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
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.
Melbourne's iconic Sidney Myer Music Bowl played host to a night of indie rock hits, as two of the genre's heavy-hitters Bloc Party and Interpol played to a packed-out crowd. Returning to Australia for a series of huge co-headline shows, the two bands are in the middle of their tour, playing dates across the East Coast, and taking punters on a journey through their records over the years.
On supporting duties was Newcastle post-punk quintet Dust, who played a flawless set that set the tone for the night. Taking influence from international bands such as Fontaines D.C. and IDLES, Dust have put their own spin on the genre, adding experimental elements (including saxophone) which only further elevate their raw and progressive sound. Standout moments from their set included the haunting Ward 52, The Gutter, and their anxiety-ridden Joy (Guilt), which brought their incredible opening set to a close. After releasing their debut EP et cetera, etc earlier this year to rave reviews, we are excited to see their inevitable success continue.
New Yorkers Interpol were up next; walking out to a screaming audience who were eager to see the return of the band since their last shows in the country, back in 2019. Known for their moody and atmospheric sound, Interpol wasted no time immersing the audience within their signature layered soundscapes, which have remained a constant throughout their seven albums. Frontman Paul Banks' brooding vocals, coupled with the band's tight instrumentals, created a hauntingly beautiful performance, with opening track Untitled easing the crowds into what would soon become a mass singalong, which quickly lead intoC'mere and their hit The Rover.
Banks was every bit as calm and collected as you could be playing to a mass of people - with his slicked-back hair and sunglasses that stayed put all show, while bandmates Daniel Kessler on guitar and drummer Sam Fogarino thrashed about on stage. Take You On a Cruise from their second album shifted the mood, as a dazzling sea of lights swam across the music bowl, all thanks to a giant disco ball. Taking the audience through newer track Into the Night, we're swiftly taken back once again to their first album for the faster-paced Roland.
The perfectly delivered Obstacle 1 had the audience yelling along, while Rest My Chemistry also stood out as a set highlight; the two tracks obviously picked as instant crowd pleasers. It's at this point that Banks addresses the audience with an 'it's amazing to be back. Australia, it's been way too long', as well as the band's pride in sharing the stage with Bloc Party. Newer, but equally moody track Toni is up next, which gears everyone up for a crowd chant during classics No I in Threesome and Evil - the latter sending the bowl's punters into an absolute frenzy. Before we know it, Interpol's set is coming to a close with the seemingly never-ending track The New, and final song Slow Hands which gets the biggest audience reaction, and pulls everyone to their feet for one last dance.
With the audience eagerly waiting for the night's closing act Bloc Party to come on, the mood set by the night's performances was hard to deny, and the nostalgia was felt by all. In Situ from 2022's album Alpha Games kicked off the set as Kele Okereke and band who were 'heaps excited to be in Melbourne' rolled into You Should Know The Truth and the 2007 fan-favourite Hunting For Witches - as we're all told to get the party started. Rough Justice was next, before a throwback to their fourth studio album for Real Talk and Kettling - described as 'golden oldies' in comparison to their new single High Life.
A Paul Kelly Dumb Things intro lead into Song For Clay (Disappear Here) and Silent Alarm classic Banquet to really lift the mood, as we immersed ourselves in the absolute best of Bloc Party's back catalogue. The best thing about seeing Bloc Party live is the array of hits - both their most popular and well-known songs as well as some of their hidden gems from across the years. Traps, Different Drugs, Only He Can Heal Me and Blue are special treats; with them being some of the songs not performed in every set list, and the crowd truly went absolutely wild for So Here We Are. Trademark single Helicopter transported us back to the mid-2000s, jamming out on Guitar Hero, but it was our all-time fave Flux that stepped the night up a notch, as Kele screamed for the crowd to 'keep it moving'.
Modern masterpiece The Prayer was yet another set highlight - as its live adaptation sent the bowl into overdrive with its thumping drum beats and anthemic chorus. Explaining that This Modern Love is about a boy from St Kilda, Kele divulged with the audience on his fond memories of listening to Interpol, and the fact that they were the first band to take Bloc Party on tour - bringing this tour full circle. With one last rocket in their pocket, certified banger Ratchet is the song to end all sets, and saw the entire venue light up and dance along to every word, as the night sadly comes to an end.
Never did we think we'd be seeing two iconic mid-2000s indie bands back-to-back in 2023 - but their incredible catalogues over the years are proof that their unique sounds have stood the test of time after so long. With good vibes all around, and the crowd filtering out of the music bowl after such an incredible live show, it's a comforting thought that their live performances have held up through time.
