Concert Review - Taylor Swift

Taylor Swift's Eras Tour has undeniably made its mark on the world since its announcement back in 2022. The phenomenon has shattered countless records and created a demand for tickets previously unheard of around the world. Since kicking off the tour a year ago, we've been delighted to see fans in each country spend some quality time with one of their favourite global superstars. Taylor Swift kicked off the Australian leg of her Eras Tour in Melbourne by performing to the biggest crowds of her almost two-decade-long-career performing to 96,000 adoring fans - 3 nights in a row. Swifties flocked from all over the country (and overseas) to witness history seeing Taylor at a more-than-sold-out MCG to witness the award-winning singer-songwriter's groundbreaking tour in all its glory. With (seemingly) all of Melbourne trying to make their way into the arena, and even more fans 'Taylor-gating' the venue, the atmosphere at the G was like no other, as punters of all ages, from different eras, waited for the show they'd seen all over social media and from the tour's concert film. We were honoured and thrilled to be invited to the tour's opening night in Melbourne - which easily topped the biggest stadium show we'd ever been to, and what would be one of the best concert experiences we'd ever have. 

Opening the night was singer-songwriter Sabrina Carpenter, whose sugary sweet pop tracks were the perfect start off the night. Starting off with Read Your Mind, Feather, and Vicious, Sabrina commanded the stage and pulled everyone to their feet to bop along with her. From the get-go, it was clear that Sabrina is an experienced performer and had the audience singing along to all of her songs at the top of their lungs. Taking a moment to address the crowd with a 'Melbourne is that you?... It's happening. It's real!', Sabrina expressed her gratitude to be supporting Taylor, with a 'I feel so lucky to be in her presence, and every single person here'. It was refreshing to see how important the night was, both to the audience and Sabrina as the opening act. 

The next song Already Over was dedicated to those in a situationship, and she slowed the set down for Tornado Warnings, and one of Sabrina's favourites with opposite. Letting the audience know they might know the next song, Sabrina performs a cover of Hopelessly Devoted to You, before picking up the pace immediately for Fast Times. Dropping hints for the next song coming up, because i liked a boy goes wild as the audience take things to another level - showing us a hint of what's to come. Waving farewell to the audience, Carpenter tells us 'sucks we don't have any more songs...' before turning mischievously to the camera and launching into set-closer and mega-hit Nonsense, which the stadium all chime in to belt out. In what is the perfect start to a big night ahead, Sabrina absolutely understands the assignment and warms up the crowd for each of the Eras ahead. 

The wait for the main event seemed to go by quickly, which was helped by the fact that the stadium was full of die-hard fans who were dressed in their favourite eras. The sense of community was unrivalled, as punters bonded over their costumes, and traded friendship bracelets. Before long, a clock and countdown appear onstage, and the audience begins to count down the minutes. The clock strikes 12, as a cacophony of overlaid tracks (Fearless, evermore, Lavender Haze and Bejeweled, to name a few) play while swirling material swims around the stage. Taylor Swift seeming materialises out of thin air, and everyone collectively loses their minds as she starts off the show with the Lover era - a shortened version of Miss Americana & the Heartbreak Prince and Cruel Summer marking the start of the show. 'Oh Melbourne, just look at you!' Taylor exclaims, as she takes a moment to take in the stadium, 'I'm just taking a mental picture for myself, for any time I feel sad.' An office setting rises from the depths of the stage, as Taylor slips on a sparkling blazer over her body suit, and she struts to a desk for The Man. With backup dancers flanking her, You Need to Calm Down goes off without a hitch, before exclaiming 'I am overjoyed to say these words to you right now - Melbourne, welcome to the Eras Tour!' The pace slows down for Lover and The Archer. It's at this particular point in the show that we forget that there are 96,000 other people at the venue - based on how intimate the show feels.

We're taken back to 2008 for the Fearless era, as Taylor returns to the stage in a fringed dress for the album's title track, in which the audience raises their heart hands at the song's climax. You Belong With Me and Love Story really took us back to being in high school, and has everyone feeling nostalgic. With the stage lit up like her bedazzled guitar, the audience sing along to every word for the brief trip into the Fearless era. 

Trees sprout from the back of the stage, as the show transforms itself for the evermore era - a rich forest setting the scene for Swift's second folk album. Walking onstage wearing a flowing yellow dress, Taylor started off the era with 'tis the damn season and willow, which saw her in an emerald cloak, complete with backup dancers staging a witching moment. marjorie hit hard, followed by the gut punch that is champagne problems, which before playing, Taylor tells everyone 'when you have put out so many albums, you have to think outside the box... I really want to hear 96,000 people sing champagne problems'. The song finishes, and Taylor sits in awe at her piano, taking a moment to herself as she begins tearing up. Seen mouthing 'you see this shit?', her disbelief at the intensity of the audience is visible. There's plenty of audience members tearing up (some even sobbing) at this point; so the fact that the emotional tolerate it is next just drives home the incredible album that got a lot of us through the lockdowns and pandemic. 

While we're all wiping away our tears, a snake flashes across the screen, and the hype for the reputation era begins. The slow build-up to ...Ready for It? pushes the audience to their limits, and features some of the show's coolest effects. Decked out in a black and red snake-themed bodysuit, Swift's bad-assery is in full swing, as she runs through the hard-hitting track, which is followed up by the dancy Delicate. The era comes to a peak with the gospel-driven Don't Blame Me, and revenge hit Look What You Made Me Do; both seeing Taylor and her dancers being elevated on the stage, while the bass-heavy beats have the audience dancing along. 

The stage is awash in purple, as the bridge of Enchanted plays over the backdrop. Walking out onstage in a purple ballgown, Taylor takes us back in time to the Speak Now era, as she launches into power ballad Enchanted. When it comes time for the song's bridge, once again, the stadium is filled with screams of 'please don't be in love with someone else'. Long Live saw Swift grabbing her guitar again; performing the song as a 'thank you' to the audience, who relished in singing along to each word.

A backup dancer pushes a red chest onto the stage, before opening it to snippets of State of Grace, Holy Ground and Red; signalling the next era. Taylor struts back onto stage, this time dressed as a 2012 hipster - shorts, oversized tee and a felt hat included. The opening notes of 22 start up, and the singalongs start for what is one of our favourite Swift eras. Gifting her hat to a young audience member, Taylor quickly strips off her oversized t-shirt to reveal a red, bedazzled bodysuit underneath, before the party keeps going with We Are Never Ever Getting Back Together and I Knew You Were Trouble - the ultimate breakup songs. 'Are we having fun so far in the Red era?' asks Taylor. 'There's one more song I'm hoping to play from Red. Do you happen to have 10 minutes to spare?' The audience's reaction is priceless, and only means one thing - All Too Well. Taylor sticks to her promise and before we know it, we're all singing along to every. single. word.

It's at this point of the show that we're well into the depths of Swift's career, as the next era, folklore, begins to take shape onstage. A cabin emerges, and Swift slowly makes her way onto the roof of it in a floor-length, flowing green dress, looking like she's just stepped out of a fairytale. Lying on the roof, she starts off with the 1 and betty, pausing between songs to talk about how proud she was of the 2020 album, and the story behind its fictitious characters and their teenage love triangle. folklore was a major turning point for Swift, as well as for many new fans who jumped on board the fandom during the pandemic, so to see such an incredible production put together for this era was really something. the last great american dynasty saw dancers twirling across the stage as Swift told the story of socialite Rebekah Harkness, while she sang throughout the rooms of the cabin. The emotional august seamlessly transitioned into the climactic bridge of illicit affairs, with the audience screaming along 'don't call me kid, don't call me baby' - the stage awash in black and white footage. Slowing down the pace, my tears ricochet brought the audience into a steady sway, as the wristbands handed out on entry lit up around the stadium. With the era coming to a close, Taylor finishes up with cardigan, and the audience just can't get enough.

The lead up to 1989 is filled with plenty of retro, Tron-esque effects and a synth-heavy intro. The opening riff of Style rings out across the stadium and Taylor appears onstage in a beaded, two-piece - the audience belting out each word with her. Blank Space was an era highlight, with Swift and her dancers waving light-up crowbars around and 'smashing' a car during the song's bridge. But it's Shake It Off that has everyone dancing harder than ever - the stadium thundering with the sound of 96,000 pairs of feet jumping along. A shorter take on Wildest Dreams and the sass-riddled Bad Blood marked the end of the 1989  era, complete with pyro effects and sparklers.

'Melbourne, welcome to the acoustic section. This is my favourite part of the night', Taylor tells us. With guitar in hand, the first surprise song is Red, before she sits down at a piano for the first-ever live performance of You're Losing Me - from the Late Night Edition of Midnights. For the first time that night, the audience turned their dials down a tad, to take in the full acoustic experience. Given the scale and milestone of Swift's Melbourne show, she takes a minute to announce a different edition of her upcoming album, The Tortured Poets Department, aptly named The Bolter Edition. At this point, we're hanging on to every word, and hanging out for that April 19 release date.  

