CONCERT REVIEW - Green Day

With a career spanning over three decades, Green Day are no strangers to putting on a larger-than-life show, but The Saviors Tour might just be their biggest yet. Returning to Melbourne for the first time since 2017, the punk rock icons delivered an unforgettable night at Marvel Stadium; celebrating two of their most defining records, Dookie and American Idiot, in full, alongside tracks from their latest release, Saviors, as well as a selection of deep cuts and fan favourites. From start to finish, it was a night of stadium-sized punk energy, singalongs, and spectacle, complete with fireworks, confetti, pyro, and some unexpected surprises. This was Green Day at their most ambitious; reaffirming their place as one of the most enduring and captivating live acts in rock.

Melbourne’s own Private Function had the honour of kicking off the night, marking their first-ever stadium performances. Never ones to hold back, they made the most of the moment, bringing their unique brand of chaos to Marvel Stadium. The set was packed with high-energy antics, with frontman Chris Penney fully embracing his inner Freddie Mercury, complete with exaggerated impressions and showmanship that fit right in on the big stage. From opening tracks Justavinageez and I'm This Far Away (From Being the Worst Person You've Ever Met) to I Just Met the Biggest C**t in the World (It Is You) the band showed the Australian punk rock scene is still alive and well. Highlights included Art Sucks But Not As Much As You and the band's request to be booed for Bum Cigs and Cum Big. Private Function had no problem making their mark in front of an already packed stadium crowd. 

For longtime punk and alternative fans, AFI supporting Green Day was a monumental addition to the tour. With a career spanning over three decades, Davey Havok and band brought their signature blend of post-hardcore, goth, and punk rock energy to Marvel Stadium. Havok, a commanding frontman known for his theatrical presence, captivated the audience, effortlessly shifting from haunting croons to full-throttle punk fury. The setlist was a perfect mix of AFI’s evolution, spanning across everything from earlier works Sing the Sorrow and DECEMBERUNDERGROUND to Crash Love and Burials. Kicking off with the ferocious Girl's Not Grey and Love Like Winter, highlights included 17 Crimes and I Hope You Suffer. Before performing Get Dark, Havok acknowledged Green Day’s impact, stating, ‘Since 1991, we've listened to Green Day...they've looked after us for many years.’ With Davey prowling the stage, the band delivered a ferocious and theatrical performance, closing out with The Days of the Phoenix, Silver and Cold and the masterpiece that is Miss Murder. AFI’s presence on this tour wasn’t just about warming up the crowd - it was a reminder of their enduring influence and the deep ties between these punk legends.

As the sun set over Marvel Stadium, the anticipation for Green Day reached its peak. Before the band even hit the stage, the crowd was already in full force; turning the venue into a massive singalong as Bohemian Rhapsody and Blitzkrieg Bop blasted through the speakers. The pre-show playlist was stadium karaoke at its finest, before flipping to a final mash up including The Imperial March, We Will Rock You, and I Love Rock 'n' Roll. It was time for Green Day to begin, opening the night with their most recent release The American Dream Is Killing Me. Wasting no time getting to the first of their two full albums to perform, the Dookie mushroom cloud appeared from the top of stage and we hear the unmistakeable drum fill out of Burnout - launching the crowd straight into the chaos. 

Billie Joe Armstrong, Mike Dirnt, and Tré Cool wasted no time plowing through Having a Blast, Chump, and Longview, which sent the stadium into a frenzy. Performing back to back hits with Welcome to Paradise, Pulling Teeth, Basket Case and She, fans were reliving their memories from the 1994 cult-classic album. 'Oh my god, look at all the people,' Billie Joe exclaimed before Sassafras Roots, marveling at the sold-out stadium, before diving back into the fast-paced anthems that defined Dookie. When I Come Around saw the crowd swaying and bouncing in unison while the band showed just how timeless these tracks remain performing Coming Clean, Emenius Sleepus, In the End and F.O.D back to back. Both longtime fans and new generations of Green Day devotees screamed every lyric back to the band throughout. 

