a-longs, the atmosphere intensified as Of Monsters and Men took to the stage. The band launched straight into Alligator, the first track and single from latest album Fever Dream. 

The release is a detour from their indie folk roots, and a welcome addition to their live set - a clear distinction between new and old but equally well received. Fan favourites Empire, Mountain Sound and King and Lionheart leave the audience mesmerised - a solid catalogue of old hits to play from their previously successful albums. 

One of the band’s standout qualities obviously lies with vocalists Nanna Hilmarsdóttir and Ragnar Þórhallsson, whose vocals are perfectly contrasted. Flitting between folksy tunes and their pop hits, their vocal versatility was on full display. After taking a trip down memory lane, we are back to the new stuff and eager to hear how the tracks translate in a live setting. Performing Sleepwalker, personal favourite Wild Roses, and Róróró, the band takes the time to explain the stories behind their new releases. The band has perfected their live presence, and we could listen to Nanna and Ragnar all night long. As a special treat for Melbourne audiences, the band decides to play their Triple J Like a Version, freshly debuted that morning on the radio. Their take on Post Malone's Circles leaves us with goosebumps and is something we feel privileged to have witnessed. 

Wars, Crystals and Lakehouse bring us back to original content and the crowd goes wild as Little Talks - the song that started it all - gives everyone something to cheer about. Closing out the set with Six Weeks, the slow-building song only further intensifies the chants and screams for more. As the audience asks for one more song, we find ourselves hoping for two, maybe even three more songs. Wishful thinking - as the band delivers. Returning to the stage for Waiting For The Snow, the most emotive song on the new album, fan-favourite Dirty Paws and Yellow Light from their debut album close the show. As the last notes ring out over the audience, the beautiful track leaves a lasting impression. 

Given the new trajectory Fever Dream has taken Of Monsters and Men, we can only expect to see them going onto bigger and better things and we eagerly await their return to Australia. Whether it's a festival or a headline show, you can expect to see us in the audience having the time of our lives. 

The long-awaited debut Australian performance from mxmtoon took place in Melbourne last night, in front of a sold-out crowd in one of the citiy's best venues - Melbourne Recital Centre. 

Supported by Grentperez, AKA Grant Perez from Sydney, the show started off with a wild blend of hip-hop indie pop, with a nice touch of soul and jazz. Having caught Grentperez last at Groovin The Moo in Bendigo, our team knew how incredible the night would be from the very start, with the band’s first ’seated show’ performance taking place. 

Grentperez breezed through some of his old classics, new songs and even an unreleased track to the fans' adoration. The performance had everything you could ever ask for. Mouth trumpets - check. Megaphone - check. Jump kicks - check. A song about a mandarin? You bet! Alongside band mates Charlie and Jack, Grentperez was the perfect pick to support mxmtoon, with the entire audience out of their seats; arms swaying, phone torches blazing and everyone dancing their hearts out. Our favourite tracks included Absence of You, Clementine, Wishful Thinking and closing track Cherry Wine. The energy brought to every performance is a testament that we'll be seeing a lot more of Grentperez, and we can’t wait to catch them on tour again soon. 

Before long it was time for the American singer-songwriter and bedroom pop artist mxmtoon, AKA Maia, to join us for her headline shows in support of latest album, Rising. Armed with her ukulele and her band, mxmtoon performed a perfect setlist from her albums and EPs - Plum Blossom, The Masquerade, Dawn, Disk and Rising. 

The energy from the crowd was unparalleled, with screaming coming from every corner of the venue at all times. The show was refreshingly and extremely honest, as mxmtoon bared all with her ‘sad and gay’ music expressing all the feelings and emotions one can feel. Onstage, she’s having the time of her life - laughing, cracking jokes and being so real that she even took a BeReal on stage for a fan in the front row. 

It’s hard to express what the highlights were from the performance as we love all songs equally. From starting the set with Falling for U, then dancing along to sad disco, to the realness felt in unspoken words and no faker. 

Our favourite moments in the performance were ok on your own, fever dream, her solo acoustic set (i feel like chet, cliche and feelings are fatal) as well as florida and coming of age. Finishing the performance with Prom Dress and Mona Lisa, there wasn’t a single person who wasn’t dancing and singing along to every word. 

The performance was truly magical and we hope that mxmtoon will return to Melbourne again soon. 

In a spellbinding and intimate evening filled with heart-felt lyrics and enchanting moments, Melbourne welcomed back the sensational Rex Orange County, to Melbourne for two big stadium shows at Margaret Court Arena. 

First up was Grentperez, a multi-genre pop artist from Sydney, whose live shows are always a captivating experience from start to finish. From opening track Confusing Girl  to Why I love You and Silver Lining, Grentperez's performance seamlessly transitioned between happy and sad songs, all about 'love and stuff'. The audience came prepared; dancing and singing along to every word - a unique feat not often seen in every support slot. The band brought a great fun energy to all of their live tracks, including the groovy Clementine, fast-paced Ego, and closing tracks Old With You and of course, Cherry Wine. 

Now it was time for Rex Orange County (AKA Alexander O'Connor) to join the stage, with the evening commencing with an aura  of mystery with a captivating solo performance from O'Connor. Draped in shadows and a single spotlight, he treated the audience to opening track Rex (Intro). As the first song came to an end, the curtains drew back to reveal the full band; the atmosphere transforming as they launched into back-to-back tracks of Television/So Far So Good, 10/10 and AMAZING. Addressing the audience for the first time that evening, Rex tells the Melbourne audience that he's not particular well, but that the last thing he'd ever think to do was to cancel. You wouldn't know it being at the show, with the charismatic lead singer dancing, running across the stage and pouring his heart and soul into each and every song. The one thing that was clear, was that Rex Orange County was very, very happy to be back in Melbourne. 

The opening few songs in the setlist reflected each of his four albums released, and O'Connor took the time to thank the audience for their support, explaining the journey he plans to take them through his entire discography - both the album releases and the standalone singles - performing one of his favourites Sunflower  next. With throwbacks to 2019's Face to Face and some tracks 'for the OG's' with Uno and Edition, the pace picked up for a proper dance party during THE SHADE and 4 Seasons  - which aptly feels like four songs rolled into one. As the curtain closed mid-way through the set, we were eagerly awaiting what was next to come. 

O'Connor walked back out to ask the crowd, asking 'is it okay if I play some songs by myself now?' With lights to the sky for Always, the solo segment of the show was welcomed by the crowd; the arena filled with a sense of vulnerability, connection and intimacy. The private serenade continued for Happiness and Untitled, as the audience were encouraged to spend time with those most loved and the people that made them happy.  The solo component of the show concluded with Corduroy Dreams - the first song he ever wrote, and also a song that's been played at every Rex Orange County show. The captivating stripped-back segment paid off and only further extended the personal connection held between the singer-songwriter and his adoring audience.

