Concert Review - Hozier

Hozier has returned to Melbourne, playing Sidney Myer Music Bowl, and thrilling fans who had eagerly awaited his comeback since his 2019 show at the Palais Theatre. The crowd, brimming with excitement, welcomed not only the Irish singer-songwriter but also support artist Joy Olodokun, whose soulful set captivated the crowd with songs about social anxiety, loneliness, and resilience. Her covers of Hallelujah and Rocket Man added unexpected highlights, while originals like Sunday, Taking Things For Granted, and AM I? showcased her talent.

Hozier opened the night with De Selby (Part 1) and De Selby (Part 2) from his latest album, Unreal Unearth; drawing the audience in immediately. He greeted Melbourne warmly with a ‘How you feeling this evening, Melbourne?’ and expressed his gratitude for the ‘joy and pleasure of playing with Joy’; a fitting nod to his support act. Moving into Jackie and Wilson, a fan favourite from his debut album, he kept the energy high and followed it with the powerful Nobody’s Soldier, released only a few months prior.

The evening continued with Eat Your Young, which closed with a beautiful instrumental passage showcasing the band’s skills on keys and violin. Angel of Small Death and the Codeine Scene followed, where Hozier joked, ‘I’m so glad the weather stayed sweet – you guys did that!’ He then launched into Dinner & Diatribes, before slowing things down with Francesca - a song inspired by reimagining Dante’s Inferno. 

The next stretch included It Will Come Back and Like Real People Do, with Hozier noting that both tracks were from his debut album. For I, Carrion (Icarian), he shared a humorous take on the myth of Icarus and the sensation of falling. The audience sang along during From Eden, and we enjoyed the contemplative Abstract (Psychopomp) inspired by a haunting memory. 

Hozier performed Would That I, where a fan’s proposal during the song sparked a moment of joy and congratulations across the venue. Too Sweet garnered the loudest cheers so far, followed by Almost (Sweet Music), where Hozier stopped to take a moment to introduce the band to the crowd. 

The night’s intensity continued with Movement; his powerful vocals filling the Bowl, and finally, Take Me to Church, which the crowd greeted with an overwhelming response. In a touching gesture, Hozier left both a pride and a trans flag on the mic stand, showing his solidarity with the LGBTQIA+ community.

For the encore, Hozier made his way to the edge of the lawn, where he serenaded fans with a solo performance of Cherry Wine in the open-air setting, remarking, ‘It’s pretty special to come back to Melbourne – it’s been 4-5 years. The fact that you picked tonight, and you picked this show… thank you so much.’ He followed with Unknown / Nth in an intimate moment on the lawn before making his way through the crowd. 

Returning to the main stage, he performed Nina Cried Power as a duet with Melissa McMillan; introducing the song as a tribute to those who fight for their rights, with a heartfelt call for ‘a Palestine free from occupation’ and peace in Gaza.

To finish the night, Hozier invited Joy Olodokun back to the stage for Work Song, a soulful conclusion that brought the evening full circle. Hozier’s return to Melbourne was an unforgettable mix of music, sincerity, and moments that will stay with the audience long after the night ended.

English Pop Group Take That have returned to Australia, delighting fans of nostalgia as part of their ‘This Life’ tour.  Having delighted fans across Australia in arenas and a recent Day on the Green event in South Australia, the band (or most of it) are back with just as much enthusiasm and energy as one could hope to expect. 

Recently revived pop-icon Sophie Ellis-Bextor was invited to support across this tour, and she was an excellent choice. In her own words, it’s her job to get everyone up and dancing ready for the main event – a task which she achieved with great effect. Naturally finishing with Murder on the Dancefloor to seal the deal, the highlights from Sophie’s set included her more notable hits including “Get Over You” as well as a medley of disco hits which certainly set the mood early on. Her energy and effervescent personality shone through and truly won the crowd over. 

The performance began promptly and with a bang, as Gary Barlow, Mark Owen and Howard Donald opened with Greatest Day. It was the perfect song to open the evening, setting the tone and showcasing the seasoned voices which still held up today. A few more hits with Giants and Everything Changes before we toned things down and took a chronological journey through the boy bands history. This commenced with a stripped down and beautiful version of A Million Love Songs, again – highlighting Barlow’s talent in particular. 

The band members then took us through their career, including their numerous hiatuses and reformations while reeling off hits that delighted the crowd. Take Thatvery clearly understood their assignment and fulfilled the brief. The audience (consisting of mostly 40+ year-old women were delighted throughout and relished in reminiscing days gone by. 

The band still had their moves as well. This was by no means a flat performance. Some choreography had no doubt been changed since the mid-90’s but the enthusiasm, energy and love for their craft diffused throughout the arena. Changing halfway through into bright translucent-white outfits elevated the mood even further as the dancing, singing and all-round spectacle continued. 