An orchestral rendition of All by Myself with Tré on vocals lead into a standout moment for Know Your Enemy, where Billie Joe invited a fan named Honey onto the stage - who absolutely nailed their performance alongside the band. One Eyed Bastard lead into Dilemma, which was preceded by an intro of Free Fallin - the crowd singing along to both Green Day hits and the covers on offer. Slowing down the pace was power ballad 21 Guns, which was brought quickly back up with the heavy-hitting fan fave Minority, which featured Billie Joe on the harmonica and introducing the audience to the full band. Teasing the crowd with the opening chords of Highway to Hell, Green Day delivered one of our personal highlights from the night, Brain Stew, which served as the end of this portion of the show, before leading into the next big album of the night.

Transitioning into American Idiot, an inflatable fist mirroring the album cover rose onto the stage as the unmistakable opening chords rang out. ‘Welcome to the twenty-year anniversary of American Idiot,’ Billie Joe declared. ‘I want to see everyone going crazy. I want you to lose yourself and lose your minds!’ The stadium responded accordingly, with Jesus of Suburbia following as an epic, sprawling highlight. Holiday had the entire venue on their feet, the lyrics ‘The representative from Australia now has the floor’ getting a special moment, while pyro exploded on cue for the ‘Bang bang!’ lines. The energy never wavered, with Boulevard of Broken Dreams turning into a breathtaking scene as Billie Joe urged the crowd, ‘Reach for the sky’ -prompting thousands to raise their phone lights for an unforgettable stadium moment.

Are We The Waiting saw the audience in a gentle sway, while the band acknowledged the amazing support slots from AFI and Private Function before ramping up for the energetic St. Jimmy. Tré later had his moment in the spotlight, kicking off Give Me Novacaine, while She's a Rebel and Extraordinary Girl kept the good times rolling. Before Letterbomb, Billie Joe addressed the audience with an impassioned speech, ‘Tonight is about happiness. Don’t you want to be fucking happy? Don’t you want these fucking politicians to shut the fuck up?’ Name-checking Musk and Trump, he urged everyone to live in the moment. ‘Right now, this is about us. Everybody together, dancing together, we’re gonna sing together, love each other, scream together. Because tonight, ladies and gentlemen, this is a celebration. This is your night. You’re in the band tonight. You’re in Green Day. This is yours.’ As the night drew to a close, Wake Me Up When September Ends saw sparklers falling from the stage, and the crowd yelled along to every word of Homecoming's lengthy nine minutes. Ending the set poignantly with Whatsername, Billie Joe simply stated, ‘And just like that, 20 years.’ 

The encore began with Bobby Sox; the stadium filling with green confetti as Billie Joe shouted, ‘We’re not done yet!’ They then brought the night to a perfect ending with Good Riddance (Time of Your Life), as fireworks shot up from the stadium roof and confetti rained down. ‘We’ll see you next time, I guess. This has been the fucking best,’ Billie Joe said, wrapping up a night of pure punk rock nostalgia and unrelenting energy. With flawless production, high-voltage performances, and a setlist that left nothing on the table, Green Day once again proved why they remain one of the most essential live bands on the planet.

Photo Credit:  Rick Clifford @rcstills 

 Returning to Australia for the first time since 2022, The Kooks kicked off the first leg of their All Over The World tour with a night of indie singalongs, fresh material and all your favourite throwbacks at Melbourne's latest pop-up venue, Palace Foreshore. Against the scenic backdrop of St Kilda’s coastline, the Brighton indie-rockers reminded fans why they remain at the forefront of indie music over two decades into their career.

Before the main event, American singer Briston Maroney opened the night with his signature blend of alt-folk and garage rock. Visiting Australia for the first time, he was having a great time on stage laughing and engaging with the crowd. From opening song Body, to the shredding guitar solos of Under My Skin, we heard everything from Caroline to June in the set. Joking about everything from his new goatee to (lack of) self-control around Tim Tams, the band played a mix of recent releases including Real Good Swimmer as well as closing out with fan-favourite Freakin' Out on The Interstate.