As the band return for their triumphant finale, the concert was in full swing with disco-balls as far as the eye could see. Asking the audience to give all of their energy, we gave 11/10 for KEEP IT UP and IF YOU WANT IT.  The vibrant and joyful indie-pop continued with Never Enough and Best Friend as we put our phones away and enjoyed a special (and secret) moment that you can only experience in person. Closing out with Loving Is Easy, and our personal favourite It's Not the Same Anymore, we are told Rex Orange County will come back to Melbourne some time soon - and we cannot wait. 

The encore of Pluto Projector had us reminiscing on all of the sing-alongs, dancing and shared experiences that we've loved throughout the evening. From the euphoric highs to the somber lows, O’Connor's authenticity shines through, making for an evening that those in attendance are unlikely to forget.

Jet ignites the Forum with rock 'n' roll brilliance

Melbourne's music scene showcased its unparalleled vigour last night, as Australian rock legends, Jet, made a roaring comeback. Their evening at the Forum was a pulsating blend of nostalgia, energy, and sheer musical prowess, leaving attendees on an ecstatic high. The band's performance stood as both an ode to their rich musical history and a promising glimpse into their future.

The atmosphere was set alight from the get-go with Neon Goblin and Pacific Avenue opening the stage. Neon Goblin, with their riveting performance, reached a crescendo with a captivating 15-minute track that seemed to encapsulate the very essence of rock legends like Tenacious D. On the other hand, Pacific Avenue lived their dream by sharing the stage with their idols, Jet. Their diverse setlist had us entranced, ranging from Spin Me Like Your Records, to an unexpected rendition of ABBA's Dancing Queen, which were only further supported by their popular closing tracks Leaving For London and Something Good. 

Five years since their last show, Jet reemerged with intent; commemorating the 20th anniversary of their iconic debut album, Get Born. This album, one of Australia's rock masterpieces, was performed in its entirety along with beloved tracks from Shine On and Shaka Rock. The ensemble, featuring Nic Cester, Cameron Muncey, and Mark Wilson, was complemented by Peter Marin on drums as Chris Cester couldn't participate due to family commitments.

Opening with their roaring track Put Your Money Where Your Mouth Is, the crowd was instantly transported back to the early 2000s when the band first burst onto the scene. The energy in the room was palpable, and you could already feel the anticipation for what was to come. Firing on all cylinders, their hits like She’s a Genius and Black Hearts (On Fire) showcased their signature sound that seamlessly blends rock ’n’ roll with undeniable swagger. 

Nic Cester introduced the Get Born segment of the show stating '20 years ago we wrote an album called Get Born that changed our lives forever' before leading into opening track Last Chance. The crowd were deafening during Are You Gonna Be My Girl and Rollover DJ, while Look What You've Done evoked a sense of nostalgia and further sing-along moments that sent the crowd into a frenzy. From Get What You Need, to the surprise appearance of Andre Warhurst for Move On, it really was hit after hit. The crowd response rose even further for Cold Hard Bitch, while we sat back and marvelled at Nic and Cameron's favourite Come Around Again, and our personal favourite with Cameron on lead vocals for Timothy. 

With the show reaching its climax, the encore solidified Jet's lasting allure. A solo acoustic rendition of Shine On and the debut of new song Little Fish (also with a guest appearance from Andre Warhurst) highlighted their enduring charm. Seventeen encapsulated the band's evolution, and tracks like Bring It On Back and Rip It Up concluded the evening with an explosion of energy and rock 'n' roll spirit that left everyone craving for more. Jet proved they are still one of the greatest Australian rock bands providing a night to remember. 

All upcoming tour dates can be found at https://www.jetofficial.com/

On a cold Friday night in Melbourne, we headed down to Max Watts to catch Canadian indie-pop band Valley, along with support act Shannen James, for their Lost in Translation Tour. In a packed-out all ages show, we couldn't wait to see Valley on their first Australia tour and first official shows in Melbourne. 

First up was Melbourne singer-songwriter Shannen James. As one of our favourite up-and-coming acts, we've been obsessed since her 2020 EP Arrows was released, and relish the opportunity to catch her and the band once again. Highlights from the support set included opening song Seventeen, her newest release Headlights, the line dancing traditions during Breakfast With You, and her set closers with throwback to Arrows and the catchiest tune you'll have in your head for days - Superstitious. We can't wait to catch Shannen again soon. 

Before long, the moment had arrived when Valley would take to the stage. Lead vocalist Rob Laska was joined by guitarist Michael Brandolino, bassist Alex Dimauro and drummer Karah James. Celebrating their latest release Lost in Translation, the set featured a heavy amount of new tracks, as well as a mix from Last Birthday, Maybe and EP sucks to see you doing better. Walking onstage with an Australian flag and a toy koala in tow, the band wasted no time launching into the album title track Lost in Translation, as well as crowd favourites Throwback Tears and Cure. The whole night was a feel good sing-a-long with huge cheers for There's Still a Light in the House, sucks to see you doing better and strong crowd participation (with yelp reviews from the band) for Oh Shit... are we in love? 

Jumping up and down to nevermind, the set peaked during our favourites from their latest release with Natural and Break for You. Taking time to address their adoring fans, Rob told the audience it's was the most nerve-wracked they've ever been - and that they were amazed to see so many people heading to their shows. Apologising for taking so long to get to Autstralia, the band continued on with Good, but not together, A Phone Call in Amsterdam, and The Problem Song. Moving into a song about being 'really, really sad', Evenings & Weekends showcased the 'sad boi pop' that Valley do all too well. The next part of the set shifted to party mode for Either Way, I'm Going Your Way, Sports Car and SOCIETY - with an impromptu cover of Smash Mouth's All Star. 

The evening came to a close with Have a Good Summer (Without Me), the band's most popular track to date with Like 1999 and an encore of hiccup. The concert closed out with comments thanking the audience, for being at the show, for connecting with their songs. In a heartfelt moment, Rob told the crowd, 'I figured out this thing with my best friends and it happened to work. Promise you will just try, it will happen and you will be so fine'. As the last night of the tour ends, and jokes are made about already looking for Australian real estate, we hope that Valley head back to our shores soon. 

It was a Thursday night at the Prince Bandroom, and the anticipation for what the night held was electric. Maggie Lindemann was soon to perform her debut show in Melbourne, and first ever show in Australia, and the crowd were ready for anything. 