With more hits delighting the audience, the band paused to highlight their recent Melbourne purchases including some Richmond and Melbourne Football Club guernseys, some white Rabbit beer and of course, Tim Tams. After a quick selfie with all of the Melbourne crowd the band didn’t miss a beat as it moved onwards towards its breathtaking finale. 

Hold Up a Light was a crowd favourite, and a song that definitely translated well to an arena setting as the ‘carpet of lights’ created by phones from the crowd amplified the spectacle. This was followed by their biggest and most popular hit of the night, the iconic Back for Good. Take That ended their concert with Never Forget and Rule the World before thanking the crowd again and leaving Melbourne a little better off than when they arrived. 

Take That was a fantastic experience. The remaining band members clearly relished their opportunity to perform to such a large setting, and their constant hard work throughout four decades is evident in their highly energetic and enjoyable performances. It is yet to be seen if they will return to Australia again, but given what was witnessed in Melbourne, it doesn’t look like they are slowing down anytime soon. 

Coldplay’s Music of the Spheres Electrifies Melbourne’s Marvel Stadium on Opening Night 

Coldplay’s Music of the Spheres World Tour brought an unforgettable experience to Marvel Stadium last night; blending their extensive musical journey with stunning visuals and immersive audience interaction. The night was set for excitement with a range of support acts, as Shone delivered an intimate opening, Emmanuel Kelly brought heartfelt emotion, and Ayra Starr infused the crowd with Afrobeat energy - each performance building anticipation for the night ahead.

Before the concert officially began, Chris Martin appeared to address the crowd, sharing the unexpected news that bassist Guy Berryman would be missing the show due to a sudden illness. Martin reassured the audience that they would give their all, and that we’d all work through it together - with this being their first performance in over 20 years without all four core band members on stage. 

The show opened with Higher Power, a dazzling display of synchronised LED wristbands, explosions of colourful confetti, and an electric atmosphere that set the tone for the night. The crowd’s energy soared even higher with Adventure of a Lifetime, as giant balloons bounced across the stadium and Chris joyfully exclaimed, ‘I’m so happy to see you!’

Paradise followed, with Martin giving a playful nod to Australia by singing from John Farnham’s You’re the Voice, thanking the audience for overlooking the night’s unexpected challenges. When the opening chords of The Scientist rang out, Martin took to the piano, expressing gratitude with a simple, ‘Thank you for making the effort to be here on a Wednesday.’

During Hymn for the Weekend, pyrotechnics burst into the air, adding excitement and colour. The atmosphere shifted to something more intimate as Martin brought a recently engaged couple up on stage to serenade them with Everglow, creating a touching moment that felt personal despite the vast stadium setting.

Yellow was dedicated to Martin’s father - its golden glow casting a nostalgic warmth across Marvel Stadium as fans swayed along with their LED wristbands. In a special moment labelled the ‘Melbourne version’ of WE PRAY, local artists joined Coldplay on stage, bringing a uniquely collaborative feel to the song.

The crowd erupted with joy during Something Just Like This, their massive hit with The Chainsmokers, as Chris pulled an audience member from the crowd and put an alien head on them. The surprise intensified when the alien broke into a well-rehearsed dance routine, adding an unexpected, playful twist to the performance.

My Universe, Coldplay’s collaboration with BTS, celebrated love, with Chris joking, ‘You only need to know a little Korean to understand the full meaning.’ The sea of lights from the LED wristbands was a breathtaking sight, transforming the stadium into a cosmic celebration. During A Sky Full of Stars, fans experienced a rare phone-less moment at Martin’s request, creating a sea of lights as they sang along.

The set took an intimate turn with Sparks, where drummer Will Champion stepped in on bass, honouring the song’s two-decade legacy. Martin noted, ‘This song is only good because of the bass.’ The Jumbotron Song followed, with Martin improvising lyrics based on crowd members he spotted—it was great to see him staying sharp and having fun on stage.

As the concert built toward its emotional apex, Fix You delivered a powerful and introspective moment, leaving the audience silent before erupting in collective cheers. GOOD FEELiNGS brought planets and moon-like visuals to life as Ayra Starr joined the band on stage once more, lighting up the stadium with a euphoric energy.

Finally, Feelslikeimfallinginlove brought the night to a heartfelt close. Martin thanked the crowd, ‘Thank you for being so kind to us,’ as ‘Believe in love’ flashed on the screen, leaving fans with a lingering sense of unity and joy.

Beyond the music, Coldplay’s commitment to sustainability remained a prominent theme. The concert utilised recycled LED wristbands with a leaderboard challenge encouraging fans to return them, kinetic dance floors, power-generating bikes, and biodegradable confetti. 