As day became night, The Kooks appeared and launched straight into Sofa Song followed by Ooh La - a sign of the high-intensity energy that would continue throughout the evening. Frontman Luke Pritchard greeted the crowd with a 'Thank you so much, good evening St Kilda, Melbourne... what a beautiful evening!'. Expressing how he couldn't wait to get to know the audience better, the band performed She Moves In Her Own Way before the first surprise of the night with Stormy Weather - the first time it's been performed live since 2012. Talking about touring with some new music up their sleeve, the band played Sunny Baby (a self-labelled rock and soul track) before returning to the electric guitars for Bad Habit. Westside continued the hits from album Listen as did See Me Now, as Pritchard reflected on bringing the song back to their live shows. He told the audience, 'we started playing this again recently. It’s a ballad, a letter I wrote to my dad who died when I was a kid. It’s nice to share it again. This is for you.' 

The energy shifted again for Eddie's Gun and Sweet Emotion - continuing on the good vibes. Pritchard, knowing what was next teased the crowd with a 'If there's one time you're going to go absolutely crazy, now is that time' as they performed Always Where I Need to Be. We always love hearing Do You Wanna live as the intensity builds, and latest single Never Know was well received. We're told 'There's never been a more perfect venue to perform this song' as they rolled out Seaside as well as surprise two of the evening with Watching the Ships Roll In from Konk - performed acoustically and for the first time since 2019. The main set concluded with Matchbox and Junk of the Heart (Happy); a track that had everyone dancing and singing along at the top of their lungs. 

Returning for the encore, The Kooks kept the crowd on their toes with See the World, followed by a snippet of fan-requested Jackie Big Tits, with Pritchard teasing 'That’s all you get. We’ll play it in full next time. We love you, goodnight!'  Closing with Naïve, the crowd erupted; voices carrying the song long after the final note. As the band left the stage, they once again expressed their love for Melbourne, promising to return soon. The Kooks have long been one of the UK’s finest indie exports, and if this show was any indication, they’re far from slowing down.

Kylie Minogue Brings the Party Home to Melbourne

Returning to Rod Laver Arena for her Tension tour, Kylie Minogue delivered the first of three spectacular nights of pop brilliance - as well as her biggest tour since 2011 - proving once again why she remains Australia's ultimate pop royalty. Across a dazzling, multi-act production, the singer-songwriter took fans on a journey through her extensive career, weaving in new material alongside iconic nostalgic hits in a show filled with high-energy choreography, stunning visuals, and plenty of heartfelt moments.

Before Kylie took the stage, Mallrat opened the night with a set that highlighted her unique indie-pop sound. Introducing herself as a long-time Kylie fan, she referred to Kylie as both our Princess and our Queen throughout the night. Performing an array of new tracks from her most recent album Light hit my face like a straight right, we enjoyed the recent live additions of Pavement, Hocus Pocus and Hideaway. The set also included all the fan favourites, including Wish on an Eyelash, Groceries and Charlie. 

With the arena buzzing, lasers lit up the stage as the sound of Lights Camera Action rang out. Elevated above the crowd in a sparkling diamond-shaped platform mirroring her Tension II album cover, Kylie Minogue appeared like a vision, floating in the air as she sung to the entire stadium. Leading straight into In Your Eyes, Kylie shimmered in a gold sequin dress as she greeted the crowd with a 'It’s gonna be a good night.' The hits kept rolling with Get Outta My Way and What Do I Have to Do?; each met with deafening cheers as fans sang along to every word.

Slowing things down momentarily, Kylie delivered a reimagined Come Into My World, before launching into Good As Gone. Taking a moment to properly welcome her hometown crowd, she beamed; 'Do you know what a pleasure it is to say this? Good evening, Melbourne - welcome home!' Keeping the momentum going, Spinning Around had the entire arena on their feet, with Kylie and her dancers moving in sync across the multi-leveled stage.