Opening act Bakers Eddy brought their high-energy punk rock tunes to deliver a stunning support performance. Led by Ciarann Babbington on vocals, the boys opened the set with Concertina and 2019 hit Can't Afford It. Leading into one of our favourite Eddy tracks My Baby's like Cigarettes,  the intensity increased again for Hi-Vis Baby, which resulted in breaking some guitar strings - a typical night for the band, they said. Throwback track T-Shirt proved to be a popular addition to the set, while Leave It To Me had the most crowd participation. The band had a lot of fun on stage, taking the time to thank the crowd and proudly mentioned their 2022 debut album Love Boredom Bicycles (which we can't recommend enough). Finishing their set with ... 21 and Sober, Bakers Eddy proved to be a popular choice and got the crowd ready for the main act ahead. 

Performing as part of her SUCKERPUNCH World Tour, Maggie Lindemann arrived in Australia to perform three special intimate shows; bringing her edgy and rebellious pop melodies to Melbourne for one night only. As her band joined her onstage, they launched into the opening two tracks from her latest album with intro / welcome in and take me nowhere setting the scene, much to the delight of the all ages crowd. It took no time at all before we began to explore her catalogue from debut album Paranoia, asking the crowd to 'go crazy with [her]' for Scissorhands before rolling out some of her latest pop-punk anthems with self sabotage and hear me out. Jumping between her Paranoia hits and performing SUCKERPUNCH in its entirety, Maggie asked the crowd to 'sing this one super loud' for crowd-favourite Knife Under My Pillow. 

The crowd were all that you could ask for as an artist; hanging on to every word and singing every lyric alongside Maggie. As an audience member screams out, 'Slay!', the band continued with break me! and invited a crowd-wide sing-a-long for phases. Bringing alt-rock vibes from the early 2000s, we appreciated how amazing the live band were, particularly during i'm so lonely with you and loner; both tracks showing her vulnerable and emotional side. Taking time to get to know the crowd, Maggie ensured we were all having the time of our lives throughout the set asking, 'Is everybody having fun? Does everyone want to keep having fun?' While cages and girl next door continued to amp us up, slow song we never even dated brought us back to Earth with her impressive vocal range and raw power. 

It's easy to see why Maggie is having her moment and why there is so much critical acclaim circling her latest releases - there is no weak song in the setlist or the album. Every song is someone's favourite, and the all ages crowd showed up and managed to show their love for the artist both during and in-between each song. It was hard to imagine things could get better than this - and yet it did, with novocaine going absolutely wild. From the amazing guitar intro of It's Not Your Fault to the crowd belting out the lyrics for you're not special, everything continued to build to our highlight of the night with casualty of your dreams. 

Maggie closed out the set with her feature track how could you do this to me? asking the audience to sing really loud for the parts usually reserved for Kellin Quinn of Sleeping with Sirens fame. Ending on some of her most upbeat and popular tracks with Crash and Burn and she knows it, the performance was so incredible that no one in the crowd asked for or expected an encore. Maggie gave her all in Melbourne, and we hope that her debut Australia shows are not her last - we hope to see her again real soon. 

After starting their tour of Australia in March 2020, which was tragically cut short due to restrictions, The Darkness returned to complete an eight date run of Australia and New Zealand to celebrate their seventh studio album Motorheart. The British glam-rock four piece from Lowestoft, England started their tour at The Forum in Melbourne, and were in incredible form throughout the night. 

Opening the show were Perth rock and blues group The Southern River Band, consisting of Callum Kramer, Anton Dindar, Jason Caniglia and Carlo Romeo. Self-described as channelling AC/DC, Van Halen and 'anything that doesn't suck', the band made up for lost time putting on a stellar show with highlights being Chasing After Love (I'll Burn a Hole in Your Shoes), Cigarettes (Ain't Helping Me None) and Chimney. The live set (as good as their vinyl - they told us) had everything from dedicating a song to 'anybody who knows who the fuck we are', through to a song about a colleague on meth. During their last song, lead-singer Callum ripped off his shirt to an adoring crowd yelling, 'I don't need this anymore'. If you are keen to catch the band on tour, they have local dates coming up all around the country. Tickets available here. 

Before long, it was time for the main act. Performing to one of the most packed crowds we've seen at the Forum, the band took to the stage and launched straight into the title track of their album, Motorheart,with the high energy they are known for. The band consisting of lead singer Justin Hawkins, brother Dan Hawkins, Frankie Poullain and Rufus Tiger Taylor were a well-oiled machine; amazing songs, funny banter and a good time for all. Their set heavily featured songs off their debut 2003 album Permission to Land, with Black Shuck and Growing on Me next on the list. 

New track It's Love, Jim was well received and One Way Ticket had the crowd losing their minds, while Welcome Tae Glasgae was a great follow up. At one point in the show, Justin Hawkins borrowed a leather jacket from the crowd for Givin' Up exclaiming, 'If you don't have covid or monkeypox, you do now!' Things started to peak when Love Is Only A Feeling was played, with the crowd singing along to every word and chorus. The band asked their guitar tech Softie to come out on guitar for Heart Explodes, before the band performed tracks including Friday Night, Japanese Prisoner of Love, Barbarian, and Solid Gold. 

Our favourite part of the night came during the 19-year old hidden gem Get Your Hands Off My Woman, which consisted of Justin doing a handstand, clapping his feet along for the audience to join in. The gig had its moments of hilarity, from operatic warm ups with the crowd, to redirecting a girl's request for a happy birthday shout out to cameo.com, before launching into a full sing-a-long for Tia the birthday girl. Before kicking off their encore, we were told to put our phones away for I Believe in a Thing Called Love, which could only be described by saying you had to be there to believe it. 

For the encore, Christmas came early with a performance of an unreleased track in Australia - Christmas Time (Don't Let The Bells End) - with the lead singer of The Southern River Band performing on the bells shirtless. The band played their last track Love on the Rocks With No Ice with an extended solo performed on the shoulders of security through the crowd. With the band commenting that it was the first date of their AU/NZ tour and that it had been 'a roaring success', (I've Had) The Time of My Life played over the speakers to conclude the night. Needless to say, we left impressed at the band's range and versatility and their ability to put on the show of a lifetime. 

Remaining tour dates and tickets can be found here. 

It had been four years since The Script last performed on Australian soil. The Irish three piece returned to Melbourne on Saturday for their Greatest Hits tour. Following their Friday night show in Sydney, the Irish rockers filled the Sidney Myer Music Bowl. 