For the first time ever, London band Sorry performed in Melbourne on their first headline tour down under. As fitting a venue as ever, Fitzroy's Night Cat was the perfect backdrop for the indie-rock five-piece, who pulled in a huge crowd on their Friday night in our city. With their unique blend of post-punk, grunge, and indie rock, the band demonstrated that they are a force to be reckoned with in the ever-evolving London music scene.
Opening the venue that night was local singer-songwriter Chitra, whose soulful vocals got everyone up and moving. Playing a strong set, with singles Go Easy and In My Opinion being huge highlights, Chitra's complex lyrics had something for everyone. With her incredible storytelling ability and Julia Jacklin-esque voice, the young artist's set started the night off strong, and with us excited to see what she comes out with next.
The Melbourne-based Radio Free Alice were also on supporting duties that night; taking their opener responsibilities seriously as they amped up the crowds. As energetic as ever, the audience jumped along to their feel-good tracks, including catchy singles I Gotta (Fall in Love), Paris is Gone and set closer Look What You've Done. Complete with saxophones, instrument switches and blasting drum beats - Radio Free Alice sure got the night started.l
The atmosphere in the venue was electric even before Sorry took to the stage, with a palpable sense of anticipation hanging in the air. As the first notes of As the Sun Sets rang out, it was clear that Sorry was there to deliver a night to remember. Key to the City and Snakes quickly followed, as the band set the tone for the evening with their signature blend of moody, atmospheric melodies and searing lyrics. Lead singer Asha Lorenz's haunting vocals, filled with a raw and unapologetic intensity, effortlessly carried the crowd through a rollercoaster of emotions.
The twangy Willow Tree and Screaming in the Rain's intense build-up demonstrated the North Londoners' genreless approach to their art, while their older track Cigarette Packet garnered an eruption of screams from the audience. The band, consisting of bassist Campbell Baum, drummer Lincoln Barrett, and Marco Pini on electronics, provided the perfect foundation for Lorenz and co-vocalist Louis O'Bryen's dueling guitars. Throughout the set, the intricate guitar work weaved an intricate tapestry of sound, sometimes delicate and dreamlike, and at other times crashing with a sheer force that sent the audience into a frenzy. This was evident on tracks Tell Me and Baltimore - both from their latest release Anywhere But Here - which had everyone swaying and jumping about.
Let the Lights On switched up the pace, with its jaunty guitar work and Barrett's galloping drums creating the perfect pace for the crowd to dance along to. The brutally honest Closer and sickly-sweet Perfect heralded the show's ending coming to a close, before Sorry headed offstage just before their encore. The screams of the audience dragged out until the five-piece made their way back onstage for a loaded encore consisting of their huge single Starstruck, and the currently unreleased Jive; which saw the band off with a cacophony of instruments, feedback, and the audience screaming for more. With only two albums under their belt, we're excited to see Sorry perform back in our city in the near future.
On a crisp and starry Friday evening in Melbourne, music enthusiasts and fans of all ages gathered at Northcote Theatre, to witness the sensational Angie McMahon in concert. From the moment she stepped onto the stage, it was clear that this night would be nothing short of extraordinary. Northcote Theatre, which is fast becoming one of our favourite venues, provided the perfect backdrop for Angie and friends, who put on one of the most quiet and most intimate shows that we won't be forgetting any time soon.
On support duties was 2017 Triple J Unearthed National Indigenous Winner Alice Skye, who officially played electric guitar onstage for the first time in front of a crowd. With her delicate guitar playing backed up by a captivating voice, Alice took us on multiple journeys; from living in Horsham, to songs written by her 16 year old self. Set highlights included Grow Up, Anti-Climatic, and Party Tricks - which have us excited to hear more from the rising artist.
The atmosphere in the venue was electric as Angie McMahon and her band walked onstage. The anticipation was palpable, and the moment Angie took her place in the spotlight, the room erupted in applause, cheers, and a few heartfelt screams of admiration. Starting off the show with a heartfelt Welcome to Country, and inviting the crowd to take a deep breath together, Angie set the tone for the night ahead as she kicked off the set with Fireball Whisky, our personal favourite (so far) from her upcoming album Light, Dark, Light Again, which was closely followed up by Keeping Time and new song Mother Nature.