A brief interlude of Taboo played as the next act unfolded; introducing a costume change into a striking red ensemble for On a Night Like This. The night’s nostalgic tone deepened with Last Night I Dreamt I Fell in Love, which she described as her Valentine's song, before a wave of cheers erupted for Better the Devil You Know. Dancers sporting inflatable costumes added a surreal, playful element to the performance. Without missing a beat, Kylie powered through Shocked, Things We Do for Love, and The Loco-Motion; the latter performed among the crowd as she made her way to the B-stage. Reflecting on her journey and the song that launched her career, she shared 'much of my life has been on the stage, and that makes me think about where it all began.' With a blast of confetti, she transported everyone back to the ’80s. 

Act three began with the shimmering Hold On to Now - a track celebrating the present moment. Introducing her band and backup singers, she then surprised the audience by gifting a rose to a fan while singing a snippet of Where the Wild Roses Grow. When asking for requests, an unexpected crowd plea for Did It Again led to an impromptu performance of the song - its first live rendition since 2015. Keeping emotions high, she followed with an acoustic version of Say Something, marking the moment by reflecting on the years and three albums released since her last Melbourne show. The segment ended with a mashup of Supernova, Real Groove, Magic, and Where Does the DJ Go?, bringing a full disco-dance explosion as they returned to the main stage.

The fourth act brought one of the night’s most dramatic shifts, as Kylie emerged draped in a cloak, to perform a spine-tingling Confide in Me. The intensity escalated with Slow, which continued to build as the audience were transported from disco to rave, before bursting into the electrifying Timebomb and Edge of Saturday Night.

With each act building in energy, Kylie’s final stretch of songs saw her fully embrace the dancefloor energy of Tension. She commanded the stage with futuristic visuals as she powered through the title track. Then, as the opening synths of Can’t Get You Out of My Head echoed through the arena, the crowd erupted. She closed the main set with All the Lovers; a euphoric moment of unity, as she called out to the crowd 'You were always all the lovers, right?' Confetti rained down, as the audience continued to dance and sing their hearts out. 

The encore saw Kylie return for Padam Padam, a song that has cemented itself as one of her modern classics. The grand finale, Love at First Sight, brought the night to a joyous conclusion, as she asked 'should we finish with one last song? We all believe in love, right?' As she dropped her hands to the floor, streamers filled the arena, and she bid Melbourne farewell with a 'I love you so much. Thank you, goodnight!'

With a flawless setlist, breathtaking production, and an energy that never wavered, Kylie Minogue’s return to Melbourne was nothing short of a triumph - a reminder that she remains an unstoppable force in pop music.

Aurora Enchants Melbourne with a Breathtaking Performance

As part of her What Happened to the Earth? Part 4 tour, Aurora returned to Melbourne once again; captivating fans with an ethereal and deeply emotive performance at Margaret Court Arena. The Norwegian singer-songwriter brought her signature blend of otherworldly melodies and poignant lyricism, delivering a setlist that spanned her discography and demonstrated why she remains such a unique presence in modern music.

The night began with Hannah Brewer, whose folk-inspired songwriting and rich vocals drew the audience into her world. Performing a selection of songs, including her latest release Headspins, the unreleased Dollar Shop Souvenir, and finishing with Rumspringa, she showcased an impressive range that balanced introspection with moments of soaring melody. Her set was enjoyed by the packed stadium crowd, making her a rising talent to watch.

Following this, ODD LUKE, a Glaswegian and London-based artist blending elements of pop, soul, and R&B, took to the stage. His ability to connect with the crowd was evident as he introduced Punches, before playfully remarking on how Australians say 'alright' during his track Alright. He delivered a stirring performance of Berlin, a song exploring themes of adultery, and Found Life, before closing his set with our favourite song of the set, Disconnect.

As the lights dimmed, Goddess of Dusk played over the speakers, accompanied by a striking visual display on screen, setting the stage for Aurora's arrival. She emerged to begin with Churchyard; her voice weaving through the layered harmonies as imagery of herself beamed behind her on the screen. This was followed an acoustic rendition of The River, where she addressed the crowd with a 'Oh my god, hello. I didn't expect you to be so many! It’s unbelievable to me that I can come so far from home and have all of you here.' She went on to share how she had the best day in Melbourne, indulging in too much cake, and promised to give the audience the best evening of their lives.