The transition to Midnights was one of the main talking points after the first Eras show back in March 2023. The crowd, almost in disbelief, watches Taylor jump into a pool, swim across the stage, climb out of the water, go up a ladder and step into the clouds. Almost a year later, we witness this in person and can confirm it is hands-down one of the coolest song transitions we've ever seen. As she emerges from the clouds wearing a furry purple coat for Lavender Haze, it's going to be a big final era on the tour. Our favourite thing about the live Midnights Era is that whether you've been a fan for 15 years or 15 minutes (as Taylor earlier described in the evening), absolutely everyone is on the same page when it comes to her latest album, and songs like Anti-Hero and Midnight Rain. As we see an on-stage outfit change during Midnight Rain, concealed by umbrellas, we find ourselves thinking just how cool the Taylor Swift fandom has become - particularly during songs like Vigilante Shit with its incredible choreography. Bejeweled illuminates the stadium in a glittering array of shining lights, while Mastermind plays out both dominos and chess on a checkered stage. 

Taylor asks the crowd, 'Do you have time for one more song?' before launching into Karma with an extended outro. Band shout-outs, fireworks, confetti and the full works are on display for the final performance, and we give everything we have left as the show draws to a close. We take a few moments before leaving to appreciate how lucky we are to have witnessed such an incredible show. Our excitement extends both to all of the fans seeing Taylor on the remainder of her Australian tour, as well as all of the people that Taylor inspires to pursue their dreams now and into the future. 

Photo Credit: TAS Rights Management

The anticipation was palpable in Melbourne last night as The National returned to the stage after a six-year break from Australian soil; marking a momentous occasion for fans who had eagerly awaited their return. As devout followers of the band, our team were excited (to say the least) when it was announced that the band would be performing two nights of unique sets spanning across their full catalogue. From the haunting melodies of High Violet, the raw emotion of Boxer, and the introspective musings of Trouble Will Find Me, The National treated us to some of our favourite songs from our all-time favourite albums, in addition to exploring the depths of both their older albums including Alligator, and their latest albums First Two Pages of Frankenstein and Laugh Track. The two-hour set captivated throughout and found the perfect balance of high-energy albums mixed with what they self-describe as 'sad dad music'. With our hearts full of excitement and nostalgia, we headed to the Sidney Myer Music Bowl to witness the two decades-long span of the band's illustrious career. 

Opening for The National on their Australia tour was Sydney musician Annie Hamilton. Heading onto the stage wearing a pair of black wings, Annie performed a stripped-back solo set covering songs from her album the future is here but it feels kinda like the past, as well as her self-titled 2020 EP. From our favourite opener Kitchen, she followed it up with hit singles Panic and Again. Providence Portal lead into Whirlwind followed by a 'song about concrete' with Californian Carpark Concrete. Annie's performance was the perfect opening act for the setting and the crowd were captivated by her voice. Closing out the set with a new release from the previous week Talk, the set ended with Fade. Little did we know, we had not seen the last of Annie for the evening. 

The second support for the evening were none other than American indie folk band Fleet Foxes. When the tour billed the band as 'very special guests', it felt like the understatement of the year - with the band having performed to sold-out crowds at Palais Theatre back in 2018. We felt incredibly lucky to see Robin and band performing a support slot, completely aware of the rarity of such a sighting and thankful for their generous hour-long performance. 

The band performed hits from their self-titled album, as well as classics from Helplessness Blues and Shore to name a few. From opening tracks Sunblind, Can I Believe You and Ragged Wood, we were taken on a journey to a mesmerising world, where the seamless fusion of folk, indie, rock and baroque pop enveloped the senses. The harmonies, percussion, acoustics and vocals had a timeless quality as we lost ourselves in Robin's vocals. Highlights from the set included He Doesn't Know Why, a cover of Big Red Machine's Phoenix, their big hits White Winter Hymnal and Mykonos and later tracks Blue Ridge Mountains and Helplessness Blues. 

As the anticipation reached its peak and the stage lights dimmed, The National were shown backstage as a camera followed them through the hallways of Sidney Myer to capture their arrival onstage as applause and cheers erupted. Opening track Sea of Love had lead vocalist Matt Berninger already diving into the crowds, while Tropic Morning News started with a nod and shout-out to support acts Fleet Foxes and Annie Hamilton. The band took a moment to address the crowd, with a 'We're so happy to be back playing here tonight and tomorrow night, we're going to play a lot of songs from our whole career' as they launched into new song New Order T-Shirt. 

Matt's screams began during Squalor Victoria, and we heard hit after absolute hit with Don't Swallow The Cap, Bloodbuzz Ohio and I Need My Girl. The highs were high, the lows were low; as we felt all of the emotions wash over us during the set. The band were working the stage, rushing across all areas of the venue, while the band's mic tech was working harder than anyone we've ever seen from the support crew - as he raced around anticipating Berninger's movements. We took some more time to explore Boxer - one of the best albums ever made (in our opinion) as the band performed Slow Show and Brainy - which was dedicated to Matt's wife. 

We continued the love for High Violet with Conversation 16 - one of the best live songs in their usual set, before a throwback to their 2005 album Alligator, for Baby We'll Be Fine and Lit Up dedicated to their security detail at their hotel. Before long, it was time to show some love to the newest additions to their catalogue with the band telling us, 'We're gonna play you some songs from our new records - we had two come out last year' before launching into Alien and Laugh Track. The band debuted a new song, Bat Child, joking around that it was 'almost a new song' and thanking the audience for coming to their practice sesh. 

The next part of the set featured a different song from each album, with Day I Die from Sleep Well Beast seeing Matt jump into the crowds and up to spend some time with the audience on the lawn. Pink Rabbits enticed a sing-a-long from the audience, and Rylan saw Annie Hamilton invited back on stage for a duet. England once again saw Matt crowd surfing and taking photos on people's phones, while during Fake Empire, he was seen vibing with the brass section up the back. The band's set closed on Space Invader - one of the most impressive new additions to their setlist.

As the evening drew to a close, The National came back on for a big encore, including Light Years (which was not originally on their original setlist, but was a welcome addition). Mr November went off, as it always tends to, as Matt headed back up the audience to spend time with people on the lawn. Terrible Love is a staple of their live shows, so we soaked it all in before their final track Vanderlyle Crybaby Geeks was performed without a microphone; encouraging the whole audience to sing along with the band for one big hoorah. At the end of the night, we're reminded once again why they hold such a special place in our hearts, and how we hope to see them again real soon. 

Post Malone delivers once-in-a-lifetime performance twice in one year. 

Nine months after touring with the Red Hot Chilli Peppers across Australia, Post Malone returned to Melbourne - gracing the Showgrounds in addition to his headline dates with Spilt Milk Festival. This return marked a special moment for his dedicated fans, who were delighted to experience the wonder that is his live performances twice within a single year. With incredible vocals, astounding production, a rainy backdrop and countless shoeys, we spent some quality time with one of the nicest and most humble men in music. 

Angus Stone and his band Dope Lemon opened up for Post Malone in Melbourne; delivering the ultimate jam session as they performed a mix of Angus' hits. Everything from their old but loved track Marinade to closing track and personal favourite Uptown Folks, in addition to Angus and Julia Stone mega-hit Big Jet Plane. Sharing stories between songs, Angus recounts meeting Post Malone in Houston for a game of beer pong that lead to the forming of their friendship, and ultimately this tour. It was great to see such love between the artists, supporting one another and having a fun time on tour. 

As the rain continued to fall, it was now time for Postie to join the stage with a dramatic orchestral entrance paired with fireworks and sparks for opening track Better Now. Donning an Amyl & The Sniffers tank top, we see Post launch straight into Wow. dancing along as the crowd sings to every word with passion and adoration. Zack and Codeine continued the good times as Post expresses thanks to those who caught him earlier in the year with RHCP; joking after him this time around it's just an Uber to look forward to. Before performing Goodbyes, he tells us, 'I came here with beautiful talented musicians to play you some shitty songs and party hard with some shoeys' as he invites a fan onto the stage - asking, 'Can we get two shoes up on stage?'. 

Having seen Post Malone earlier in the year, it's always the most wholesome experience, and no one appreciates their success more than Austin. The fans adore Post as much as Post adores the fans. Joking about spending 28 years growing out his beard, Mourning brings us to a standstill while I Like You (Happier Song) has the crowd back to dancing as more fireworks blast both on and to the side of stage. Jonestown (Interlude) leads us to Take What You Want - mirroring Ozzy Osbourne's original contribution with more pyro, guitar solos and overall rock vibes - not to mention keeping us warm. 