Angie's presence on stage was magnetic; her humble demeanor contrasting beautifully with her powerful vocals and raw, emotive lyrics. The intimacy of the Northcote Theatre allowed her to establish an immediate connection with the audience, making it feel like an old friend was sharing her most personal stories. Her first single from her upcoming album, Saturn Returning, was hauntingly beautiful, and led into Fish - a huge set highlight of the night. Older track Slow Mover got a massive rise out of the audience, who sang along to every word, which later turned to yelling during the moving breakdown of Letting Go, which McMahon 'embraced mistakes' during.
McMahon's 2019 Like a Version of ABBA's Knowing Me, Knowing You was a welcome addition to the set, and had everyone up and moving along, while Soon saw the crowd easily the quietest at any sold out show. Latest single Exploding and Missing Me built up and up, with the crowd erupting at each song's peak. More new tracks followed, with Black Eye and Making It Through seeing supporting vocalists helping McMahon out - with the latter being an incredible moment in the set.
Telling the audience that encores are 'boring' (amen), and that they only had two more songs left, Angie ended on a high, complete with bird noises from the audience, and an incredible performance of If You Call and her iconic song Pasta. These final songs were a perfect culmination of the evening, leaving everyone in the theatre with a lingering sense of fulfillment and a desire to experience this extraordinary artist once again. As the night came to a close, Angie McMahon left the stage with a promise to return soon, and the audience was left yearning for more. With a show that was nothing short of exceptional, McMahon's ability to captivate and move an audience with her honest lyrics and remarkable vocal talent is a testament to her artistry.
Angie McMahon's new album Light, Dark, Light Again is due for release 27 October.
In a spellbinding and intimate evening filled with heart-felt lyrics and enchanting moments, Melbourne welcomed back the sensational Rex Orange County, to Melbourne for two big stadium shows at Margaret Court Arena.
First up was Grentperez, a multi-genre pop artist from Sydney, whose live shows are always a captivating experience from start to finish. From opening track Confusing Girl to Why I love You and Silver Lining, Grentperez's performance seamlessly transitioned between happy and sad songs, all about 'love and stuff'. The audience came prepared; dancing and singing along to every word - a unique feat not often seen in every support slot. The band brought a great fun energy to all of their live tracks, including the groovy Clementine, fast-paced Ego, and closing tracks Old With You and of course, Cherry Wine.
Now it was time for Rex Orange County (AKA Alexander O'Connor) to join the stage, with the evening commencing with an aura of mystery with a captivating solo performance from O'Connor. Draped in shadows and a single spotlight, he treated the audience to opening track Rex (Intro). As the first song came to an end, the curtains drew back to reveal the full band; the atmosphere transforming as they launched into back-to-back tracks of Television/So Far So Good, 10/10 and AMAZING. Addressing the audience for the first time that evening, Rex tells the Melbourne audience that he's not particular well, but that the last thing he'd ever think to do was to cancel. You wouldn't know it being at the show, with the charismatic lead singer dancing, running across the stage and pouring his heart and soul into each and every song. The one thing that was clear, was that Rex Orange County was very, very happy to be back in Melbourne.
The opening few songs in the setlist reflected each of his four albums released, and O'Connor took the time to thank the audience for their support, explaining the journey he plans to take them through his entire discography - both the album releases and the standalone singles - performing one of his favourites Sunflower next. With throwbacks to 2019's Face to Face and some tracks 'for the OG's' with Uno and Edition, the pace picked up for a proper dance party during THE SHADE and 4 Seasons - which aptly feels like four songs rolled into one. As the curtain closed mid-way through the set, we were eagerly awaiting what was next to come.
O'Connor walked back out to ask the crowd, asking 'is it okay if I play some songs by myself now?' With lights to the sky for Always, the solo segment of the show was welcomed by the crowd; the arena filled with a sense of vulnerability, connection and intimacy. The private serenade continued for Happiness and Untitled, as the audience were encouraged to spend time with those most loved and the people that made them happy. The solo component of the show concluded with Corduroy Dreams - the first song he ever wrote, and also a song that's been played at every Rex Orange County show. The captivating stripped-back segment paid off and only further extended the personal connection held between the singer-songwriter and his adoring audience.
As the band return for their triumphant finale, the concert was in full swing with disco-balls as far as the eye could see. Asking the audience to give all of their energy, we gave 11/10 for KEEP IT UP and IF YOU WANT IT. The vibrant and joyful indie-pop continued with Never Enough and Best Friend as we put our phones away and enjoyed a special (and secret) moment that you can only experience in person. Closing out with Loving Is Easy, and our personal favourite It's Not the Same Anymore, we are told Rex Orange County will come back to Melbourne some time soon - and we cannot wait.