The Music of the Spheres app offered exclusive content and eco-conscious travel incentives, all of which underscored the band’s dedication to sustainable touring. Coldplay set a new standard for environmentally responsible concerts, inspiring the Melbourne audience to join their vision for a greener future.

Coldplay’s performance at Marvel Stadium was a captivating blend of musical mastery, sustainability, and heartfelt connection. The stadium truly became a ‘sky full of stars’, creating a night that left fans exhilarated, inspired, and connected—not only to Coldplay’s music but also to their message of unity and environmental awareness.

Photo Credit:  @jordankmunns 

The long-awaited Australian debut of American pop star Olivia Rodrigo has commenced, with her first of four sold-out shows in Melbourne as part of the Guts World Tour. With two of the biggest albums in recent history under her belt, nothing could prepare us for the sheer amount of hits in a stacked setlist. 

To say Australian audiences were excited is the understatement of the year. From the crowds camping out days in advance, to the people we remember driving around the streets screaming the lyrics to drivers license back in 2021, the crowd were more than ready for what was to come. 

Performing a generous 45-minute support slot, kiwi sensation BENEE came out to kick off the night with full band, sparkly boots and a whole lot of energy to dazzle Melbourne audiences once more. Opening with Kool and Soaked, we hear everything from catchy tune Beach Boy to one of our favourites from her 2019 EP with Glitter. 

Witnessing one of her first shows this side of the globe in 2024, we enjoyed hearing Find an Island and unreleased track Animal. Closing the set with a range of hits including, but not limited to Green Honda and Supalonely, BENEE was the perfect choice to open the night. 

The crowd’s screams came to a head when ‘GUTS’ appeared onscreen in the form of candles. Burning slowly, the visuals counted down the impending arrival of Olivia Rodrigo onstage. With the opening riffs playing out, the band ramped up the audience for opening song bad idea right? as Olivia was lifted up onto the stage - the sound of the crowds deafening at this point. As the perfect set opener, everyone was up and out of their seat for a massive singalong, which lead into ballad of a homeschooled girl - complete with high school yearbook pictures in the background.

‘How are you doing tonight Melbourne? Welcome to the guts world tour’ was met with a roaring crowd. Olivia’s wish for the night was for us all to ‘jump, scream, and sing at the top of [our] lungs’ - which we were well and truly ready for. The slow-building vampire was up next, followed closely by ballad traitor - and the crowd could not have sung any longer. Swarmed by dancers who left as quickly as they arrived, a piano emerged from the stage, swirling with fog as Olivia sat down to belt out drivers license. ‘You guys are singing so loud. Did someone break your heart or something?’ Olivia asked the audience. Continuing on with teenage dream, a song written a few days before her 19th birthday, videos of a young Olivia played in the background while the emotion built.

With dancers in tow touting mirrors, pretty isn’t pretty and love is embarrassing (complete with choreo) geared up the performance for the intimate making the bed. Slowing down the night’s vibes, Olivia gave us her all while lying on a circular platform as the audience’s phone lights swayed along in sync. As she makes her way back onto the stage in a dazzling shift dress, a moon descends from the roof, which she takes her place on. Light up stars cascaded down towards the crowd, as the moon lifts Olivia into the air, and around the stadium as she performs logical and enough for you - her personal favourite off her first album SOUR. Stopping at different areas of the arena, Olivia takes the opportunity to see which levels can scream the loudest; all while telling us ‘it’s my first time in Melbourne and I couldn’t be happier’.

Descending from the air, Olivia takes her spot back on the main stage for lacy, while her dancers perform perfectly synchronised routines around her with massive oversized bows in their hair. Stopping to call out Australian besties she spots in the crowd, she asks everyone to show love to their friends and families, and gives her personal rating on Tim Tams (10/10). Her experience of Aussie culture rolls perfectly into so american, as she trades a guitar pick for a fan’s gift - this time, a barbie version of her in a little red jumpsuit. As it turns out, bassist Moa is feeling a little left out - queue the intro to absolute ripper jealousy, jealousy.

The crowd is well and truly warmed up at this point, which makes it the perfect time for a couple of acoustic songs with guitarist Daisy to mellow out the set. Talking to the audience about her inspirations for songs, we’re given the rundown on how happier came about, before Olivia gives us a stripped back version, along with favorite crime. The dancers are back in time for the energy to ramp back up for deja vu and the grudge, before Olivia has a quick costume change into her red jumpsuit for a fiery performance of brutal. The crowds couldn’t get enough of her raw performance, which was taken to a new level with obsessed, which saw Olivia playing up with an under-stage camera for some seriously fun angles and theatrics.