Politely asking, 'Is everyone having fun so far, ladies and gentlemen?' we hear Post ask if all the flames make him look cool and badass as he talks about everything from fancy Aussie hats to how much he loves Hungry Jacks as he performs Over Now and transitions straight into rockstar where we all lose our collective minds. Slowing things down for Stay as he drinks out of a normal cup for the first time in the evening, we receive a special treat when the Kid LAROI joins him on stage for a cover of BLEED and their collaboration track Wasting Angels. Chatting about everything from collaboration tattoos of a dolphin with the Kid LAROI's face and Postie's glutes, to how they don't really ever rehearse anything they just kind of 'do stuff', we are treated to a special moment in an already special performance. The pair elevate the crowd to a level previously unseen and keep things going for Overdrive as Post invites more fans onto the stage - who describe the night as 'the best night of my fucking life'. 

The most memorable quote of the night was when Post exclaimed, 'Who would've thought drinking beer out of a shoe would be such a great fucking time, I love you guys so much', followed closely by his assessment of one of the shoes provided for a shoey with, '8 on taste, 4 on smell and 2 on appearance', before correcting himself with a 10 on appearance because the shoes were fire. Playing tricks with the mic stand for I Fall Apart with a full crowd sing-a-long, we continue to launch into a barrage of hits with Wrapped Around Your Finger, Circles and Too Young - which was written when he was 19 years old.  

All good things must come to an end and with a two hour plus performance at the highest of energies throughout, we end the main set with famous track White Iverson and Congratulations, with a final shoey out of what he describes as 'rocket boy boots' (Big Red Boots). Thanking the crowd for their love and support, the encore involves the intro of Broken Whiskey Glass before we sing and dance to Sunflower and Chemical to close out what was the perfect night. Austin's reputation as the Kid LAROI describes it as 'the kindest and most beautiful motherfucker in the world' seems like an understatement as the night comes to a close, and we depart ecstatic that we got to spend such quality time with one of our favourite artists.

Here's to hoping Post returns again to Australian shores soon. 

Photo Credit (Post Malone on Australia Tour): Bill Prendergast

Coming off their biggest headline show to date at the Domain in Sydney, Paramore kicked off their first of three shows in Melbourne, at an absolutely packed Rod Laver Arena. From the moment the doors opened to the arena, fans of all ages - both elder emos and newer members of the parafamily - raced to their seats or to the front of the stage; ready to strap themselves in for a big night ahead.

Joining Paramore on their Australia and New Zealand tour is singer-songwriter Remi Wolf, who like many artists nowadays, tapped a massive fanbase via a viral hit back in 2020. Coming onstage to Mariah Carey's All I Want For Christmas is You (flanked by festive inflatables), the Californian artist leapt headfirst into her supporting duties, with Liquor Store kicking off her set. Working the crowd seems to be one of Remi's strong suits, with her telling the audience at one point to 'give yourselves the permission to have the best night of your lives' - which they were more than happy to do. Our personal fave track Sexy Villain was a set highlight, which was only topped later on by a cover of Frank Ocean's Pink + White and newer track Soup. The dance party kept going with the funky Disco Man, while the track that started it all, Photo ID brought Remi's set to a close on a massive high.

With the audience well and truly warmed up, it was time for Tennessee natives Paramore to kick it up a notch. With the audience awash in a soundscape and a spoken intro from frontwoman Hayley Williams, the twangy guitars of You First and The News from latest album This is Why cut through the arena and set the tone for the show. Bringing us back to 2007 with That's What You Get, Williams conducts the audience into a singalong for the song's bridge; with joint 'woahs' echoing around the venue. Addressing the crowd properly, we're told 'you have two hours to forget' - forget the outside world, and just live in the moment. And that's just what we do when oldie but goodie Playing God comes on next, which is closely followed up with Caught in the Middle - complete with coordinated dance moves. 

Launching into some vocal warm-ups which evolve into 'Low-key, no pressure' - the funk-driven hooks of Rose-Colored Boy pull the audience to their feet for a huge dance-along, which is pushed further by the song's extended outro featuring I Wanna Dance with Somebody. Thanking the audience for their latest album, This Is Why, going number one in Australia, the track made for everyone who is always late, Running Out of Time is up next, which saw Williams mock-running across the stage - her never-ending energy on show. The tone shifts as the stage's bright, neon lights and effects dim to a dark blue, before guitarist Taylor York starts plucking the opening notes to the band's first entry into a film's soundtrack - Decode. Needless to say, the crowds absolutely erupt into screams, yelling each lyric back at the band. As easily one of the night's highlights, it was this moment that made the night so much more special.

Bringing the audience back down to earth, slow-burner Last Hope saw phone lights up and swaying in unison, which were replaced by pinky fingers for next song Big Man, Little Dignity ('just a song about large men with little dicks'). Hayley, Taylor and drummer Zac Farro disappear offstage, to reappear shortly on an elevated platform to perform the slower, moving tracks Liar as well as Hayley's solo track Crystal Clear. The catchy-as-anything Hard Times shifts the set back into overdrive, as the overhead set pieces move, and pyro goes off at the song's climax. Hayley asks 'Are you ready to rock out?' before launching into one of our set faves, Figure 8, which goes hard and sees the area jumping in unison. One of the greatest love songs written The Only Exception is dedicated to the audience, as sparklers drive home each word, before dry ice spills out over the stage into the audience for Crave. At this point, we couldn't help but feel the song's lyrics 'future and the past connecting' were perfectly summing up the show - with the set being filled with an incredible blend of old and new songs.

It was Zac's time to shine, as he stepped out from behind his drum kit to play one of his own originals (from his solo project HalfNoise), Baby, which was a fun moment of the show, before things really started to ramp up. We're taken back to 2007, to a time when a lot of us were wearing skinny jeans and heavy eyeliner - which is how Paramore set the scene before ripping into the opening riffs of Misery Business. Mega fans Lauren and Julia are the lucky pick of the night; brought up onstage for the bridge and final chorus. Their admiration and love for the band is heartwarming and has the audience watching in awe, as the two friends spend their last show of the tour up on stage with their idols. With the singalong carrying on for the gospel-driven Ain't It Fun (with the audience singing the choir's part), the show begins to wind down as Paramore exits the stage before their encore.

With the audience screaming their hearts out for more as a montage video plays in the background, Paramore return for a huge encore; thanking the audience for being present, and for all their love over the years. The sugary sweet Still Into You starts off a chorus from the audience, with all punters swaying together in the crowds. Before we know it, the last song of the night rolls around; with the single that signalled another evolution, This Is Why, acting as the perfect conclusion to an incredible setlist, performance, and overall experience. It was nights like this that reminded us it was never just a phase - there will always be a place in our hearts for Paramore.

Photo Credit: Zachary Gray

alt-J celebrate 10 years of An Awesome Wave with a stunning show at Northcote Theatre

alt-J are one of those bands that have a loyal and passionate fanbase, and for a damn good reason. Their debut album, An Awesome Wave, was a masterpiece of indie rock that blended folk, electronic, and experimental elements into a unique and captivating sound. The album won the prestigious Mercury Prize in 2012 and went on to sell over a million copies worldwide. To mark the 10th anniversary of the album in 2022, the band decided to treat their fans to a special tour where they would play the entire album from start to finish, with some bonus tracks and fan favourites thrown in for good measure. Performing two special nights in Sydney and Melbourne, alt-J kicked off these shows, and embraced the warm welcome they have always received in Australia. 

Before alt-J came on, the crowd was treated to an energetic and entertaining opening act by Royel Otis, a Sydney indie-rock band that has been making waves in the scene, elevated by Spotify's RADAR partnership. The band played a tight set that showcased their catchy hooks, witty lyrics and infectious charisma. Popular songs like Bull Breed, Motels, and Going Kokomo had the crowd won over, while new track Sofa King took things to new heights. Closing the set with Razor Teeth, Kool Aid and Oysters in my Pocket, Royel Otis proved themselves a worthy support act and won over some new fans in the process. 

alt-J took to the stage at Northcote Theatre, packed with eager fans ready to relive the magic of An Awesome Wave. With the lights dimmed, the crowd cheered as alt-J members Joe Newman, Gus Unger-Hamilton and Thom Sonny Green walked onstage and launched straight into Intro and Interlude I; setting the tone for the album and the evening. The band then proceeded to play every single track from An Awesome Wave, in order, while the audience listened to the album live with incredible intensity and emotion. The band, flawless in their execution, recreated the intricate and layered arrangements of their songs, using a variety of instruments and effects to create their signature sound.  

The crowd, mesmerised and in a trance, hung on every word and sang along with every hook. Highlights from the album included the sultryTessellate; their obsession-driven anthem Breezeblocks; Something Good, a melancholic and uplifting song about hope; Matilda, a tender and haunting tribute to the movie Leon; Fitzpleasure, a dark and explosive song about violence; Bloodflood, a chilling and atmospheric song about fear; and the beautifully written Taro. The album truly has something for everyone and we were in awe throughout the concert at how incredible it was to witness in its entirety. 