It had been a heavy day of rain, the saturated ground was reminiscent of the recent Splendour in the Grass mud. Two-dollar ponchos and gumboots were the fashion staples of the night, but it wasn’t enough to keep people away. Late arrivals of the crowd surged over the hill as the opening tracks played. Not only a call to their fans, but a call to the Irish with red hair and thick Dublin accents spotted throughout the crowd. Opening strong with a pop of streamers and their hit, Superheroes. Vocalist, Danny O’Donoghue donned a thick grey trench coat to brave the brisk Melbourne air, he quickly took the crowd far back to their first ever release - We Cry. The crowd forced the speakers louder as they sang along. 

Danny joked between tracks ‘There’s something different about Australian hangovers - they don’t last 1 day, they last 5!”. He continued the party vibes as he sang Paint the town Green - a sea of green graphics and confetti guns flew across the bowl with the iconic bagpipes radiating across the lawn. The international success meant high production value, even more impressive when you consider they set up the entire show the same day - confetti cannons, pyrotechnics, massive LED walls and streamers adding to the WOW factor of the show. After the jokes and the highs, it was hard to find a dry eye during The man who can’t be moved - supported by the Melbourne choir. It took the already heart wrenching song to a new level of captivating despair.

After an hour of back-to-back hits, the boys thanked their fans as they walked off stage. The crowd quickly kept the lyrics of For the first time going, calling out “​​Oh, these times are hard, Yeah, they're making us crazy, Don't give up on me, baby”. It was a beautiful moment, the still, night air, crisp from the earlier downpour, lit up with phone lights throughout the chorus. 

Knowing their fans would not forgive them for ending the night too soon, the band stormed back onto stage for their last two tracks - Breakeven and Hall of Fame. I was disappointed not to hear my favourite track If you ever come back, but as the only criticism of the night I think it’s safe to say it was an overall success. An almost 90-minute set which delivered enough to keep The Script fans satisfied, yet somehow itching for more. They have one show left for their Australian tour - Perth, before returning to Ireland.

Ten years have passed since Yeah Yeah Yeahs first touched down on Aussie shores. Treating a choice number of cities to Splendour sideshows, the New York indie rockers made up for lost time, with an incredible show at Margaret Court Arena in Melbourne. Playing to a packed out crowd, Yeah Yeah Yeahs shared a special moment with all - who knew this had been a long time coming. 

Opening for the night was LA three-piece Automatic; consisting of Izzy Glaudini on synths, Halle Saxon on bass, and Lola Dompé on drums - with all sharing vocal duties. The trio's post-punk sound made them the perfect fit for the night's support; with the three cranking out catchy as anything songs, with plenty of experimental sci-fi beep-boops thrown in for good measure. Starting off with Skyscraper and NRG, Automatic set the tone quickly - this would be an opener that would stick around in your head for a while. With a slew of quirky electro-pop influenced tracks in their catalogue, it was the haunting Automaton and upbeat Too Much Money that were standouts in their set - making Automatic one of the more unique bands we've seen in a while.

Rolling onto the stage sans their frontwoman, guitarst Nick Zinner and drummer Brian Chase of the Yeah Yeah Yeahs took a moment to take in the crowd before them, before Karen O made her grand entrance. In a busy, neon-printed jumpsuit, cape and tinselled opera gloves, Karen twirled her way onto the stage in a flurry of fringe. Kicking off the set with Spitting Off the Edge of the World from last year’s album Cool It Down, the band seamlessly transitioned into Cheated Hearts, which saw the audience erupt in screams. After Karen shed her cloak, it was time to kick things up a notch with classics Rich and the chaotic Art Star. Burning, from last year's album Cool It Down, saw the stage awash in cool graphics, as the song soared and reached its climax. 

The Yeah Yeah Yeahs followed up quickly with Zero, pulling all punters in seats onto their feet for a dance; accompanied by giant inflatable eyeballs that were thrown into the crowd. Continuing the dance party was the synth-heavy Wolf, which was a personal standout track - with Karen even restarting the song to make sure the audience got the full YYY experience. Stopping the show so a fan in need of help could be pulled out of the heaving crowd, Karen exercised compassion, telling the fan 'I'm here for you you' until they were able to be helped out by security. It was possibly the longest we've seen an artist stop mid-set for, but respect where respect was due - the band showed that safety came first no matter what.

Picking up from where they left us, Soft Shock and Lovebomb slowed down the pace, before it was picked up for an energetic rendition of Sacrilege. The first few drum beats of Gold Lion ring out, and the audience collectively lose their minds as Yeah Yeah Yeahs put their all into their song; the arena singing along with every 'ooh ooh's. Seamlessly running into the definitive YYY's love song, Karen dedicates Maps to band members parents, friends, and all the lovers in Melbourne. Closing the set could only be Heads Will Roll, which goes off with a bang of a confetti gun, and has the audience screaming for more.

Returning for their encore, Yeah Yeah Yeahs ended on a massive high with older tracks Y Control and Date With the Night; complete with flashback pics of the band, a mass singalong, and Karen O belting her microphone against the stage. How that microphone was still working afterwards is anyone's guess. With our fingers crossed that it doesn't take the Yeah Yeah Yeahs another ten years to come back to Melbourne, the band well and truly made it up to their loyal fans with a performance that will stay with us for a long time.

Photo Credit: Tim Lambert

Opening for Clairo was Erthlings, a Sydney band consisting of four 16 year old high school students. Don’t let their age fool you - their music speaks for itself and highlights talent that is beginning to be recognised. Being signed on after releasing one single, the band has already supported G Flip on a series of shows in late 2018, and was now invited to support Clairo during her Laneway sideshow. Moody, hazy guitar and bass, overlaid on sweeping drum beats. Add lead vocalist Issy’s chirpy and soothing voice, and you’ve got a recipe for success. Playing their main single Bridges and finishing their set on latest single Cuts and Bruises, the set was mesmerising to say the least - one could say almost out of this world. We haven’t seen the last of Erthlings. 

It was now time for Clairo to take to the stage; performing to a sold-out audience, as well as it being her first ever performance to an Australian audience. Booked as a sideshow to her Laneway appearance, the room was electric and the anticipation built as the 20-year old lo-fi, electro-pop artist from Carlisle, Massachusetts took to the stage. Claire Cottrill and band launched straight into the popular tunes from Clairo’s debut EP diary 001 - tracks B.O.M.D and Hello? winning over the crowd instantly and getting the party started. For an artist yet to release an album, the success of Clairo’s EP and live stage performance cannot be understated, with her being booked for shows across the globe and at some of the biggest festivals around. 