Moving into Soulless Creatures, she commanded the stage, dancing with captivating fluidity. The performance featured striking visuals, including an eye peering through a keyhole. A Soul with No King followed before All Is Soft Inside provided a comforting anthem - introduced as 'a song for people who cry a lot. It’s hard to be an emotional bastard in this world.' Queendom was up next, which Aurora admitted she hadn't played in awhile. Before launching into it, she joked 'I did promise someone earlier I’d have their babies. We will make it work.'

Time stood still for Exist for Love; one of the most beautiful love songs we've ever heard live. Followed by the haunting Murder Song (5, 4, 3, 2, 1) performed acoustically, the audience stood still, hanging on every word. The intensity carried into When The Dark Dresses Lightly, featuring striking knife-swinging imagery. Turning it up to 11, Starvation was next, with Aurora turning the stadium into a rave shouting, 'Okay, Melbourne, are you ready for this?'

The energy remained high as The Seed received a massive crowd reaction, while she used the moment to address environmental themes; 'I sing this song for every Indigenous person. I hope you know that we still have power to hold on to the true value of the human soul.' Running with the Wolves followed, dedicated to 'all the people who yearn to feel free and have a slight fetish for cats.' The set closed with Giving In to the Love as Aurora professed her love for Melbourne. 

Returning for her encore, Aurora launched into Cure for Me; while the roof of the stadium opened with a wonderful view of the stars. Aurora told the crowd, 'It’s not your fault if the world doesn’t understand you - it’s cool to be different.' This led into Some Type of Skin - a euphoric mix of shredding guitar solos and vivid stage visuals, as she danced along in the background. An extra special surprise moment came towards the end with a fan request for a snippet of Stjernestøv, a Norwegian Christmas song. 

Closing the night was a song for her sister, Invisible Wounds, which Aurora prefaced by expressing gratitude to the audience; 'Tonight has been an exceptionally good crowd. When you go home, know you are simply the best. You made us feel so loved, excited, and alive.' Describing the existence of humanity as an extreme sport in itself, Aurora spent the night laughing and dancing as she spoke to the crowd about the importance of being your own true self in a chaotic world. 

Aurora's ability to create an intimate atmosphere, even in a stadium venue, ensured that this show will linger in the memories of those who attended for a long time. 

Melbourne’s Sidney Myer Music Bowl came alive with raw energy as IDLES returned for their highly anticipated Australian tour. With support from Laura and the Hell Cutz and Nation of Language, the night was a thrilling mix of punk, post-punk, and alt acts that had fans buzzing long after the final note.

Kicking off the night was Melbourne’s own Laura and the Hell Cutz, a four-piece punk-grunge outfit making waves in the local scene. Their set, featuring tracks like In & Out, Flowers, Don’t Forget Me, and Porcelain Doll, showcased their unapologetically gritty sound and charisma. Performing in front of a rapidly growing crowd, the band delivered an opening set that set the tone for the evening - proving they are a local act to watch.

Next came New York’s Nation of Language, whose polished post-punk sound was a surprisingly stark yet complimentary contrast. Opening with What Does the Normal Man Feel?, their set was a masterclass in atmosphere, with tracks like Sole Obsession and Across That Fine Line showcasing their ability to balance emotional depth with danceable beats. Their highlight came with September Again, a track that saw the audience swaying along in a collective trance, cementing their place as a standout act.

By the time IDLES took the stage, the audience was primed and ready for chaos - and chaos is exactly what they delivered. Opening with IDEA 01, frontman Joe Talbot immediately set the tone; his ferocious delivery matching the song’s biting lyrics. The transition into Colossus was seamless, with Talbot splitting the crowd in half and declaring, ‘are you ready to collide? Are you ready for love? Viva Palestina!'

Tracks like Gift Horse and Mr. Motivator had the crowd howling along, while Mother provided a visceral moment of catharsis. Talbot’s commentary between songs was as impactful as the music itself. During Car Crash, he reflected on themes of insecurity and resilience, connecting deeply with the crowd with a ‘we could not have achieved anything without all of you’.