As the band performed Hand-Made, the last track from the (deluxe) album, the band took the time to thank the crowd for their support and let them quietly know the evening was not over just yet. Performing songs from their latest album as well as hits from their full catalogue, alt-J worked their way through Chicago, Deadcrush, U&ME (inspired by Joe's experience at Coburg Velodrome), and The Gospel of John Hurt. Closing out the main part of the set with crowd-favourites Every Other Freckle and In Cold Blood, the band soon returned to deliver even more magic with an encore of Hard Drive Gold and Left Hand Free. 

alt-J delivered an unforgettable show that honoured their debut album and showcased all of their evolutions as a band. It was an awesome wave indeed. 

The 1975 are no strangers to Melbourne, and returned triumphantly to our city to perform their At Their Very Best tour; bringing along with them a greatest hits setlist covering all of their albums, and delivering on every fan's hopes and dreams. 

The evening commenced with support from Wallice, the 25-year-old Los Angeles singer-songwriter who almost stole the show with her indie-pop hits. Opening with a bang, Wallice went straight into popular tracks 90's American Superstar and Little League. Unreleased track Disappear is a taste for things to come, while a stadium-wide shout-out to anyone named Michael introduced her track aptly named Hey Michael. 

Her first-ever release, Punching Bag, was performed acoustically, and track Off the Rails went absolutely off the rails with the crowd immersed in the world Wallice had created. Latest release Best Friend, which only came out just last week, was met with great enthusiasm from the sold-out crowd. Our favourite moment from the set was Wallice's personal favourite song Funeral, which had the audience swaying along to the catchy bop. Leaving the crowd wanting more, Wallice finished her set on a high with her infectious hit 23 - leaving a lasting impression on everyone in attendance. We can't wait to see what 2023 has in store for Wallice. 

The 1975's At Their Very Best Tour was an absolute spectacle from start to finish. The concert began with a behind-the-scenes glimpse of the band, hanging out, singing and messing around. Vocalist Matt Healy took us through the back alleys of Rod Laver Arena, telling the audience they want the show to be 'as real as possible'. As the lights dimmed, the energy of the concert was palpable. A simple 'good evening' from Healy was enough to trigger the screams of thousands of adoring fans, as he launched into opening track Be My Mistake, which he performed solo. Taking time to describe the show ahead, Healy tells the audience that the show is about 'exploring the complex nature of being a man, being famous for being obnoxious' and that the show was split into two halves - a call for something sincere, and direct. 

The full band joined Healy on stage to launch straight into tracks from their latest album Being Funny in a Foreign Language, including Looking for Somebody (to Love), Happiness, and Oh Caroline, with classic UGH! also thrown into the mix. When finally introducing the band, Healy simply stated, 'ladies and gentlemen, we are Manchester's sexiest band, The 1975'. What followed included the upbeat and groovy Tonight (I Wish I Was Your Boy), the emotionally charged I Couldn't Be More in Love, and the infectious hit If You're Too Shy (Let Me Know). The crowd was immediately swept up in the energy and enthusiasm of the band, with Healy's charismatic stage presence and vocals driving the performance. 

Healy regularly expressed his love for Melbourne as a city and a place he called home for the first two years of his life. Clearly happy to be back in Australia, the banter was playful and engaging, stating 'this is The 1975 - live with your own eyes', telling the crowd, 'Melbourne is doing it right'. Extremely self-aware of his reputation, Healy talks about why he's not on the internet anymore and how he wants his art to do the talking. Hand on flask, cigarette in mouth, the band continue with I'm In Love With You, fallingforyou and everyone's favourite new track About You. Throwback track Robbers had everyone on their feet, singing and dancing, while She's American was a standout; its upbeat and catchy tune perfectly paired with a remarkable saxophone solo. 

Somebody Else took the energy to another level, and saw the crowd emotionally singing along to every word. Each night the setlist has a few tracks that change in the setlist and on night one in Melbourne we were fortunate enough to hear new track When We Are Together - which was beautiful. The biggest sing-a-long of the night was for It's Not Living (If It's Not With You), and an acoustic rendition of Paris was captivating and raw. Crowd favourite Love It If We Made It saw Healy retire to the couch onstage for a sit-down and a smoke, and a fan request saw the band perform the first verse of Guys. 

As the show came to a close, I Always Wanna Die (Sometimes), The Sound, and Sex had the crowd in a frenzy, with Healy asking the audience, 'who remembers 2013? Feels like another life'. Ending on Give Yourself a Try, the humble musicians from Manchester thanked the audience for their love and support. 'Ladies and Gentlemen, please give it up for the world's best band - The 1975,' they declared, leaving the crowd on a high that would last long after the concert ended.

Photo Credit: Images have been supplied.

After their Australian reunion tour was postponed not once, but twice, the legendary My Chemical Romance returned to Melbourne after 11 years for the first of two stadium shows at Rod Laver Arena. Packing out the stadium across both nights, thousands of fans surged into the venue with a mix of those reliving their teenage years as well as a group of younger fans excited to see the band for the very first time. 

Joining MCR in Australia as the support act was another band reliving their heyday; Jimmy Eat World. A big majority of millennials grew up alongside these two bands, whose music and movements paved the way for so many emerging musicians in the alternative scene. MCR's disbanding in 2013 shocked a whole generation - the reunion tour was our saving grace with the shows finally coming to our shores after three years of anticipation. Throwing on our skinny jeans (which some of us never took off) and a black t-shirt (as is tradition), we were all in for a night filled with nostalgia, in what would chalk up to be one of our favourite shows of the year so far.

Arizona's finest Jimmy Eat World were tasked with support duties for the night, with frontman Jim Adkin and the band asked to come out to Australia for the original dates three years ago by their close mates My Chemical Romance. Fast-forward to the rescheduled tour dates, Jimmy Eat World lived up to their promises to come to Australia as an extra special treat for audiences to enjoy. A headliner in their own right, Jimmy Eat World have been touring Melbourne every few years since 2001, and with every seat in the stadium filled before the band came on stage, we knew just how special the night was about to be. 

Opening with the pounding beats of Futures and Pain, it wasn't long before the whole crowd was on their feet dancing and screaming to Sweetness - one of the catchiest songs we know and love. Frontman Jim Adkin asks the audience, 'Are you ready for My Chemical Romance?' as he tells the crowd just how much the band means to them, both as musicians and close friends. Performing All the Way (Stay) from Surviving and Big Casino from Chase This Light, the band took a moment to take it all in. 'This is one of the biggest shows we've done here. This is one of my favourite places to come. Not a whole lot wrong in the world right now', as they launch into Futures hits 23 and Just Tonight. 

The support slot contained a great number of Jimmy Eat World hits including our favourites Hear You Me, A Praise Chorus and Bleed American. With a great mix from albums Futures and Bleed American to satisfy their dedicated fanbase, the set closed with a stadium-wide singalong of The Middle. With every great support band, you are always left wanting more,  and while the band brought everything to their set, we hope they can return to Melbourne and Australia again soon. 

While the stage crew starts to clear away Jimmy Eat World’s gear, everyone becomes transfixed on MCR’s set starting to take shape, along with a vacuum-armed roadie dancing onstage to Ginuwine’s Pony. Ten minutes before they’re due to come on, the stage begins to hum and buzz, flashing with red and white light. This gets louder and louder until the audience catches a glimpse of the band sneaking onto the stage - which triggers a crescendo of screams. The stage goes quiet, and the opening notes to My Chemical Romance’s first new song since 2014, The Foundations of Decay, are played masterfully by lead guitarist Ray Toro. Gerard Way's vocals ring out through the smoke, as the song reaches its climax and the backdrop falls, revealing an apocalyptic wasteland and Way, who is wearing a power suit, complete with a pencil skirt, stockings, heels and black latex gloves. With every night of the tour having a different setlist, guessing what's up next is a game we play among ourselves. The Black Parade's This is How I Disappear is up next and is quickly followed up by the unreleased Everybody Hates the Eagles, which quickens the pace of the mosh pit that is starting to form in the middle of GA. 

The band next launch into one of our personal faves Boy Division, from their 2012/13 compilation album Conventional Weapons, which goes absolutely crazy. The manic Give 'Em Hell, Kid from second album Three Cheers for Sweet Revenge sees Way screaming along with rhythm guitarist Frank Iero, before Way finally addresses the audience for the first time, thanking 'the shit out of Jimmy Eat World' and acknowledging the last 'wild fucking three years'. The mood changes for The Ghost of You, with Way telling the crowd 'I like to see lights for this one, but it's a choose your own adventure' - to which the audience responds with a sea of phone lights raised in the air. Danger Days singles Planetary (GO!) and DESTROYA are one of many set highlights that night and are made so much better by the view of the crowd bouncing along while illuminated by the stage lights.  

Dedicating the next song to Way's daughter, 'the coolest fucking person in the world’, hit single Teenagers is up next, and pulls all those seated to their feet. Backing it up with I'm Not Okay (I Promise) and a throwback to the early days with Our Lady of Sorrows, the band showcased a lap of honour with a setlist covering their greatest hits. Just when you think it can't get any better, the band has everyone singing to Na Na Na (Na Na Na Na Na Na Na Na Na) and has everyone in tears in the front row when the opening note of Welcome to the Black Parade is played. 