Enduring the heat, and the heckling of more than one starstruck lover in the crowd, Clairo danced and sang through all of her latest singles including Get With U, unreleased track Bags, and crowd-favourite Flaming Hot Cheetos. With temperatures soaring in the venue, the punters were kind enough to crowd-surf some snacks (Cheetos to be specific) straight to Claire and the band for nourishment. Finishing the set on Better, the crowd chanted for their return, and of course, were successful in their attempt to woo the band back to their place on stage. Performing Pretty Girl and 4EVER to close the night, Howler punters were left satisfied, and yet still wanting more. 

We look forward to Clairo’s performances across Australia during the Laneway Festival and hope for her return soon to Melbourne. 

It’s been six years since we last saw Aurora grace the stage in Melbourne, and we couldn’t have been more excited for her anticipated return. The Norwegian singer, songwriter, producer and beam of sunshine performed at the Palais Theatre; a dream location for her haunting vocals and atmospheric production. Performing to a sold-out crowd on a Thursday night, her adoring fans piled into the beautiful theatre ready to witness the magic once again. 

Supporting Aurora on The Gods We Can Touch Australia Tour was Melbourne’s own Blusher. The three-piece supergroup consisting of Miranda Ward, Lauren Coutts and Jade Ingvarson-Favretto (AKA Jade Alice) formed in late 2021, and self-describe as ‘angry sparkly pop chaos’. Their set was everything that we personally love about dream pop - each band member showcasing their incredible range on lead vocals, dancing in synchronisation and even throwing in a MGMT cover. The band’s two big hits Dead End and Softly Spoken had the crowd on their feet for parts of the support act, and we thoroughly enjoyed some of their unreleased tracks, including Backbone and Hurricane Chaser. It felt special to see the band on their first-ever tour together, and we cannot wait to see what’s next for Blusher. 

Before long, it was time for the Norwegian songstress to join her fans with the band in tow. Performing through the shadows, she opened with two tracks from her latest album The Gods We Can Touch, with strong-opener Heathens and Blood in the Wine. Aurora’s almost other-worldly vocals and poetic lyrics had the crowd stunned, and only when Aurora addresses the crowd do we come back to Earth. Addressing the screaming crowd, Aurora exclaims, ‘Oh my god, hello! How lovely you are. Thank you so much for just being how you are - this room is so beautiful’ - taking time to acknowledge how special it is to play so far away from home and how grateful they were to have an audience of adoring fans on the other side of the world. 

Drawing from her albums Infections of a Different Kind (Step I) and A Different Kind of Human (Step II), Aurora described her time on stage as feeling the love of all the people who have played here before. In the next part of the set, she took time to describe the importance of each song or what she was thinking about in each performance. Infections of a Different Kind is about how we choose to use our power. The River is written about people holding back emotions because of the stigma about being open. All is Soft Inside is dedicated to the emotional pain of being human. Apple Tree is a song about how it’s our job to save the world, it’s in our hands and it’s important to make the world a better place to live - dedicated to those who don’t live in the world they deserve right now. Closing out this part of the set with Queendom, while clutching a rainbow flag, the crowd roared, clapped along and belted out the chorus. Describing her journey of discovering she was bi, Aurora addressed the crowd to tell them ‘you know you’re welcome here. The whole point of you is to be different to everyone else’. 

Just when you thought you couldn’t possibly feel any more emotions, Aurora hits you with Exist for Love and A Potion For Love - two of the most beautiful songs from her new album, which had even Aurora all teary and emotional. The final portion of the set had a good mix of throwback songs that had us falling in love for the first time, from All My Demons Greeting Me as a Friend with Runaway and Running With the Wolves, as well as beloved tracks A Dangerous Thing, Churchyard, Daydreamer and the incredibly energetic hit The Seed. Thanking the audience for being so wonderful and generous, Aurora closed out by telling the audience to compliment a stranger every day. 

The encore was bittersweet, in that we never wanted the concert to end. Telling the audience, ‘my favourite thing about this room is it’s full of weird people who are perfect’, Aurora and band finished with our favourite song Cure for Me and Giving In to the Love. Walking out of the theatre, we heard an audience member exclaim, ‘I feel like I was on stage with her the whole time’, and as we consider all of the important items Aurora sings about regarding nature, identity and human emotion, we are thankful for all the laughing, crying and dancing we’ve witnessed tonight and hope that Aurora will be back soon. 

All I Want For Christmas (is a circle pit) 

Idles have a reputation for their explosive and energetic live sets, raw and honest lyrics, passionate vocals and loud and chaotic guitars. Their live shows are a cathartic experience; the band and audience connecting on a deeper level while moshing, dancing, singing and sweating. We were privileged to experience the revelry of an Idles show at Festival Hall on a cold, quiet winter night in Melbourne. 

Opening for Idles were Australian alt-rock band The Buoys. The aptly-named all-female Sydney group brought a different, but equally exciting energy to the night. The band, fronted by Zoe Catterall, brought garage rock to the forefront with their high-energy, fun and captivating tunes. For fans of The Beths and Beach Bunny, their set had everything from their latest release I Want You, some sad boy music with Lie to Me Again, and the hilariously named BDSM (Bring Down Scott Morrison), as well as some unreleased songs destined for their debut album. In addition to some of our favourites with Red Flag and closing song Linda, we were thankful to see The Buoys in fine form.

Before long, it was time for the Bristol lads to join Melbourne audiences for a night to remember. The band, consisting of frontman Joe Talbot, as well as band mates  Mark Bowen, Lee Kiernan, Adam Devonshire and Jon Beavis were here for their third time in our city, and the crowd was out in full force knowing exactly what to expect. From the slow building of opening track Colossus, to the wall of death shortly after in Car Crash, things escalated quickly as Talbot shouts, 'Are you ready to collide?'. Avid crowd surfers are out by Mr. Motivator, and the band take things up a notch with Mother  - dedicated to Talbot's mother (and no one else). Taking time to express how at home they feel in Melbourne, the band tells the audience 'It's an honour and a privilege to be back, you're one of the best cities on planet Earth'. 

The set contains a great mix of latest album CRAWLER and throwbacks to Joy as an Act of Resistance and Brutalism. From the raw energy of Meds, to the chanting of 'fuck the king!' during I'm Scum, Idles’ showmanship continues through past Crawl! and into Divide and Conquer. Skipping around stage and screaming into the mic, things only start to slow down during The Beachland Ballroom - a beautiful song about recovery, dedicated to the audience for showing love and carrying the band over the past few years. Time is taken during The Wheel to properly address previous addictions, newfound realisations and the honesty from Talbot that these audiences have saved his life many times. 