Finishing off the main set was all-american birch, which increased the audience’s screams at least 120% louder. Walking off with a ‘good night Melbourne, I fucking love you!’, the stadium thundered with the sound of clapping, screaming and chants. Returning for her encore, Olivia took a moment to take in her adoring fans, before the opening riffs of good for you rang through the crowd, and started off a frenzy. Just when we thought the night couldn’t get any better, crowd-pleaser get him back! came to its climax with a shower of confetti, all while the fans yelled back every word. 

While it may have felt like only yesterday since Olivia Rodrigo’s first album came out, her Guts World Tour feels like she’s been around much longer. Her ability to switch seamlessly between high-energy anthems to intimate, raw songwriting has resonated with so many - it’s so clear to see why she has quickly risen to the top. As Olivia wrapped up the night with a heartfelt goodbye, it was clear that the artist, along with her fans, had the time of their lives. We’re sure we’ll see Olivia back on our shores in no time.

Photo Credit:  Lauri Jean / Rod Laver Arena 

Conan Gray's debut of global FOUND HEAVEN ON TOUR begins in Melbourne

Conan Gray’s much-anticipated global FOUND HEAVEN ON TOUR commenced in Melbourne with an unforgettable first night which left fans in awe. 

The evening began with an ethereal performance by Australian artist Kat Edwards. Kat's indie-pop vibe was exactly what we needed to get warmed up, with highlights including opening track Safety, an explosive cover of Chappell Roan's Casual, some unreleased gems and recent release Waiting Room. The moment was not lost on Kat, performing to the biggest crowds of her career, as the audience cheered and sang along. 

Before long, it was time for the main event as Conan Gray took to the stage. Gray’s entrance was nothing short of dramatic; emerging from the shadows as the curtain dropped to the opening notes of Fainted Love. The first of many live debuts for the evening, we were introduced to the atmospheric world of his latest album, Found Heaven. Conan exclaims, 'Welcome to the Found Heaven On Tour' with a seamless transition into Never Ending Song. 

Before launching into Wish You Were Sober, Gray took a moment to address the crowd, expressing his gratitude for their support on what he described as the biggest show of his career. The debut of Eye of the Night was marked by a further dramatic reveal as the remaining curtains drop to reveal a star-shaped lighting rig, adding a visual spectacle to the already captivating music. Fan-favourites like Killing Me and The Exit had everyone bopping along singing out to every word. 

Gray's interactions with the audience were genuine and personal. From singing happy birthday to a fan, reading signs, and even collecting a plush koala and joking about chlamydia - Conan showed his down-to-earth personality as he opened up as much in person as through his music. The set reached new emotional peaks during the next part of the set with People Watching, Family Line and an acoustic version of The Story showcasing Gray's vulnerability. From the tears he shed during these tracks to his messages of hope and the unexpected joys life can bring, the collective audience contemplates the journeys we all go through in life and it brings us closer together. 

One of Conan's biggest hits is performed as Astronomy takes over the arena, followed by Found Heaven with its official live debut as Conan performs atop a raised platform overlooking the crowd. We put our emotions on hold for a moment to have a lighter, more danceable vibe for Boys & Girls and Lonely Dancers before heading straight into Winner. Thanking the audience for the support and acknowledging holding back the tears the entire night, we hear Conan's biggest track to date Heather and receive a cheeky hint that there may or may not be an encore coming after Memories. 

Returning to the stage in a tank top that reads 'Burger Jesus', Conan closes out the set with high-energy tracks Bourgeoisieses and Maniac before closing with Alley Rose. 

If this first show is any indication, the global FOUND HEAVEN ON TOUR dates promise to be an unforgettable journey for both Gray and his fans and we cannot wait to see him again next time. 

Photo Credit: Ian Reyno

Essex rockers Nothing But Thieves have returned to Australia for round 2 of the Dead Club City World Tour. Having played to sold-out audiences across Australia less than a year ago, the band were back, playing in even bigger venues across the country, performing in Melbourne's Margaret Court Arena. 

Central Coast band The Moving Stills were invited to perform across the entire Australia tour; bringing their indie-pop rock tunes back to one of their favourite cities. The band were a great choice for the support slot as Tom, Mike, Brad and Ben warmed up the crowd and started the party alongside hits from their latest album Wabi Sabi and some fan-favourite covers. Highlights from the opener included Westside, I Got You and their Like a Version cover of Ladyhawke's My Delirium. The enthusiastic crowd went wild for final track Volcano and we readied ourselves to see Nothing But Thieves performing to their biggest headline Australian audiences yet. 

The performance began with an announcement from Dead Club City Radio welcoming the special guests Nothing But Thieves to the stage; wasting no time launching into Welcome to the DCC - the very single that had brought them to Australian shores not too long ago. Continuing the fast pace and high energy with Is Everybody Going Crazy?, things slowed down for Tomorrow Is Closed. The band found a perfect balance throughout the performance of new and old hits - made easier by just how great the new album sounds live. Screams were heard for Broken Machine, while Real Love Song stopped us in our tracks. 