The night is still young as MCR as the band tears through House of Wolves, Conventional Weapons track The World Is Ugly and one of our favourite Three Cheers songs It's Not a Fashion Statement, It's a Fucking Deathwish. Closing out the main part of the set, the climax and peak of the set come from Famous Last Words and The Black Parade masterpiece Mama which has the stadium erupting in applause as the band wave goodbye (for now). Returning to the stage after crowd chants of 'MCR', Way tells the audience 'you're so fucking cool' before they begin to play their first single from 2002, Vampires Will Never Hurt You. Closing out with mega-hit Helena, we participated in one of the biggest and loudest sing-a-longs we've ever heard. 

For some punters, this was a show they'd been waiting their entire lives for, while for others, this was another tour date they had flown across the country (or world) for. Regardless of whether an old or new fan and all the years it had been since My Chemical Romance released their first album, it was clear to see that the band still resonate so strongly after all these years. The messages and safe spaces they have created and built for such a strong fan base are so undeniable, and will still impact generations to come. A perfect throwback night to our emo days, My Chemical Romance are well and truly back and here to stay. Whatever the case, it's definitely not a phase.

Years in the making, it was finally time for international superstar Lorde to return to the Sidney Myer Music Bowl for her long-awaited Solar Power Tour. Last in Melbourne to perform back in November 2017, the New Zealand pop star and onion ring enthusiast brought her powerful vocals and dynamic stage presence to our city for two massive shows, after taking the album on a world tour across 2022-2023. Having caught the tour in Barcelona and Glastonbury, our team were incredibly excited to see Lorde bring the tour to our hometown. 

Making our way to the bowl, there was a line as far as the eye could see, waiting for doors to open. Before long, the crowds had flooded through and settled in for what was about to be the most chilled night. After Aunty Di Kerr delivered the Welcome to Country, it was time for MUNA to make their Melbourne debut. Taking the world by storm with their catchy pop hooks and energetic live performance, the American indie-pop trio consisting of Katie Gavin, Naomi McPherson and Josette Maskin belted out 30-minutes of bangers, covering themes of mental health, queer identity, breakups and relationships. From first track What I Want, the crowd were up and dancing, both at the front of the Bowl all the way back to the end of the lawn. The band played a range of songs from their three albums, About U, Saves The World and their latest self-titled album MUNA - highly recommended for fans of CHVRCHES and HAIM. 

Their set had everything from high-energy hits like Number One Fan and Stayaway through to Taken - a country song about being really fucking messy. Lead vocalist Katie Gavin called out the crowd saying, ‘It’s really great to see everyone getting up out of their seats for the support band’ before launching into Home by Now and Anything but Me - both highlighted as break-up songs as well as about following your truth. Dedicating I Know a Place to queer and trans people, growing up hoping for a place to express themselves, the set concluded with the band’s most popular song Silk Chiffon - a collaboration with indie darling Phoebe Bridgers. In terms of support slots, MUNA nailed the brief and had everyone warmed up and ready to dance the night away. 

Decked out in a tailored suit, Lorde took to the stage, opening with Leader of a New Regime, while performing in shadow to the audience. The song finishes, the lights raise, and we see that Lorde's set up includes a massive sundial in the centre of the stage, as well as a pastel-suited band, Lorde's entrance was met with deafening screams from the crowds. This only grew louder as she wasted no time getting stuck into Homemade Dynamite, from her second album Melodrama. Continuing to take us back to her roots, Lorde's single Buzzcut Season from her debut album Pure Heroine goes absolutely crazy; and accompanied by her iconic dancing, as well as the Moomba fireworks going off behind the bowl, this only made this performance even more special.

Taking a break from the opening of her set, Lorde addresses Naarm for the first time, with a 'hello and wominjeka to the Solar Power tour!' With it thankfully being labour day weekend, we're told to continue with our long weekend vibes, and to enjoy the show. Switching up the vibe, we're asked 'are you ready to cry?', before Stoned at the Nail Salon starts the audience into a gentle sway. The chill vibes carry on for tracks Fallen Fruit and The Path - despite there being a costume change, signalling the beginning of the set's second act. The stage comes to life during California, where we see the massive sundial on stage rotate, while Lorde dodges and weaves around it, before we're once again treated to an older song. Telling the audience that she's been 'dancing to this [song] for 10 years', Lorde begins singing the nostalgia-inducing Ribs, which the audience screams along every word to. It's a standout moment in the show, and the track's breakdown has the crowds in a frenzy as we all dance along.

Reeling from the massive serotonin boost we've just had, Lorde brings the audience back down to earth to discuss body language, and the importance of us all being together and releasing feelings. We're invited to feel anything and everything in the breakdown of the next song, which just so happens to be Hard Feelings. Diss track Dominoes is a fun moment in the set, with Lorde pausing mid-song to tell us 'true story' - which is met with a rumble of laughter from the audience. Keeping it real with us, Lorde opens up about her prior stage fright that stopped her from exploring the amazing countries she'd visited on tour. It's an incredibly raw moment for the musician, but she thanks us all for our time and for being with her on a Friday night. This leads us into Liability, which brings some of us to tears as we sing along. Despite not visiting Melbourne for five years, we're all happy to hear she made up for lost time, and got to see our beautiful city.

Fun track Secrets From a Girl (Who's Seen It All) from Solar Power serves as a love letter to her younger self, and brings the second act of the set to a close; just before we're all due to step back in time for the hits that made the artist. After another quick costume change, the opening synth of Tennis Court rings out, and the air is filled with cheering, as Lorde runs across the stage - her energy seemingly endless. The party keeps on going with the high-powered Sober and Supercut, which are absolutely faultless, before we're asked 'do you wanna go somewhere with me?' Perfect Places is the answer to this question, and is easily one of our favourite songs live.

Lorde takes a quick break to explain the story behind Solar Power; getting 'charged' in the sun, and feeling refreshed and like your best self. The title track goes off without a hitch, and it's the build-up to the chorus that hypes everyone up - a feeling that is only intensified for the next song, Green Light. The bowl is a sea of movement at this point, and the stage is awash with flashing lights. Bringing us all back to a chill state, Solar Power's closing track Oceanic Feeling brings the set to a strong close, before their much-anticipated encore. Kicking off her encore with her debut single that started it all, both locally and internationally, Royals symbolises how far the young artist has come. At this point in the set, it's almost hard to hear Lorde singing over the audience, which only continues for her closing track, Team. Encouraging us all to 'go fucking crazy', she runs a victory lap along the front barricade during the song, before finishing with a final 'thank you and good night!' 

Few have experienced the critical acclaim that Lorde’s debut album Pure Heroine had - with her distinct vocal style launching her straight to the top. While these older songs continue to shine through in the live sets, her newer tracks from Solar Power only showcase the artist's versatility, and her ability to go with the flow and put out yet another fun record. It's an album full of self-love and healing, and you can't help but feel happy when listening to it. After an awesome performance, it's easy to say if you weren't a massive Lorde fan then, you would certainly be a true believer now.

Photo Credit: Valerie Lee

Last on our shores in 2019, The Kooks had a triumphant return to Festival Hall for their Inside In / Inside Out 15th Anniversary tour. A nostalgic night of throwbacks and hits; the audience young and old were dancing and singing to every word, shouting at the top of their lungs to their favourite tunes. 

The night began with Illawarra band The Vanns who were the perfect choice as a support - described by others as 'four mates playing their instruments loud and live'. Lead vocalist Jimmy Vann in tow with Cameron Little, Tom Switlek and Andrew Banovich showcased the best of Australian rock and roll, performing all of their hits, as well as a bonus Like A Version cover. Highlights from the set included opening track Keep My Cool, the guitar solo in Mother, our favourite Feels Good Now, their Bon Iver cover of Hey, Ma, and final track Fake Friends. 

Before long, it was time for the English indie-rockers from Brighton to take the stage. The Kooks' set began with Luke Pritchard on stage performing a solo acoustic rendition of Seaside, before the band including Hugh Harris, Alexis Nunez and touring musician Jonathan Harvey joined to launch into an array of hits from their debut album; See the World, Sofa Song, Ooh La, Eddie's Gun, and She Moves in Her Own Way. Throughout these opening tracks, the band constantly exclaimed 'It's amazing to be back'. 

The next portion of the set included two tracks from Listen ,with Bad Habit and Sweet Emotion, before performing some tracks from their latest album with Modern Days, Connection, and Beautiful World with Shine On also thrown into the mix. Hugh took the opportunity to tell the crowd he was 'feeling fucking awesome man, we're home', while Luke dedicated Beautiful World to his boy Julian; missing him on the other side of the world. 