From high-energy bangers and crowd sing-a-longs with 1049 Gotho, the show even goes to full-blown karaoke - singing everything from Nothing Compares 2 U, My Heart Will Go On, and even All I Want For Christmas. A Hymn, War and Wizz are all welcome additions to the set, much to the crowd’s delight, as we close out the evening with biggest tracks Never Fight a Man With a Perm, Danny Nedelko and closing track Rottweiler. With everything from Jon doing a shoey, to welcoming love and empathy with a humanist approach, we finish on an anti-fascist song for anti-fascist folk. Closing sentiments of 'We've been Idles, you've been Melbourne, and you've been fucking magic' leave us feeling confident that we gave as good as we got. We will be counting down the days to see the lads again. 

Stephen Sanchez is back in Melbourne for his Angel Face tour, performing two nights at Forum Melbourne and bringing along his vintage charm and vibrant stage presence. Less than a year from his debut tour in Australia, the young singer-songwriter continues to captivate audiences with his nostalgic sound that echoes the golden age of the 50s and 60s; delivering performances that blend a modern sensibility with a classic style. 

Opening for Stephen Sanchez was Australian singer-songwriter GRAACE. Bringing her alt-pop tunes to her favourite venue in Australia, we heard popular song SOS, her latest release Jealous Type, a cover of Kings of Leon's Use Somebody as well as a glimpse of unreleased track Downgraded. Wrapping up the support slot with the popular Last Night, GRAACE well and truly warmed up the crowd for Sanchez's arrival. 

Before long, Stephen Sanchez and his band were performing opening track Something About Her, amongst a blast of flashing lights and silhouettes. Evangeline (sung from the perspective of the Troubadour Sanchez, for those following the lore) went off without a hitch, followed by I Need You Most of All and Only Girl, which showcased Sanchez's amazing vocal range alongside the band in full force. 

His rendition of Roy Orbison's Oh, Pretty Woman was the perfect cover, complete with a playful shout-out to the women in the crowd, while the introduction of new song from the deluxe album The Other Side was met with resounding cheers from the audience. Couples were told to embrace their lovers for Doesn't Do Me Any Good while No One Knows was performed taking note of all the beautiful statues in the venue. 

The night continued with Be More and Fame or Fortune, during which Sanchez shared personal anecdotes, including his travels back and forth between Australia and the US to see someone special, sharing the profound impact his relationship has had on his life and his music. Fans threw up gifts including stuffed toys, Australian flags and Tim Tams, as the crowd started moving for Emotional Vacation and the most energetic song of the night, Howlin' at Wolves. 

The show closed with a bang as we heard one of the highest notes we've ever heard during High, before Stephen's biggest track to date Until I Found You was performed with an entire venue sing-a-long. Taking time to look at the stars inside the venue, joke around and even perform a Cher impression of a Coldplay song, we were treated to one final song as an encore with the absolute belter Shake as the night came to an end. Stephen and the band truly gave their all, and we were extremely thankful to have seen him on his biggest Australian shows to date. No doubt we will be queuing up to get tickets the next time he decides to visit. 

On a cold evening in Fitzroy, Laundry Bar was buzzing for an unforgettable sold-out performance by girli; the English pop sensation known for her bold queer anthems and celebrations of diversity and self-expression. 

Kicking off the night were Brisbane pop duo JUNO, who have had a great deal of success over the past few years supporting huge Australian and International acts including Peking Duk, Caity Baiser and Anna of the North. The crowd brought the same energy to the support set as the headliner, dancing and signing to all the tracks on their setlist. Our favourite moments included come thru and take a picture, both about the struggles of bad relationships, as well as moonboy about putting partners on pedestals. bleach was well received as a more rockier Avril Lavigne-inspired track, and the cover of Chappell Roan's Red Wine Supernova won the crowd over. Closing song i'm the man about taking back your power showcased Kahlia Ferguson's incredible vocal range and set a high bar for the night ahead. 

Before long, it was time for girli's first Melbourne headline show to commence. The crowd was excited as ever, and ready to celebrate queer pop with one of their favourite breakthrough artists. Marvelling at the stage design, which was a vibrant homage to her upcoming album Matriarchy, Girli had picture frames and scenes from her music videos, fan art across the stage, and tiles depicting queer historical figures over time. The performance itself was a vivid display of talent and authenticity, capturing the essence of her music while creating an inclusive space for her audience. Opening tracks Nothing Hurts Like A Girl and I Don't Like Myself had the audience singing at the top of their lungs, showing the artist they had come to party. Acknowledging the immediate love from the audience, girli took the time to say hello, introduce the band, and hype up the crowd saying, 'We've travelled from England to play some fun gay pop songs for you' as they launched into Not That Girl. 

Talking directly about writing songs with the queer experience in mind, as well as celebrating queer joy, we hear Crush Me Up, Girl I Met On The Internet and Be With Me - a song about falling in love with yourself. Friday Night Big Screen got the loudest audience reaction bringing the energy up higher than we thought possible. Taking a moment to take it all in, girl told the adoring audience just how crazy it is that songs she wrote in London about her personal experiences have connected so meaningfully with an audience the furthest she's travelled to in the world. The night was as special for the fans as it was to the artist herself. Acknowledging the biggest crowds they've had all tour, we hear Out of Breath, Imposter Syndrome and the high-energy Hot Mess. 

The heels came off for the closing part of the main set with I Really F**ked Up and unreleased track Day Month Second leading into popular song Letter to my Ex. During the encore, girli tells us she's half Australian (passport and all) and says, 'This is the first ever time I've done a headline tour in Australia. It won't be the last - you know I'll be back'. Closing out on the song that made all this possible with the universally connecting More Than A Friend, the final song Matriarchy written about queer sex being about love, joy and the act of rebellion to the patriarchy leaves us as a high as we wait for her eventual return. 

Last night's concert at the Northcote Theatre in Melbourne was a showcase of dark gothic rock at its finest; beginning with local darkwave outfit Dark Water, and headlined by the illustrious Ville Valo - best known as the lead vocalist of HIM. Touring Australia as a solo act under the moniker VV, we put on our finest black outfits and head to Northcote to witness VV's solo work, as well as some HIM classics. 

Opening act Dark Water are a Melbourne-based 80s-inspired darkwave and synth pop act whose performance set the bar high with a hauntingly beautiful set. Captivated by their songs The Tower and Pipe Dreams, we enjoyed the various songs from their released discography - in particular Take the Piss and Poison. Hearing constant whispers from the crowd about the various acts that Dark Water reminded them of, it was clear that they had the tick of approval from the packed out crowd at Northcote Theatre. Closing song Haunted was a perfect end to a fantastic support slot, and their melancholic songs left us both in awe and wanting more. 