Acknowledging the receptive crowd, frontman Conor Mason told us, 'First five minutes - best night of the tour hands down'. Going on to explain it's a dream to play to this many people in Melbourne, the band discussed the time they performed at Ding Dong Lounge to what felt like four people. With four albums up their sleeves, the band went back to work for City Haunts, Drawing Pins and absolute classic Sorry. Dead Club City Radio chimed back in with a promo about playing music that makes you feel alive as we listen to Do You Love Me Yet? and the band (sans Mason) performed instrumental samplers of Ce nest Rien, Gods and Number 13 - giving them time on their own to shine. 

Returning to the stage and hyping up the crowd, Conor was at his best during Unperson taking things to a whole new level, while You Know Me Too Well was introduced as a song about shagging. Taking a moment to soak it all in, we heard about the band celebrating a decade together and some good banter about bin chickens being 'pigeon dinosaurs' before we heard a throwback to their earliest song Lover, Please Stay and golden oldie Trip Switch. Flipping into Moral Panic I and II for Futureproof and Impossible, we heard about how Melbourne is the bands favourite city as they thanked the crowd for supporting them through all the changes - allowing them to write whatever they wanted with continued support. Closing track Pop the Balloon was well received as the band departed the stage briefly. 

As encores go, Nothing But Thieves were at their finest closing out the show. Oh No: He Said What? fast became the highlight of the night, while their biggest hit Amsterdam went absolutely mental. Overcome as the closing song made sense as it was one of our favourites from the new album. As the night came to a close, Mason told the audience, 'Melbourne, that was so fucking good. Honestly that might have been one of the most fun times I've ever had on stage in my entire career'. As an audience, the feeling was mutual, and we can't wait to see them again, whenever they decide to return. 

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. 

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. 

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

Playing her very first shows in Australia, US artist Gracie Abrams sold out two headline dates at the Forum - one of Melbourne's favourite venues. Delivering an emotionally charged and intimate performance that left the audience screaming for more, the young singer-songwriter, known for her honest and vulnerable lyrics, connected with the crowd through a setlist that showcased her impressive vocal range and storytelling prowess. With the Forum appearing as full as we've ever seen it, hair bows all around were as far as the eye could see, as the crowd settled in for a night of raw emotion.

Folk-pop trio Tiny Habits were on support duties; coming out on stage wearing their very own Gracie merch. Opening with track tiny things from their debut EP of the same name, the trio expressed their love for our city, promising to come back, before launching into hemenway. A set highlight was their cover of Harry Styles' Matilda, which had the audience screaming along to every word, before the three got a little vulnerable with wishes. Asking the audience if they wanted to boogie, the equally sad but upbeat pennies started drawing the set to a close. Wrapping up with a second cover, Tiny Habits ended on a high with Keane's Somewhere Only We Know - which perfectly complimented their beautifully overlaid vocals and delicate guitar work. With the audience well and truly warmed up at this point, we're keen to see where the future takes the trio.

In the lead-up to Gracie's set, the crowds wasted no time warming up their singing voices; joining in on a mass singalong, which was easily the loudest we'd heard at the Forum. The lights dim and Gracie Abrams and her band walk onstage to thundering screams, before starting off with Where Do We Go Now? and This Is What the Drugs Are For from debut album Good Riddance - all while waving to individual people in the crowd. Without a doubt, all members of the audience knew every word to every song - showing the fanbase's admiration and dedication. 

21 and I Should Hate You saw Abrams grabbing her guitar and playing along with her band, before addressing the audience. Thanking the audience for making her feel at home, Abrams took a minute to mourn the show being the second last of her Good Riddance tour, before acknowledging everyone singing a 'duet' with her. Heading over to the piano, older track Friend, I Know It Won't Work and Full Machine slowed down the pace, before the set crescendoed with Amelie. Despite her battling off sickness and having to adjust her setlist to preserve her vocals, Gracie cut no corners when it came to requests from the audience  - playing fan fave Long Sleeves.

The show was really about the fans during Difficult and Camden, as Abrams took her pick from the cameras and phones being thrust at her to snap a cheeky pic or two. Taking a moment to speak to everyone once again, tells her fans 'this song has somehow become part of the setlist because of you...you make me feel at home and calm my nerves', before moving on to the much requested In Between. The song that 'hurt to write', Best follows up, and sees the crowd shouting along to its powerful bridge. The set only goes up from here, with hits Feels Like and Mess It Up - with Abrams taking a break in between songs to try her very first Milo bar, as well as accept a bracelet from a fan.