The last section of the set finished strong, with a mix from all of their albums new and old. Jackie Big Tits, Cold Heart, and Closer lead to the crowd being told to go crazy for Always Where I Need To Be, Do You Wanna, before closing on Junk of the Heart (Happy). While the audience waited for The Kooks to return for an encore, murmurs in the crowd were heard guessing what tracks were left in the already incredible set. As they returned to the stage, the band told the audience 'We've had quite a journey as a band - always brings me back here'; performing crowd favourite Matchbox, a song for the lovers with No Pressure, and finishing the performance with Naïve. 

As the band announced 'I wish we were staying here for the week and playing every night', we felt the feeling was mutual. The band, in as great a form as ever, left the stage, and we now wait again for their eventual return. 

Returning to Melbourne once again, was English indie-poppers Florence + The Machine, who played at an absolutely packed-out Rod Laver Arena. Making our way to the venue, we knew by the hundreds of flowing outfits and flower crowns that we were headed in the right direction and that tonight's audience would absolutely make the show. With vocalist Florence Welsh and her band in full swing, their performance was a celebration of life; with plenty of whimsy and theatrics thrown in for good measure. 

Supporting Florence was Brooklyn native singer-songwriter King Princess, better known as Mikaela Straus, who brought her own brand of pop to the huge crowds that had already arrived at the arena. Playing to easily one of the biggest crowds we've seen arrive for support, King Princess tore up the stage with band in tow; bringing high-octane energy to her music. Singles Little Bother and Cursed from her most recent album Hold On Baby opened her set, and set the mood for the next 45 minutes to come. With her effortless cool, Straus reminded us that it'd been four years since being in Australia, before hyping everyone up for her queer anthem Pussy is God, which went absolutely off. Giving us some juxtaposition with a 'sad lesbian song', Change the Locks and new single The Bend were up next, and provided a mellow moment in the set, while hits Talia and 1950 signalled that our time with King Princess was coming to an end. Asking us to rock out for her last song, Let it Die ended her performance on a massive high, and has us anticipating the next time we'll see King Princess back in our country.

Before long, it was time for Florence + The Machine to take to the stage. With a backdrop of candelabras and melted wax, Welch waltzes onstage to the opening clapping track of Heaven Is Here. Pounding her fist in the air, she is a flurry of dark lace, red hair, and an outburst of energy. It's easily one of the most commanding openers to a show, and has the audience captivated from the get-go. The first track and single King from their latest album, Dance Fever, is up next, and has the audience swaying and singing along, which only gets crazier by the time Ship to Wreck rolls around.

With the audience well and truly warmed up by this point, Welch showed no signs of stopping as she ran across the stage in leaps and bounds to one of our favourite songs off the new album, Free. Showing off her impressive technical skills in the intro to newer track Daffodil, we're later greeted by Welch and the band, who welcome any first-timers to a Florence show (and in some cases, 46th-timers). The audience are then told to put away their phones and be in the moment, as we're told is tradition for the next song, Dog Days Are Over. Everyone is on their feet and dancing along at this point, going absolutely crazy for the band's classic song. We're given a breather during next song Girls Against God, before Welch steps down into the barricade to sing the opening verse of Dream Girl Evil to a fan while holding them. With a sea of devoted fans' hands reaching out to her, Welch prances along the front of the stage to give everyone a chance with her for the heavy-hitting Big God, off her fourth album, High as Hope, which had some in tears along the front row.

The supercharged What Kind of Man saw a sea of fists raised in the air along with the thumping drumbeats, while Florence dedicated newer track The Bomb to supporting artist King Princess, as her favourite song. The band's cover of Candi Staton's You Got the Love pulled everyone from their seats, and up into a dance along, while Welch kept the audience on their toes for Choreomania; as she ran through the crowd, who all tried to catch a look at her. Singles Kiss With a Fist and Cosmic Love from the band's debut album Lungs were set highlights - reminding us all of where they started, and how far they'd come over the years. The band truly shone during Cosmic Love, with the beating drums offset by delicate harp notes and backing vocals. Switching up the pace, we're told to prepare for a resurrection of dance (especially after the last couple of years we've all had), as My Love goes off without a hitch. The spoken word Restraint draws the set to a close (for now), and brings the Dance Fever part of the set full circle.

Returning to the stage for their encore, Welch thanks everyone for being the most incredible crowd, before she introduces the next song, Never Let Me Go, which she claims hasn't been played on tour for 10 years. Believing now is the best time to revive it, the audience shows their appreciation as they all sing along, and gently sway throughout the performance. Classic Florence + The Machine single Shake It Out only drives us all wilder, and keen to keep the good vibes going. Calling for human sacrifices for the closing song, Welch draws from earlier comments about their dedicated fans, and the fact that the band may just be a front for a cult. Once there are plenty of people up on shoulders, there are smiles all round as Rabbit Heart (Raise It Up) is played. The audience is truly mesmerised and in a state of euphoria - a feeling that doesn't leave us for the rest of the night. Florence + The Machine have never been short of doting fans, and based on their performance that night, it was clear that their almost 15-year career can only go up from here. 

Photo Credit: Jonathan White

Rocketman takes us on one last journey to the moon. 

Elton John has returned to Melbourne for the long-awaited continuation of his encore performances of his Farewell Yellow Brick Road tour; showcasing the spectacle that is his incredible 50-year career. Commencing the tour back in September 2018, the 2.5 hour masterpiece has everything you could ever hope for in a fitting send-off for one of, if not the most, successful male solo artist of all time. The bittersweet performance marked Elton’s 51st show in Melbourne and 56th in Victoria - performing every hit imaginable back-to-back as we said goodbye and marvelled at his well-deserved final lap of honour in our hometown. Walking up the steps of the yellow brick road at AAMI Park, we were both honoured and privileged to witness Sir Elton John in all his glory, backed by his fabulously talented band. 

On a perfect Melbourne evening, the show began at 7:30 pm sharp. There was no support artist, no fanfare for his arrival, just Elton and the band walking onto the stage in broad daylight and getting straight into it with Bennie and the Jets and Philadelphia Freedom. As Elton first addresses the sold-out crowd, he exclaims ‘Good evening Melbourne. I never thought I was coming back but here we are - we are gonna have the best time possible tonight’. Dressed in an elegant tailcoat designed by Gucci’s creative director Alessandro Michele, Elton is waving to the audience, smile beaming as he fires up the crowd in between each song. 

Elton takes time in-between songs to tell stories about his career and in particular, the moments that he believes to be his personal highlights. The first of these stories is about his relationship with Aretha Franklin, who covered his 1970s hit Border Song from his self-titled second album Elton John. With tales of fond memories of the ‘queen of soul’, Elton is thankful to have met, sung, played and recorded with her, and most importantly, had the chance to hang out with her. Her last ever performance when she was unwell was for the Elton John AIDS Foundation, and he wanted to take the chance to dedicate this song to her long-lasting and incredible talent. 

The best part of attending an Elton John gig is that every song is considered a classic - so there’s no time for drinks or toilet breaks as he pulls out all the stops. Tiny Dancer, Have Mercy on the Criminal and Rocket Man (I Think It’s Going to Be a Long, Long Time) are all performed early in the night - speaking volumes to the catalogue to come. While Have Mercy on the Criminal is a relatively new addition to his live set and features an amazing solo from guitarist Davey Johnstone, the long instrumental second half of Rocket Man has the crowd off their feet and amped up for the big night ahead as things start to take off. Each song takes you on a different journey of emotions that are felt across the stadium; everyone is rocking out to Take Me to the Pilot and singing every word, as well as one of Elton’s favourite songs he’s ever written - Someone Saved My Life Tonight. While the crowd stood in awe during the electrifying Levon, they slow-danced the night away swaying to Candle in the Wind. 

Both Elton and the band depart the stage briefly, giving the audience a chance to catch their breath as we process all of the feelings from the first part of the set. Returning to the stage for Funeral for a Friend/Love Lies, we see the first costume change of the night (but not the last), as Elton wears a colourful bejewelled jacket and settles into Burn Down the Mission with some on-screen flame effects as things start to heat up. We sing and dance along to Sad Songs (Say So Much), before the mood changes ‘for the lovers in the audience’ as Elton performs the most heartfelt song of the night with Sorry Seems to Be the Hardest Word. At this stage of the night, Elton decides to introduce the talented performers who he shares the stage with and with whom he is fortunate to work alongside. His speech was incredibly humbling, as he tells the Melbourne audience that ‘all his musicians give 150%’ and ‘this band are my favourite - so much fun because they kick arse so well’. Elton introduces John Mahon on percussion and vocals, keyboard wizard Kim Bullard, bass guitar and vocals Matt Bissonette and on drums and vocals, Nigel Olson. There’s a special shout out to musical director, guitarist and vocalist Davey Johnstone who is responsible for organising the band’s rehearsals so that Elton doesn’t have to, and an extra special mention to world-renowned percussionist Ray Cooper - hands down the most animated percussionist we’ve seen to date. 