Before long, it was time for VV to take to the stage. Having last seen HIM back at Soundwave in 2014, we knew just how incredible Ville's stage presence is and we knew that tonight would be nothing short of spectacular. From opening track Echolocate Your Love immediately capturing the crowd's attention, the setlist continued with a perfect blend of solo material from his 2023 release Neon Noir, sprinkled with beloved HIM hits that the crowd absolutely lost their minds for. From the big singalongs during The Funeral of Hearts and Join Me In Death, to the upbeat songs from his solo record including The Foreverlost and title track Neon Noir, the audience brought everything they had to the table. 

Some of the most notable moments of the night included the intense vocal performance during Buried Alive by Love, the lighting and production during Heartful of Ghosts, when things slowed down for Gone With the Sin, and how wild the crowd got for Wings of a Butterfly. While the band's interaction with the crowd was somewhat minimal, the concert still felt intimate and incredibly emotional - the songs speaking for themselves to the adoring audience. 

Leaving some of the best songs for last, as VV headed to the encore we witnessed our favourite track from his solo catalogue with Run Away From The Sun, as well as an audience-wide singalong for Right Here in My Arms. Before performing closing track Saturnine Saturnalia, Ville took the time to tell the crowd, 'It's good to be back after all this time.' We hear of the inspiration of the last song coming from one of his favourite bands Black Sabbath, and he tells the crowd they will take a brief 'creative break' which will be 2-4 minutes depending on their bladders. Valo's engagement was incredibly heartfelt, and he couldn't stop smiling throughout the set as he expressed his gratitude for being back in Australia. 

The encore closed out the night with In Trenodia; a perfect choice for the encore and a personal favourite for everyone we spoke to. Performing HIM track Killing Loneliness as well as Baby Lacrimarium, the set ended with When Love and Death Embrace as VV told the crowd, 'Thank you so much for everything - sacrificing your Friday night for this'. We're told it's their last song (but it's a long one) as we feel the communal appreciation for a night of exceptional music. While sad to see it end, it was a pleasure to see Ville Valo back in Melbourne, and we hope he comes back soon. 

Arriving at the Sidney Myer Music Bowl on a rainy Melbourne evening, our team were excited to once again hear the voice of Brit bass-baritone George Ezra, who returned to Melbourne after three long years. 

Supporting the show at the Bowl was merci, mercy - bringing her indie pop tunes from Sydney. We’ve been fortunate enough to catch her more intimate shows, including one at Northcote Social Club, but tonight’s performance was at one of Melbourne’s largest concert venues in front of a packed-out crowd. 

Performing alongside band mate Riley, merci, mercy brought all of the tracks from her latest EP is it me, or is it you? to life, as well as sneaking in a few of her biggest hits. Starting with new tracks Too Easy, Sick To My Stomach and Black Cloud, we were all up dancing along as she closed her set with well-known songs Winnie Crush, Into You and closing hit Fucked Myself Up. 

Before long, it was time for the man of the hour George Ezra to take the stage. Decked out in double denim, with his Gold Rush Kid jacket from his latest album, Ezra was joined on stage by his extensive eight-piece band. The traveller and entertainer took no time at all in settling in and captivating the crowd; opening with Anyone for You (Tiger Lily), Cassy O’ and Get Away. It did not take us long at all to forget about the weather, and start singing and dancing without a care in the world. 

For those who have been to his shows before, the George Ezra experience is much more than just his music and swooning sounds - he’s incredibly charming, and you can easily see just how much fun he is having onstage. George addressed the audience many times throughout the night, exclaiming how it blows his mind to see so many people when they are so far away from home. At one point, he tells the audience, we have ‘new songs, old songs, we’ve got all the songs - everything you want’. And he was right. 

The set contained a great mix of tracks from his debut album Wanted on Voyage, sophomore album Staying at Tamara’s and his latest album Gold Rush Kid - the title track which was next up on the setlist. For a Monday night, there were far too many highlights from the show to list them all, but we’ve hand-picked some of our favourites: 

• Singing ‘Don’t we all need love? The answer is easy’ in unison with the full force of the crowd for Pretty Shining People
• Phone lights everywhere to be seen during Barcelona - a song based on his travels across the globe
• Did You Hear The Rain? while experiencing some of Melbourne’s finest weather
• A beautiful duet with bandmate James Wyatt for Hold My Girl 
• Our favourite new song, Sweetest Human Being Alive 
• The instrumental breakdowns and solos in All My Love
• The interesting stories behind Green Green Grass

George reminisced later in the set on a recent realisation of ‘just how much it was making [him] smile to play the older songs’, thanking the crowd for how amazing it was to see them all again.  

The last few songs of the night showed us the extensive catalogue that George Ezra has had during his career, with Blame It On Me, Paradise, and Budapest. The encore featuring Dance All Over Me and Shotgun sealed the deal for a perfect night.

No genre can hide from Rina Sawayama - at least, that's what we thought when we saw the singer-songwriter at an intimate Melbourne gig. Playing one of our favourite venues, 170 Russell, the Japanese-British artist made her Australian debut playing a sold-out show in one of the most packed-out rooms we've seen in a while. Hailed as the next Lady Gaga, Rina has made a massive name for herself internationally, as she continues to push the boundaries with her genre-defying pop. 

Opening the night was Melbourne local Memphis LK, who kicked things into gear with what could only be summed up as a megamix of a party playlist. Running through remixed and reimagined party anthems such as Calvin Harris and Dua Lipa's One Kiss, Ciara's 1, 2 Step and Nelly Furtado's Say It Right, Memphis LK had the packed crowd bopping along to each hit; with the sea of people a pulsating mass filling every inch of the venue. This is one producer who knows how to work a room, and we can't wait to see more of Memphis' sets.

After a short set up, Rina Sawayama took to the stage - complete with a dramatic entrance which included her hair blowing around her with the help of some very strategically placed fans. Her Hold The Girl tour has seen numerous dates selling out, with the addition of extra shows needing to be added - and this set was the very proof of why those extra dates were needed. Opening the set with the ethereal Minor Feelings and the title track from her second album, Hold The Girl, Rina set the pace for the night, blending ballads with hyper pop elements and gospel-style singalongs. Country pop track (à la early days Taylor Swift) Catch Me in the Air and the industrial-inspired Your Age, which is accompanied by a massive intro, are personal set highlights for us and saw Sawayama and her touring guitarist and drummer absolutely tearing up the stage.

With the audience going wild at this point, the RnB/techno-heavy Imagining, as well as nu-metal revival track STFU! from debut album Sawayama go completely off - with Rina holding her mic out to audience members to sing along. Inviting the audience to 'bring the rage inside of you', the hit single leads into yet another - this time around it's the early 2000s-style indie bop Frankenstein, which sees the audience jumping along to the thumping bassline and drums. The synth-loaded Holy (Til You Let Me Go) brings the set back to dance-party status, while  the older and relatable single Bad Friend had us all swaying in unison.