Asking the crowd ‘are there any scumbags in the audience?’, the audience went into a frenzy for I’m Scum, in which Talbot lead the crown into raucous chants of ‘f**k the king!’. Their trademark defiant energy continued with Roy, 1049 Gotho and Jungle, the latter described by Talbot as a song about getting arrested.

Slowing the pace, The Wheel offered an emotional reflection on Talbot’s relationship with his mother, while the equally reflective When the Lights Come On set a haunting atmosphere in the Bowl. The explosive energy returned with Divide and Conquer, an anti-fascist anthem that felt especially resonant in the current climate.

Gratitude and Benzocaine kept the intensity high, with the band seamlessly blending punk aggression and emotional vulnerability. By the time they reached POP POP POP, Samaritans, and Crawl!, the crowd was in full frenzy; feeding off the band’s unrelenting energy.

With the set nearing its end, The Beachland Ballroom provided a beautiful change up of pace, before the band unleashed the chaos of Never Fight a Man With a Perm. Their collab with LCD Soundsystem, Dancer, went absolutely off as the audience bopped along to every word. Telling the audience that their next song was ‘a song in celebration of the immigrants who built our country. Dedicated to the natives of your country. Dedicated to the people of Palestine’, the band ripped into Danny Nedelko - an ode to loving all. 

Before we knew it, the set was at its end, with Talbot exclaiming ‘the bad news is this is the last song. The good news is it’s an anti-fascist song’. Needless to say, Rottweiler provided an incredible finish to the night - with crowd-surfing guitarists and a playful rendition of All I Want for Christmas is You thrown in for good measure.

IDLES proved why they are one of the most vital live acts in modern music.

The Killers Deliver Unforgettable Performances in Melbourne

As part of their highly anticipated Rebel Diamonds tour, The Killers brought their electrifying live show to Melbourne with three back-to-back performances at Rod Laver Arena. These dates included two Rebel Diamonds shows - featuring hits from across their storied career - and a special night dedicated to performing their iconic debut album Hot Fuss in its entirety, marking its 20th anniversary. Across these shows, the Las Vegas rockers reminded Australian fans why they’re considered one of the most enduring and dynamic live acts in modern music.

Opening the Melbourne shows was local indie band Radio Free Alice, whose new-wave and post punk influences delivered a captivating start to the evening. Kicking off their set with Look What You’ve Done, the band built momentum with tracks like On the Ground and Spain; blending sharp guitar work and melodic bass lines. Their set reached its peak with Paris is Gone, a crowd favourite, and closed with the punchy Waste of Space. Radio Free Alice were an ideal choice to support the tour, and it was fantastic to see them perform to their hometown crowd in a stadium setting. 

The first night of The Killers’ Melbourne run, the Rebel Diamonds show, saw the band take the audience through their extensive discography, with a setlist designed to showcase their biggest hits and fan favourites. Opening with Read My Mind, the iconic hit kicked off the show, and set the mood for the night. Somebody Told Me followed; pulling people from their seats and starting off a mass singalong throughout the audience. 

After Spaceman, Brandon Flowers, wearing a dazzling, sparkled suit, addressed the crowd with a 'What’s up, Melbourne? My name is Brandon Flowers, and I’ll be your host this evening. We’re The Killers, and we’re in the service industry. I believe you ordered a good time, is that right? Coming right up.' With that, the band launched into Jenny Was a Friend of Mine, an early fan favourite. 

Smile Like You Mean It once again took us back to their Hot Fuss days, while the equally synth-heavy Shot at the Night showed just how far the band had come over the years. Dying Breed was preceded by a lively vocal warm-up with the crowd, as Flowers encouraged participation before the song began. The set took a personal turn with My God, dedicated to a fan the band had met that morning at brunch who was celebrating their birthday.