Another request from the crowd is Better, before a shortened version of Minor, which leads into her biggest hit I Miss You, I'm Sorry; the Forum completely lit up by a sea of phones. The show has built up and up until this moment - with final track Right Now bringing the set to a a roaring close - which would've been the case if there wasn't a mic drop out. Owing to the minor technical difficulty, Gracie turns to the audience; 'this is normally the end of our show...not today'. Picking another request from a fan's sign, she leads her band into a stripped-back version of the haunting 405 - much to everyone's delight.

Based on that night's performance, it was clear that Gracie Abrams has such an intense ability to connect with her audience on such a personal level - making it one of the most intimate, resonating shows we've seen at the Forum. Going off how much Gracie said she loved our city and country, we're sure we'll see her back here sometime soon.

Photo Credit: Lauren Tepfer

After an incredible run in 2023, Noah Kahan is easily one of the biggest artists in the world right now. With plans to headline shows around the globe this year, the Vermont singer-songwriter has become a household name over the past few years. His return to Australia for the We'll Be Here Forever tour began with two packed out shows at the Sidney Myer Music Bowl. Thrown a last minute curveball with his full band stuck in the States, Noah pressed on to avoid disappointing his fans and decided to perform a solo acoustic performance in a night we will remember forever.  

The support artist for the evening was Dylan Gossett; the Austin born singer-songwriter performing his first ever shows overseas. Kicking off his international debut with the song that launched his career, we hear To Be Free followed closely by Lone Ole Cowboy - noting he has to sing about cowboys if he's from Texas. Acknowledging the whirlwind adventure he's been on the past six months, Dylan has gone from covering some of Noah's songs on YouTube to performing alongside him - with the full circle moment not lost on Gossett for a second. Performing songs such as Flip A Coin and No Better Time - the title track to his latest EP - we heard some unreleased gems and a few crowd favourites. Highlights included a song dedicated to his wife with Beneath Oak Trees, and the full crowd singing along to his biggest hit to date with Coal. Dylan was the perfect support and the artist himself was as excited as we were to finally see Noah Kahan live. 

We knew the night was going to be special when the show commenced with Noah announcing from back stage each of the band members arrivals; knowing full well that none of them had arrived in Melbourne. It was that kind of energy that he brought to the stage, as he announced to the crowd, 'It's gonna be weird as fuck' as he performed opening track All My Love. Taking a moment to properly acknowledge the situation before She Calls Me Back, Noah tells us the band (and the lights that usually flash throughout the gig) were all delayed back in the US, and that we can expect to just see his 'ugly ass' on stage tonight - as he performed Everywhere, Everything. Making jokes about his new career move, and everything from firing the band to living his best 'Ed Sheeran' lifestyle, we are played a fantastic rendition of his track Paul Revere. 

Noah has risen in fame due to his down-to-earth nature and his relatable and raw lyrics, with Growing Sideways being a great example - especially as he tells us it's about starting to be honest in therapy and seeing the positive changes in his life. We hear everything from Passenger to unreleased song Spoil, before he invites the sole member of his band who made it to Melbourne to join him on stage for Northern Attitude and a few other follow up songs. There's lots of tongue in cheek gags about the situation he finds himself in, and Noah takes more time to thank the crowd for their patience and support - telling us it's 'intimate and fun' and that he will one day return with the full band. As we hear New Perspective, he takes a minute to say he's going to remember this moment for a really, long time. 

You're Gonna Go Far and Call Your Mom bring us back to earth as we lose ourselves in the music, and the crowd chants louder than at any other show we've seen at the Bowl. With the audience singing along to every word of every song, it's Dial Drunk that stands out as a crowd favourite. Noah says to the audience, 'If I saw how many people were here, I'd piss myself' as he plays another unreleased track with Pain is Cold Water. The set closes with hits Maine, Homesick and Young Blood (written when he was 17) before closing out the night with Stick Season and an impromptu and unplanned encore with The View Between Villages - possibly our favourite of the night. 

No one knew what to expect from the evening (including Noah himself) but what eventuated was a unique, special and memorable performance from one of the biggest rising stars in music. We look forward to seeing Noah, and hopefully his band, back in Melbourne some day soon, and will cherish the moments that we got to spend with the solo artist himself. 

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

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

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

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

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

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

Returning to Australia for their first shows back in our country since 2018, English rock duo Royal Blood destroyed their set at Melbourne's Festival Hall - putting on an absolutely wild performance that left the audience buzzing. With four albums now under their belt, vocalist/bassist Mike Kerr, drummer Ben Thatcher and touring keyboardist Darren James gave their all during their 18-song performance, which left the ground shaking beneath us.