Addressing the crowd, Rina tells us 'without therapy, there wouldn't be this album', before telling us the story behind Hold The Girl, and learning to reparent her inner child. It's an incredibly emotional break in the set, and there's plenty in the crowd who cheer along in support and with empathy. Stripping back the set for a moment, the acoustic track Send My Love to John and ballad Forgiveness had phone lights up and swaying in time with the delicate guitar work. Cherry is up next - Sawayama's self-proclaimed coming out song - and the audience erupts into screams, which only intensify for the set's closing tracks Comme Des Garçons (Like the Boys) and XS, which had us singing along to every word.

Coming back onstage wearing a cowboy hat for an encore of her Shania Twain inspired hit single, This Hell, Rina treats us all to a crazy light show, accompanied by some line-dancing moves. It's evident here that Sawayama knows how to play to her strengths; playing with light and movement in such a way that it's almost an art form. When it comes to the bridge of This Hell, the audience takes over and starts chanting, before Rina cuts us off, to queue up us 'sinners' for a group call and response. Absolutely working the crowd, Rina asks us all to 'dance our fucking tits' off, while a handful of cowboy hats (and boots) are raised in the air for the last bars of the song.

With the show coming to a close, we're left already wanting to see Rina again - especially in such an intimate setting. As easily one of the best sets we've been to recently, there truly is something for everyone at a Rina Sawayama gig; the artist has made sure of that with her versatile setlists. 

Most people will be familiar with the premise of this classic play by Neil Simon. This is more likely due to the classic sitcom from the 70’s as opposed to the success of the original performance which debuted on Broadway in 1965. I was surprised to learn that the play inspired the film and sitcom, but this distinction is important. The notion of up-tight, fastidious Felix living alongside the slovenly and unkempt Oscar is a timeless notion in itself, and to see its origin portrayed on the stage as originally intended is a pure delight.

The stars of the show, Todd McKenney and Shane Jacobson are fantastic.  Todd McKenney has a remarkable physicality and his ability to throw his voice and adapt to the American twang of the neurotic Felix is incredible. As someone so prevalent in media, it is easy to forget his talent, meticulously crafted and improved over decades of performances. As someone so prevalent in musicals, it is also easy to forget how much of that talent includes his ability to act. Shane Jacobson’s performances have always been relatable and enjoyable to witness. It takes some time to become accustomed to his American mannerisms (Kenny is an Australian icon after all) but once you embrace the character and his environment, the performance is strong. The chemistry between both leads is great (as first identified in their collaboration during Hairspray last year) which is just as well. The play is relatively lengthy and held together by two performers who clearly respect one another and fastidiously support the other’s space on the stage.

In terms of the play itself, it takes some time to warm up, and the interval comes at a good time. The first act feels long however this is most likely due to the familiarity the audience have with the Odd Couple’s traits. What does hold up and absolutely stands the test of time is the performance by Lucy Durack and Penny McNamee as the Pigeon sisters from London. Their enthusiasm and bubbly natures exude aplenty upon the audience and everybody’s energy levels lift accordingly. Durack stamps herself clearly as a talented actor with impeccable comedic timing. Again, the chemistry with Penny McNamee is impalpable and both women earn their warm rounds of applause throughout the play.

The set is simple yet effective. A New-York apartment which goes through various states of tidiness dependent on the course of the co-habitation – a great tool to demonstrate both character’s odd styles of living. 

A well-rounded supporting cast including Laurence Coy, Anthony Taufa, John Batchelor and Jamie Oxenbould are well utilised and provide additional unbiased perspectives on the polarising lead’s personality traits. 

A play and film in the 60’s, a sitcom in the 70’s – while there have been attempts to revamp this story again since, the best way to understand the odd couple, appreciate the premise and have a good old-fashioned laugh at a fairly relatable concept is to witness this performance first-hand. With such a strong, talented cast and a platform to display their acting abilities and flawless comedic timing, this is a performance well worth witnessing first hand. 

Photo Credit: Pia Johnson

  Direct from its record-breaking run in London Groundhog Day the Musical is now playing at Melbourne’s Princess Theatre.

The musical is based on the classic Bill Murray film – with a book written by Danny Rubin who also wrote the original 1993 classic, the synopsis is very close to that of the movie.  Phil Connors, a cynical Pittsburgh TV weatherman is sent to cover the annual Groundhog Day event in the small town of Punxsutawney, Pennsylvania. Caught in a time loop, he’s forced to relive the same day again and again… and again. 

While the story is familiar, its retelling via the stage is a theatrical masterpiece. It is, in a word, clever.

Whip-smart lyrics and catchy music from Australian favourite Tim Minchin chaperone the audience through a familiar story with an unfamiliar perspective. What could easily be a very boring, monotonous and frustrating performance remains fresh, engaging and funny.

Andy Karl returns as Phil Connors, the role he originated on Broadway which won him an Olivier Award, a Drama Desk Award and a Tony Nomination. It is very clear  this is a part that he is very familiar with. He oozes charisma and manages to shift tones effortlessly throughout the performance. The fact that Phil Connors is so incredibly unlikeable and retains empathy and audience support is testament to his ability to shift with tonal changes throughout the production.

Elise McCann also puts on an incredibly display providing a warm counterweight to Phil Connors’ spiky persona. She oozes warmth and sincerity, and continues to maintain a fresh presence throughout – which is no mean feat in a performance that repeats the same day hundreds (if not thousands) of times.

The theatrical craft of this show is wonderful. One particular highlight includes a car chase scene which utilises lighting, blocking and set design masterfully. For a seemingly inconsequential moment in the plot this scene in the first act is a highlight.

Beyond the spectacle, Groundhog Day challenges audiences to look at the supporting players with more context. Playing into the subtle developments of smaller characters (learning to sing, proposing to a loved one) it is a reminder that life itself is a journey for everyone, not just the principal characters. The most notable example of this comes at the start of the second act, with Ashleigh Rubenach playing the role of Nancy. Initially an afterthought of a character, a cheerleader/conquest of Phil Connors’ who is overlooked (both in the first act and in the original movie) Nancy provides some perspective and insight into her own emotions, motivations and perspective. It was telling when watching this song performed live that the audience first started laughing, but then quickly realised their own errors of jumping to pre-established conclusions and stereotypes.

Groundhog Day is not your classic musical, which is a good thing. The story, production value and talent on display will appeal to a wide audience. If there is someone out there who ‘doesn’t like musicals’ then this is a great opportunity to challenge that thinking. All elements work incredibly well together to put on a production that could be enjoyed day, after day, after day…