The encore of Pluto Projector had us reminiscing on all of the sing-alongs, dancing and shared experiences that we've loved throughout the evening. From the euphoric highs to the somber lows, O’Connor's authenticity shines through, making for an evening that those in attendance are unlikely to forget.
Jet ignites the Forum with rock 'n' roll brilliance
Melbourne's music scene showcased its unparalleled vigour last night, as Australian rock legends, Jet, made a roaring comeback. Their evening at the Forum was a pulsating blend of nostalgia, energy, and sheer musical prowess, leaving attendees on an ecstatic high. The band's performance stood as both an ode to their rich musical history and a promising glimpse into their future.
The atmosphere was set alight from the get-go with Neon Goblin and Pacific Avenue opening the stage. Neon Goblin, with their riveting performance, reached a crescendo with a captivating 15-minute track that seemed to encapsulate the very essence of rock legends like Tenacious D. On the other hand, Pacific Avenue lived their dream by sharing the stage with their idols, Jet. Their diverse setlist had us entranced, ranging from Spin Me Like Your Records, to an unexpected rendition of ABBA's Dancing Queen, which were only further supported by their popular closing tracks Leaving For London and Something Good.
Five years since their last show, Jet reemerged with intent; commemorating the 20th anniversary of their iconic debut album, Get Born. This album, one of Australia's rock masterpieces, was performed in its entirety along with beloved tracks from Shine On and Shaka Rock. The ensemble, featuring Nic Cester, Cameron Muncey, and Mark Wilson, was complemented by Peter Marin on drums as Chris Cester couldn't participate due to family commitments.
Opening with their roaring track Put Your Money Where Your Mouth Is, the crowd was instantly transported back to the early 2000s when the band first burst onto the scene. The energy in the room was palpable, and you could already feel the anticipation for what was to come. Firing on all cylinders, their hits like She’s a Genius and Black Hearts (On Fire) showcased their signature sound that seamlessly blends rock ’n’ roll with undeniable swagger.
Nic Cester introduced the Get Born segment of the show stating '20 years ago we wrote an album called Get Born that changed our lives forever' before leading into opening track Last Chance. The crowd were deafening during Are You Gonna Be My Girl and Rollover DJ, while Look What You've Done evoked a sense of nostalgia and further sing-along moments that sent the crowd into a frenzy. From Get What You Need, to the surprise appearance of Andre Warhurst for Move On, it really was hit after hit. The crowd response rose even further for Cold Hard Bitch, while we sat back and marvelled at Nic and Cameron's favourite Come Around Again, and our personal favourite with Cameron on lead vocals for Timothy.
With the show reaching its climax, the encore solidified Jet's lasting allure. A solo acoustic rendition of Shine On and the debut of new song Little Fish (also with a guest appearance from Andre Warhurst) highlighted their enduring charm. Seventeen encapsulated the band's evolution, and tracks like Bring It On Back and Rip It Up concluded the evening with an explosion of energy and rock 'n' roll spirit that left everyone craving for more. Jet proved they are still one of the greatest Australian rock bands providing a night to remember.
All upcoming tour dates can be found at https://www.jetofficial.com/
On a cold Friday night in Melbourne, we headed down to Max Watts to catch Canadian indie-pop band Valley, along with support act Shannen James, for their Lost in Translation Tour. In a packed-out all ages show, we couldn't wait to see Valley on their first Australia tour and first official shows in Melbourne.
First up was Melbourne singer-songwriter Shannen James. As one of our favourite up-and-coming acts, we've been obsessed since her 2020 EP Arrows was released, and relish the opportunity to catch her and the band once again. Highlights from the support set included opening song Seventeen, her newest release Headlights, the line dancing traditions during Breakfast With You, and her set closers with throwback to Arrows and the catchiest tune you'll have in your head for days - Superstitious. We can't wait to catch Shannen again soon.
Before long, the moment had arrived when Valley would take to the stage. Lead vocalist Rob Laska was joined by guitarist Michael Brandolino, bassist Alex Dimauro and drummer Karah James. Celebrating their latest release Lost in Translation, the set featured a heavy amount of new tracks, as well as a mix from Last Birthday, Maybe and EP sucks to see you doing better. Walking onstage with an Australian flag and a toy koala in tow, the band wasted no time launching into the album title track Lost in Translation, as well as crowd favourites Throwback Tears and Cure. The whole night was a feel good sing-a-long with huge cheers for There's Still a Light in the House, sucks to see you doing better and strong crowd participation (with yelp reviews from the band) for Oh Shit... are we in love?