The setlist continued with On Top; an upbeat and synth-driven track, followed by The Man, which oozed with swagger and charisma. A Dustland Fairytale provided one of the evening’s emotional highlights, before leading into Be Still, which slowed the pace and offered a moment of quiet. Runaways brought the energy back up with the band's signature power ballads, while All These Things That I've Done had the entire arena singing along to its iconic hook. 

The energy surged as the band launched into When You Were Young; its driving guitar riffs lighting up the arena. Caution followed with its soaring chorus, before the band welcomed a special guest onto the stage, bringing out Australian icon Iva Davies from Icehouse to perform a stirring rendition of Electric Blue. 

The encore kept the excitement alive and kicking. Opening with Your Side of Town and boy, the band showcased some of their newer material, while Human kicked off a massive singalong moment. Closing the night with Mr. Brightside (the only way to close a set) left everyone on a high - every voice in the arena singing along, making for an unforgettable finale. The bar was well and truly set at an all-time high leading into night two. 

The second night was a gift for longtime fans, with The Killers performing their debut album Hot Fuss in its entirety. In the history of music, there’s unlikely been a stronger opening than The Killers launching into the first four tracks of Hot Fuss. Wearing a bright red suit, Brandon Flowers opened the show with Jenny Was a Friend of Mine, the atmospheric basslines instantly transporting the audience back to the band’s early days. Before launching into Mr. Brightside, Flowers reflected, 'Welcome to 20 years of Hot Fuss. That’s a 20-year love affair between The Killers and Australia.' He shared how he took a gamble, betting his life on three men he barely knew. 'Some people go to Vegas and lose everything, but sometimes it goes the other way too,' he said, before diving into the song of a generation. 

Smile Like You Mean It and Somebody Told Me kept the good vibes going - the two tracks hitting hard with the audience. Reminiscing on their early days, Flowers spoke about his bond with guitarist 'Dynamite' Dave Keuning, recalling how there was a moment when they were the only two people on the planet who knew Mr. Brightside. He described them as 'two misfits taking their shots from the gutter with stars in their eyes,' before the band launched into All These Things That I’ve Done; featuring a surprise snippet of Elvis Presley’s Burning Love.

The midsection of the album continued to highlight just how incredible Hot Fuss remains, even 20 years later. Andy, You’re a Star, On Top (performed the night before as part of the greatest hits set) and Change Your Mind all welcome additions to the setlist after the main tracks were played. Believe Me Natalie was introduced with a lively drum solo before Midnight Show opened with a playful nod to Sinatra's Luck Be a Lady - adding some vintage charm. Everything Will Be Alright followed, before Flowers introduced Glamorous Indie Rock & Roll with a story on how it blossomed from the original satirical commentary he had written into a joyful celebration of rock and roll music. As the band closed out Hot Fuss, the Vegas sign appeared with a 'We'll be back in five minutes' as the band took their exit. 

When the band returned, Flowers was now wearing a sharp white suit. Back to perform a second set of hits spanning their career, they opened with The Man; its swagger-filled rhythm energising the crowd. Human and This Is Your Life followed - bringing massive singalong moments that had the arena in full voice.

The cinematic energy of Caution and the heartfelt delivery of Runaways kept the momentum alive, before the reflective and melodic Read My Mind brought a quieter, emotional moment to the set. Before performing Bright Lights, Flowers shared, '20 years ago, Hot Fuss blew the doors wide open for us. Here’s to 20 more years. It was a huge deal for us, it enticed you to this journey we’ve all been on. Celebration is a form of gratitude - thank you for sticking with us. Bright Lights is about expressing our appreciation.' 

Closing the evening with When You Were Young, The Killers ensured the second night was as memorable as the first. The triumphant finale left the Melbourne crowd exhilarated, capping off a night that celebrated both the band’s history and their ongoing legacy. The band, hailing from fabulous Las Vegas, Nevada proved why their music has remained timeless for 20 years, and for many more years to come.  

Photo Credit: Chris Phelps

Sunday night at Margaret Court Arena was anything but sleepy as indie giants Declan McKenna and Two Door Cinema Club delivered a thrilling co-headline performance. Supported by rising act Soft Launch, the evening showcased the best of the indie music scene, with vibrant melodies and memorable moments.