The first opener for the night was Sydney band The Buoys; whose alt-rock anthems had the audience dancing along. Set openers I Want You and Best Friend saw the four-piece rocking out onstage, visibly having the times of their lives, while the Scomo-dedicated track BDSM and new song Settle Petal went down an absolute treat. Standout single Lie to Me Again was a set highlight, which was driven home by the heavier set-closer Linda - a completely relatable song 'about a shit boss'. We're sure we'll see The Buoys soon - we expect big things from their catchy-as-anything music and incredible stage presence. Playing as the second support of the night, Perth band Psychedelic Porn Crumpets continued to thoroughly warm up the crowd with their mass of sound; consisting of layered guitar work and progressive riffs and tones. Kicking things off with Tally-Ho, the pace picked up for tracks Mundungus and Nootmare (K-I-L-L-I-n-G) Meow! - which sent the audience into a frenzy. Taking the time to wish lead guitarist Luke Parish a Happy Birthday, the lads ended their set on a high with the riff-heavy Cornflake and Hymn for a Droid.

With the crowd's energy peaking, Royal Blood made their way onto the stage to start off strong with the thundering Out of the Black; kicking off a show that punters had been waiting eagerly for. It was at the climax of the song that we realised drummer Ben Thatcher had jumped into the pit, before rejoining Mike Kerr for the song's closing bars - with the audience going crazy throughout the stunt. Seamlessly transitioning into the gritty riffs of Come on Over and Mountains at Midnight, the audience watched in awe at Kerr's seemingly effortless bass skills, before the pummelling bassline and bass drums of Boilermaker resonated through the venue and pushed the set to new heights.

Kerr addresses the audience at this point - expressing the band's delight at being back in Melbourne - before explosive hit Lights Out saw the stage swathed in red light, as the crowd screamed along with every word. The slower Shiner in the Dark and Supermodel Avalanches from 2023 EP Back to the Water Below were up next - with the latter building the pace back up for Trouble's Coming and Typhoons, one of our personal faves. The quieter Pull Me Through saw keyboardist Darren James flexing on the keys, while the roaring One Trick Pony featured a riff so powerful that we could feel it reverberating in our chests. Fan favourite Little Monster was up next, and saw the audience jumping along to each beat. With the song ending, Thatcher took his time to play an impressive drum solo which wowed the crowd, before transitioning into the opening beat of 2017 track How Did We Get So Dark? 

Newer song Tell Me When It's Too Late bridged the gap between old and new, leading into set closer Loose Change from their debut album - much to the audience's delight. With the set leaving the stage, the crowd's screams for more is deafening - especially when a few punters lead everyone into a joint chant of 'Olé, Olé, Olé'. Leaping back onstage with Psychedelic Porn Crumpets guitarist Chris Young, Royal Blood launched into the soulful Waves; seeing the audience in a gentle sway. The pace changed up once again for the jarring Ten Tonne Skeleton from their debut album, as the deafening bass and jumping punters shook the floor beneath their feet. With the show reaching its end, their biggest hit Figure It Out saw Kerr and Thatcher throwing their everything into a massive finale; leaving the crowd in awe of the incredible show they had just witnessed.

As easily one of the best sets we've seen this year, Royal Blood put on one heck of a show - solidifying their place as one of the most formidable acts in modern rock. With an awe-inspiring back catalogue, we can't wait to see what they come back to Australia with next time. We left the earplugs at home for this show - after all, this is the way Royal Blood should be listened to.

Caroline Polachek soars to new heights in her first Australian tour

Having caught some of her recent shows across Europe and the UK over the past few years, we were incredibly excited to see Caroline Polachek perform in our hometown. Bringing her avant-garde art pop to Melbourne, Caroline's shows at the Forum sold out in record time as the adoring crowd welcomed her with open arms. Witnessing her ethereal and airy vocals perform the majority of her solo discography from Pang and 2023's album Desire, I Want To Turn Into You, Caroline's first shows in our city left us in awe at just how talented she really is. 

Support for the evening was New York City artist True Blue (AKA Maya Laner). The instrumentalist, producer and songwriter was a logical choice for support; her music connecting with all of the indie pop fans in the audience. From opening track Bad Behavior, through to Airplane Mode and I Wanna Believe, True Blue (or Strewth Blue - as she wanted to be called for her Australian tour) captivated the crowds and left them wanting more. Closing out with Lucy (Club), we hope to see True Blue again soon. 

As the clock counted down, it was time for Caroline Polachek to grace the stage for night one in Melbourne. The pop star came out in a shiny red bodysuit and launched straight into Welcome To My Island - showcasing her incredible vocal range, dancing and overall stage presence. Telling the crowd she'd been thinking about Melbourne since August when the tickets went on sale (and sold out immediately), she let us know how excited she was to finally get here while performing Pretty in Possible.  Next song up, Bunny Is A Rider was one of our favourites from the latest release and had the crowd going wild - the album recently being voted the second best album of 2023 by Pitchfork. 