As Elton continues to speak about the important people in his career and those who are responsible for his success in Australia over the years, Elton makes mention of one man who has changed his life - Molly Meldrum - expressing, ‘Thank you so much, I love you’. Before performing the next track, Don’t Let The Sun Go Down On Me, Elton makes a final speech about some of the tragic losses in the world recently, and dedicates the next song to both Jeff Beck who he described as ‘the best guitarist of all - he could play anything’ and Lisa Marie Presley who Elton knew since she was 6 - dedicating the song to both these souls who have touched his life. Launching into The Bitch is Back, we see a man storm the stage to get up close and personal with Elton. Before we know it, Molly Meldrum is standing side-by-side with his best mate Elton, laughing, singing, pretending to play the piano - even taking time to moon the crowd. As the song concludes, we see the pair hug and Molly gives Elton his best and biggest sloppy kiss in front of the entire audience. The crowd cheers and does not stop cheering as the set begins to peak with I’m Still Standing as a slideshow of Elton’s life and pop culture references are displayed across the screens. Ramping up right near the end of the set, Crocodile Rock and Saturday Night’s Alright for Fighting have every single person on their feet, not just singing but yelling out the words at the top of their lungs. As a confetti cannon blasts at the peak of the song, the band depart one final time before coming back for the encore. 

The whole band’s performance appears effortless in how easy these incredible feats of performance look - the piano solos, the guitar solos - even down to playing the triangle. Everything about the live set is the perfect send-off to Elton’s lengthy and successful career. In the final moments of the night, we find ourselves questioning how to say goodbye to such a legend. Elton joins the audience for Cold Heart and thanks Australia for Pnau who have launched the single to new heights, before playing everyone’s favourite Your Song - in this instance, it was Melbourne’s song. As Elton thanks the audience for their undying support since 1971, he thanks everyone for coming along, for dressing up, for making him feel so incredibly happy. While many things are said, the thing that stuck with us the most was ‘for the love, the loyalty and the devotion, I love to play to you more than anything else’. As we conclude with Goodbye Yellow Brick Road, and Elton is seen walking down the yellow brick road and off the stage, we begin to appreciate every moment of the special night and the magic that is Elton John. 

Photo Credit: Jonathan White

Last touring Australia in 2019, Arctic Monkeys have returned to our shores for both festival appearances and their own series of headline shows, centred around their latest release and seventh album The Car. Bringing their new critically acclaimed songs alongside their back catalogue of indie-bops, the Sheffield band delivered an indie-rock spectacular. 

Both their previous tour with Tranquility Base Hotel + Casino and their latest releases are strong departures from the high-energy indie-rock that first brought the band into the spotlight, preferring orchestral arrangements and ‘lounge pop’ which adds an extra element to their live show in an otherwise guns-blazing performance. 

Having seen the band each time they’ve journeyed to Melbourne since their 2012 performance at Festival Hall during the Suck It and See era, we couldn’t have been more excited to see Alex Turner and co performing back-to-back sold-out shows at the Sidney Myer Music Bowl for their first stand-alone headline shows of 2023. 

The night commenced with a Welcome to Country from Wurundjeri Elder Aunty Di who gave an impassioned speech to the packed crowd, which focused on the rules of Bunjil the creator around respecting the land, respecting each other, and looking after our children and future leaders. 

Supporting the lads on their tour dates in Melbourne were Mildlife, a Melbourne-based psychedelic jazz-fusion group, who performed tracks from their two albums Phase and Automatic. Fresh off touring around the world, the four-piece band brought the funk with a fun blend of trippy vocals, instrumental solos, strong synth beats and ripping multi-neck guitar riffs. Our favourite tracks from their set included Zwango Zip, Automatic and The Magnificent Moon.  

Before long, it was time for the Arctic Monkeys to take flight. Wearing his trademark sunglasses, Turner has an almost immediate commanding presence as he rolls into new track Sculptures of Anything Goes as a slow introduction, before launching immediately into high energy tracks Brianstorm and AM fave Snap Out Of It. The stripped-back set design allowed for all the focus to be placed on the band and frontman Alex Turner, and the minimalist production pulls attention to every word that is carefully and deliberately enunciated in each song. 

Addressing the crowd for the first time in the evening, we hear Turner exclaim, ‘Good evening, everybody’ as he wastes no time in moving straight into Crying Lightning, Don’t Sit Down ‘Cause I’ve Moved Your Chair, and Why’d You Only Call Me When You’re High? – all of which involved elevated levels of crowd participation, singing and dancing. 

The brilliance of Arctic Monkeys' live performance comes from the strength of each standalone album – performing an equal amount of hits from their latest The Car and Tranquility Base Hotel + Casino, older favourites Humbug and Favourite Worst Nightmare and the career-defining AM. Playing Four Out of Five, Arabella, Potion Approaching, and The Car in the middle of the set had something for everyone, and there was never a lacklustre moment. 

Crowd participation at a Monkeys gig is mandatory; from the lights of every mobile during Cornerstone, to the crowd-wide sing-a-longs during Do I Wanna Know? Throughout the night, Turner commented on the vibe with ‘It’s really a party atmosphere’ and ‘Enjoying ourselves, are we?’ during Tranquility Base Hotel + Casino track One Point Perspective. 

The crowd went wild for Teddy Picker, with Turner stating ‘Another excellent moment’ before going straight into I Bet That You Look Good on the Dancefloor – which received the wild reception it deserves. Closing out the set with Pretty Visitors, Do Me a Favour and Body Paint, we were told ‘it’s been a really good time, thank you for that.’ 

As we approached the end of the night and the band returned for their encore, Arctic Monkeys led into There’d Better Be a Mirrorball – our favourite from their latest album, as we took note of the large disco ball hung high above the stage. Closing out with R U Mine? with the sold-out crowd singing along without missing a beat, the set’s final track 505 (with a new arrangement) was performed as we partied the night away. With a kiss and a wave goodbye, that was that, and the Monkeys departed. 

You’d better believe that we will be heading out to see their performance again the following night, and appreciate Arctic Monkeys providing us with the perfect start to 2023. 

Tour Details 

All details of the Frontier Touring East Coast Outdoor Headline Shows for Arctic Monkeys can be found here. 

Photo Credit: Valerie Lee

Iconic British singer Robbie Williams is here in Melbourne bringing his XXV Tour to the shores of Australia and New Zealand. Mesmerising fans with a spectacular blend of nostalgia and contemporary flair, we visited AAMI Park to celebrate 25 years of his solo career; partying the night away to his greatest hits and fan favourites, as well as a few special covers. The evening of entertainment, tailored to showcase the evolution of his music and the art of his storytelling, took us through an incredible and expansive setlist one can only dream of. 

First up on the main stage were Lufthaus; a joint venture musical collab between Robbie Williams and his long-term musical collaborators Tim Metcalfe and Flynn Francis. The duo performing sans Williams, opened their 55th stadium show to celebrate their first show in their hometown of Melbourne, and were clearly happy to be home. The party vibes were high throughout their set, as Metcalfe and Francis performed catchy tunes like opening song Spirit The Ghost To Open, Alcohol and club track Ringo. Our favourite song of the set was their big hit Sunlight, as the crowd were entranced by their indie-electro essence. 

Next up was Gaz Coombes, the renowned lead vocalist of Supergrass. Taking the spotlight as the second support act, we were impressed by Gaz's incredible vocals and his band's extraordinary talent. Kicking off with Salamander and an amazing saxophone solo, the set smoothly transitioned between solo tracks and Supergrass classics with Richard III and title track Turn The Car Around from his latest album. The setlist featured beloved songs including Feel Loop (Lizard Dream), and Deep Pockets, as well as some of our favourite Supergrass hits Moving and Pumping On Your Stereo. Closing out with The English Ruse, Gaz took the time to tell the audience, 'You lot are in for a treat'. 

Robbie Williams is a true showman - and the dramatic entrance featuring his backup singers, dancers and his band for opening track Hey Wow Yeah Yeah gave the audience a taste what was to come. Diving right into Let Me Entertain You, he yells, 'My name is Robbie Fucking Williams, and this is my band' as the screams of his adoring fans almost drown out the mic. Robbie's multifaceted talents as a singer, dancer and charismatic showman shine through for the entirety of the spectacular event. He spends a lot of time talking to the audience, recounting humourous and heartfelt stories from his career - from calling himself a shrivelled Harry Styles, to joking about loving his audience individually in the 90's, Robbie is all smiles throughout Land of 1000 Dances and Strong. His rapport with the audience is undeniable - he's doing this for them - as he connects and forms a lifetime bond with 'Marc with a C'. Always self aware, he tells the crowd that he has two types of songs; 1. I'm Robbie Williams and I'm fucking amazing, and 2. I'm Robbie Williams and I'm lost and depressed and lonely. Launching into song type number 2 with Come Undone, we're soon laughing again watching a music video of Do What U Like from Take That's early days, before relishing in covers of Could It Be Magic and Oasis' Don't Look Back In Anger.