Jumping up and down to nevermind, the set peaked during our favourites from their latest release with Natural and Break for You. Taking time to address their adoring fans, Rob told the audience it's was the most nerve-wracked they've ever been - and that they were amazed to see so many people heading to their shows. Apologising for taking so long to get to Autstralia, the band continued on with Good, but not together, A Phone Call in Amsterdam, and The Problem Song. Moving into a song about being 'really, really sad', Evenings & Weekends showcased the 'sad boi pop' that Valley do all too well. The next part of the set shifted to party mode for Either Way, I'm Going Your Way, Sports Car and SOCIETY - with an impromptu cover of Smash Mouth's All Star.
The evening came to a close with Have a Good Summer (Without Me), the band's most popular track to date with Like 1999 and an encore of hiccup. The concert closed out with comments thanking the audience, for being at the show, for connecting with their songs. In a heartfelt moment, Rob told the crowd, 'I figured out this thing with my best friends and it happened to work. Promise you will just try, it will happen and you will be so fine'. As the last night of the tour ends, and jokes are made about already looking for Australian real estate, we hope that Valley head back to our shores soon.
All I Want For Christmas (is a circle pit)
Idles have a reputation for their explosive and energetic live sets, raw and honest lyrics, passionate vocals and loud and chaotic guitars. Their live shows are a cathartic experience; the band and audience connecting on a deeper level while moshing, dancing, singing and sweating. We were privileged to experience the revelry of an Idles show at Festival Hall on a cold, quiet winter night in Melbourne.
Opening for Idles were Australian alt-rock band The Buoys. The aptly-named all-female Sydney group brought a different, but equally exciting energy to the night. The band, fronted by Zoe Catterall, brought garage rock to the forefront with their high-energy, fun and captivating tunes. For fans of The Beths and Beach Bunny, their set had everything from their latest release I Want You, some sad boy music with Lie to Me Again, and the hilariously named BDSM (Bring Down Scott Morrison), as well as some unreleased songs destined for their debut album. In addition to some of our favourites with Red Flag and closing song Linda, we were thankful to see The Buoys in fine form.
Before long, it was time for the Bristol lads to join Melbourne audiences for a night to remember. The band, consisting of frontman Joe Talbot, as well as band mates Mark Bowen, Lee Kiernan, Adam Devonshire and Jon Beavis were here for their third time in our city, and the crowd was out in full force knowing exactly what to expect. From the slow building of opening track Colossus, to the wall of death shortly after in Car Crash, things escalated quickly as Talbot shouts, 'Are you ready to collide?'. Avid crowd surfers are out by Mr. Motivator, and the band take things up a notch with Mother - dedicated to Talbot's mother (and no one else). Taking time to express how at home they feel in Melbourne, the band tells the audience 'It's an honour and a privilege to be back, you're one of the best cities on planet Earth'.
The set contains a great mix of latest album CRAWLER and throwbacks to Joy as an Act of Resistance and Brutalism. From the raw energy of Meds, to the chanting of 'fuck the king!' during I'm Scum, Idles’ showmanship continues through past Crawl! and into Divide and Conquer. Skipping around stage and screaming into the mic, things only start to slow down during The Beachland Ballroom - a beautiful song about recovery, dedicated to the audience for showing love and carrying the band over the past few years. Time is taken during The Wheel to properly address previous addictions, newfound realisations and the honesty from Talbot that these audiences have saved his life many times.
From high-energy bangers and crowd sing-a-longs with 1049 Gotho, the show even goes to full-blown karaoke - singing everything from Nothing Compares 2 U, My Heart Will Go On, and even All I Want For Christmas. A Hymn, War and Wizz are all welcome additions to the set, much to the crowd’s delight, as we close out the evening with biggest tracks Never Fight a Man With a Perm, Danny Nedelko and closing track Rottweiler. With everything from Jon doing a shoey, to welcoming love and empathy with a humanist approach, we finish on an anti-fascist song for anti-fascist folk. Closing sentiments of 'We've been Idles, you've been Melbourne, and you've been fucking magic' leave us feeling confident that we gave as good as we got. We will be counting down the days to see the lads again.