With a headline show debut of Dang, Caroline took things from delicate whispers to powerful, operatic heights for Sunset, as she urged the crowd to sing along. Crude Drawing of an Angel talked about non-consensual drawing, while things got emotional for Ocean of Tears and I Believe - dedicated to SOPHIE. We hear a mash up of Delete Forever by Grimes and Dido’sThank You, before the final chorus of Fly to You. Making up for lost time, Caroline tells us that she didn't get to tour Pang in Australia and wanted to throw it back for a second; performing the title track from the album, which happened to be one of our absolute favourites live. Caroline talks about crushes for Blood and Butter, and at one point we witness a goose puppet show in the audience (because ‘the arts’) during Parachute, while the band are introduced as Butterfly Net and Billions are performed. 

After asking if anyone has self-sabotaging tendencies, we launch into Caroline Shut Up, before Smoke and final track (and mega hit) So Hot You're Hurting My Feelings. As Caroline stands in awe of the crowd's love, we hear her thank True Blue one last time and dance along as we laugh at the audience members showing her an inflatable banana in the crowd. Returning for an encore of Hopedrunk Everasking - a spiritual one that really creeps up on you and highlights her full range of vocals - we close out on the night on Door. With the closing track labelled as a love song, we reminisce on what Caroline describes as 'a really special evening'. We head home thankful for being able to catch Caroline in Melbourne after all these years, and have a hint of jealously for those also attending on night two.  

In an action-packed week with concerts across Melbourne, we packed into the Gasometer in Collingwood to catch one of our absolute favourite upcomers, Manchester's emo-pop band Hot Milk. Fresh off their supporting duties earlier this week for the Foo Fighters at AAMI Park, the sold-out headline show had a large turnout for an eventful and magical evening. 

Support band Belle Haven from the North-Eastern suburbs of Melbourne were up first; bringing their high-energy emo hits to the stage. These heavy hitters fronted by David De La Hoz opened with their latest single Hard Stare, Soft Touch before leading into Times Changes Nothing EP track Nobody Likes A Hospital  and 2023 single I Can't Find The Words. The set was flawless as the crowd packed in and came early to catch these Melbourne legends. Closing the support duties with songs including Grimace, Take Your Pill and finishing on their biggest hit to date Forget Me, Belle Haven were the perfect support to get the crowd warmed up and ready to mosh. 

The tickets for Hot Milk's headline show sold out immediately and seem to have been one of the rarest items on the planet to obtain, so we knew those who had managed to get one had come to party. Disco balls at the ready, we found our favourite spot in the venue and marvelled at the open rooftop looking at the stars, as well as all of the home made costumes fans had made to support the band - a group of milk cartons with flames and a 1800-Got-Hot-Milk number rolling around the pit. We knew tonight was going to be special. Opening track WELCOME TO THE ... had the band enter the stage to a thunderous applause, before wasting no time throwing down HORROR SHOW with a simple 'open it the fuck up' from co-lead singer Hannah Mee. Jumping off platforms and diving around the crowd for BLOODSTREAM, Hot Milk's other lead vocalist Jim Shaw tells us, 'Right now we're gonna lose some brain cells, are you ready?' as the band lead into ALICE COOPER'S POOL HOUSE. 

Asking for more and more energy from the pit, we see the Gaso go 'wall to wall' for Teenage Runaways while taking time to celebrate one another and connect for I Think I Hate Myself. Jokes about circle pits running the opposite way from the UK in Australia during Bad Influence lead into debut album track ZONED OUT which is declared a no phone zone, with threats of turning up on your doorstep and calling you a dickhead. We get our wish of wanting to see a group of 'hot milks' crowd surf in the pit for OVER YOUR DEAD BODY, while the band calm things down a bit for their mega-hit BREATHING UNDERWATER - after acknowledging their recent success. With their second ever headline shows being sold out immediately and having an amazing time in Australia, the band describe their journey to date as 'a joy and absolute honour to do this'. 

The wildest times were yet to come as we're told by Han that Australians are supposed to be known as 'rowdy little bastards' - baiting the crowd into some bigger mosh pits and inviting a member of the crowd on stage to sing vocals for Candy Coated Lie$. Showing off his Hot Milk tattoo around his ankles, he absolutely nails the lyrics and gets proper into the vibe of the night jumping around the stage. Next up, Han jumps onto another fan’s shoulders and heads into the pit for PARTY ON MY DEATHBED while the room is split in two (conveniently) for Split Personality. The band close out the set describing Hot Milk as an emotion - 'no one ever feels one thing at a time' and thanking the audience for their love and energy throughout the night. Closing with Glass Spiders, the concert comes to a close as we head to the car and start pumping Hot Milk tracks all the way home. 

We know Hot Milk are going to be a big deal and we hope they'll remember to come back as soon as they can.

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