Taking us on a nostalgic journey, we hear Take That song Back For Good and a performance of Love My Life, as Robbie tells the audience, 'The man you see before you today is the happiest I've ever been'. Talking about releasing a film next year before playing Better Man, throwing t-shirts to the crowd for their attention-seeking dancing during Candy and bringing up all the emotions during Feel had us all enthralled and captivated by every word. Performing hit after hit, we are treated to Kids where the backup singers give their all for an amazing performance, before we all get up on our feet to boogey to Rock DJ to close out the pre-encore set. Seeing Robbie Williams was more than just attending a concert; it was a reflection on his life to date, acting as a form of therapy and sharing his journey - with all its highs and lows. Removing all barriers, Robbie is there to put on a show and treat his audience to a wonderful night of entertainment. It was never in doubt how much Robbie adores his Australian audience, and how the feeling is mutual. 

For the encore, we see Robbie change out of his eye-catching costumes in place for an Australian cricket shirt - with the number 23 donned in memory of his best mate Shane Warne. With a cover of John Farnham's You're The Voice, the stadium gets the loudest they've been all night as they chant along every word as if it were our national anthem. Slowing things down for She's the One, Robbie serenades two ladies (while ironically singing about 'the one') as fans Charmaine and Kara swoon. Time is taken to address the tragedy from the previous week's concert, dedicating Angels to Robyn Hall who passed away at one of the Australian shows; telling the audience 'It breaks my heart' as he sends his love to Robyn and her family. As we close out the night, we hear acapella versions of Let Me Entertain You, Strong, Come Undone, Better Man, Feel and Angels - and as he leaves the stage, we marvel at what a show it has been. 

Never in a million years did we expect to be seeing one of our favourite bands, The Smashing Pumpkins, performing at such a unique venue as Kryal Castle. Touring Australia with their mini-festival The World Is A Vampire, we travelled to Ballarat to see some of Australia's best talent perform alongside Jane's Addiction and The Smashing Pumpkins, as well as some pro wrestling. 

For those not there, it's hard to describe the events that unfolded in the early afternoon of the festival. Sydney seven-piece Battlesnake were on opening duties; bringing their sci-fi prog rock and metal, dressed as priests and popes to unleash the darkness and bring out the head-banging for all in attendance. Performing tracks that included I Am The Vomit and Return of the Witch,  to the almost self-titled The Battlesnake, we couldn't get enough of the band who really brought it for 2pm in the afternoon - closing out with their 2019 masterpiece Nightmare King. 

Throughout the day, punters were able to catch the National Wrestling Alliance (NWA) take on Australia's very own Wrestling Alliance of Australia (WAOA), who were filming episodes for their show NWA Powerrr on YouTube. Having purchased the NWA in 2017, lead singer of the Pumpkins Billy Corgan delivered on his vision to bring music and wrestling together, in an extremely fun-filled festival for all. Commentators Joe Galli and Kyle Durden brought us into their world for a day of pro wrestling, along with some music on the side.  NWA wrestlers Mercurio and Silas Mason (AKA Thrillbilly) brought out a full crowd to witness the action and epic battles from Kenzie Paige and Natalia Markova. From NWA World Junior Heavyweight Champion Kerry Morton strutting around stage riling up the crowd, to the Aussie pro wrestlers Adam Brooks 'Brooksy' and The Business, all were giving it their all. From knights in shining armour, to catchphrases like 'business is good', we couldn't get enough of the NWA v WAOA, and Kryal Castle set the perfect stage for some pro wrestling action. 

Having caught Sydney alt-rockers Redhook on their debut headline shows back in 2019, the band have since become a staple in the heavy Australian music scene, known for their incredible live performances. It's crazy to think that their debut album Postcard From A Living Hell has dropped this week, having successfully toured Australia and the world off their amazing EPs and singles. Excited for the new catalogue of hits to enjoy, both at home and live in concert, the anticipation of seeing lead vocalist Emmy Mack as well as bandmates Craig Wilkinson, Alex Powys and Ned Jankovic in full force again was unrivalled. 

Chased out on to the stage in a straight jacket, Emmy and band launched straight into classics Cure 4 Psycho and Only Bones, before performing their 2022 single, and Mack's favourite, Jabberwocky. The crowd, electrified by the intensity of the band's live performance, lifted after Fake when Emmy returned to the stage in a white dress covered in blood for Dead Walk. Opening up the pit for Kamikaze, the band closed out the set with Bad Decisions - bringing out Battlesnake to throw toilet paper into the crowd. With a headline set coming up on the 20th May, we highly recommend catching Redhook on their tour with all upcoming dates found here. 

After another bout of wrestling, next up on the main stage were Amyl and the Sniffers, who are well known to most Australian audiences having performed at a long run of festivals, headline dates and important international support slots. Fronted by Amy Taylor, the Australia pub rock band blitzed through tracks from their albums Comfort to Me and the self-titled album Amyl and the Sniffers. Fitting 15 songs into a 50 minute set, the band powered through everything from openers Don't Fence Me In and Balaclava Lover Boogie to Control and Shake Ya. Group sing-a-longs were in full swing for popular songs Security, Got you, Knifey, Some Mutts (Can't Be Muzzled), while the band finished strong on Hertz. Few bands can deliver such top notch performances every single night, but Amyl are no ordinary band; more than proving themselves time and time again on the main stage. 

One of the headline acts for the festival was Jane's Addiction; the legendary American alt-rock band whose perfect blend of punk, funk, metal and psychedelic music pioneered a new sound in the late 1980s. Their influence in the music world cannot be understated, and we were thrilled to have their boundary-pushing rock at such a magical venue. Performing tracks from their most popular albums, including debut Nothing's Shocking, sophomore album Ritual de lo habitual and the self-titled album Jane's Addiction, frontman Perry Farrell brought his theatrical and provocative stage presence to Ballarat to continue the wild night ahead. 

Opening with Trip Away and Whores, the band were supported in tow with burlesque dancers to set the scene. Alongside Farrell, guitarist Josh Klinghoffer filling in for Dave Navarro, drummer Stephen Perkins and bassist Eric Avery brought the heat for Been Caught Stealing, Pigs in Zen and Ted, Just Admit It... The band, enjoying their time in Australia and at Kryal Castle continued to roll through the hits with Kettle Whistle, Ocean Size and Mountain Song, taking time to admire the sunset and acknowledging the mountains surrounding them inland. The crowd really picked up during the last tracks, with an extra loud cheer for Jane Says, as well as closing tracks Three Days and Stop! 

Before long, it was time for the headline act, The Smashing Pumpkins to return to the stage after a seven year absence from Australian shores. Walking out to rock opera track ATUM, the band strolled onto stage to perform new track Empires with a simple 'Good evening' part-way through the song to let us know they had arrived. Billy Corgan, in his trademark black robes, white face-paint and a black star on his forehead, wasted no time in launching straight into Bullet With Butterfly Wings - the song the festival was named after. 

Rolling straight into Today, the band pondered whether anyone lived at Kryal Castle, before heading into a full-crowd sing-a-long for We Only Come Out At Night - Corgan singing the line 'my friends' and pointing to the crowd meaningfully. The Smashing Pumpkins setlist came armed with bonus songs in the form of covers; the first of which being Once in a Lifetime by Talking Heads - a unique and heavy take on a classic. Performing Solara and old throwback track Eye, Billy told the crowd, 'Ladies and gentlemen, welcome to the rock show', as the band took a moment to thank the crowd and express their gratitude. 

Ava Adore from album Adore delivered Smashing Pumpkins at their finest; in tow with an incredible drum solo and perfectly timed light show. As Corgan yelled out, 'it's so fucking hot here in Australia' , we hear Spellbinding from their latest album and a cover sung by James Iha with Corgan on acoustics for Australian classic Under the Milky Way by The Church. While all of the old and new Pumpkins songs won the hearts of the crowd, the band made the time to speak to the crowd in a real way. Corgan told a story of taking his kids to 'medieval times' to watch some jousting and dedicated an acoustic version of Tonight, Tonight to all of the lovers, stoners, knights, queens, princesses, non-binary and to everyone. It was nice to see the band having such a great time on stage; talking about gleaming knights in armour, how the crowd will warm up to the wrestling and how much they loved being in Australia. 

The final portion of the festival, and the Pumpkin's headline set was a 'best of'; producing all of the hits and fan favourites. From Cherub Rock going absolutely off, to cult-classic Zero continuing to be one of our favourite songs on any of their set lists, the set had it all. Bringing the audience along for 1979, the band closed out with ATUM track Beguiled ,and the mind-melting masterpiece from Siamese Dream with Silverfuck. 

At the end of the night, it was easy to see why The World Is A Vampire tour has been so popular around the world. The Smashing Pumpkins alone would justify your ticket, and being able to witness Jane;s Addiction, incredible Aussie talent and a day of pro wrestling, we'd highly recommend getting your ticket to the rest of the tour.

All upcoming tour dates for The World Is A Vampire Festival in Australia can be found here.