Soft Launch opened the night with a polished set; starting with Easier, which set a relaxed but engaging tone for the night. They quickly picked up the energy with In My Bed and Dinosaur, showcasing their tight instrumental work. The highlight of the set came with I Wouldn’t Get Your Hopes Up - a slower, reflective track that demonstrated the band’s depth and lyrical prowess. Closing with Piano Hands, Soft Launch left the audience eager for the main acts.

Declan McKenna kicked off his set with That’s Life, greeting the crowd with a lively ‘What’s going on, Melbourne?’ This was followed by Beautiful Faces, during which McKenna encouraged the audience to raise their arms in rhythm. Next came Mulholland’s Dinner and Wine, which brought catchy hooks and a touch of his sun-soaked Californian influences. Why Do You Feel So Down followed, with McKenna urging everyone to get up and dance along. 

After a shout-out to Soft Launch, McKenna played Mezzanine, a new song from his latest album, while taking a moment to joke about Melbourne’s tennis culture. The pace picked up with Isombard, a Brit-pop-inspired track from his debut album that had fans bouncing. The Key to Life on Earth came next, accompanied by striking solar-themed visuals that perfectly matched the song’s introspective tone. The audience was then treated to Nothing Works, before McKenna jumped on the keys for Be an Astronaut; a dramatic moment with phone lights creating a sea of stars in the arena.

The final part of McKenna’s set was a showcase of his most beloved tracks. Champagne continued the reflective mood, before Brazil lit up the arena with an explosion of energy and singalongs. He closed with British Bombs, delivering a politically charged performance, and The Phantom Buzz, during which he leaned over the crowd to shred his guitar alongside his fans.

Two Door Cinema Club opened their set with This Is the Life, immediately igniting the crowd. I Can Talk and Sleep Alone followed, both drawing loud cheers and nonstop movement from the audience. Sure Enough, a newer track, brought in a fresh twist before the band launched into Changing of the Seasons, which kept the energy soaring. Bassist Kevin Baird paused to reflect on their long history with Melbourne, leading into Do You Want It All?.

The band then moved into their early work, with Something Good Can Work evoking a sense of nostalgia. Tracks like Costume Party and Come Back Home showcased their evolving sound, while Handshake saw Baird thanking the crowd for making their Sunday night unforgettable. Wonderful Life brought an infectious groove, followed by The World is Watching and Are We Ready? (Wreck).

With the set starting to wrap up, the band launched into Eat That Up, It’s Good for You, before ramping up the mood for Undercover Martyn, which drove the crowd into a frenzy, and Cigarettes in the Theatre. Continuing on with the good vibes, the band performed Sun, with fans belting out the final chorus, before finishing with What You Know - a perfect end to the evening. Leaving us with a ‘This has been a real treat, thank you for joining us’, Two Door Cinema Club once again left the audience with an unforgettable night.

St. Vincent, known for her unrivalled artistry and captivating stage presence, returned to Melbourne last night for a spectacular performance at the iconic Palais Theatre. Playing as part of her All Born Screaming tour, this was the first of many Victorian shows; with performances set to take place in Ballarat and back in Melbourne at the Forum Theatre as part of ALWAYS LIVE. For fans who missed the Palais performance, the Forum promises to deliver another unmissable experience.

Opening the evening was Lotte Gallagher, whose set showcased her ability to blend heartfelt songwriting with commanding vocals. She began with Gasoline, before moving through Gray and Heavy - all off her latest EP A Better Feeling. Unreleased track Can We Talk When It's Over was a highlight of the set, while Adam, her biggest release to date, had the audience captivated. She closed the set with Blue, leaving the room buzzing as anticipation for St. Vincent grew. 

St. Vincent (Annie Clark) took the stage with a striking opening; delivering a blinding performance of Reckless while her backlit silhouette cast across the theatre, and her voice soared through the audience. The mood shifted as she launched into Fear the Future, ripping into her guitar with unmatched intensity. The crowd erupted as the opening chords of Los Ageless filled the room - a personal favourite that showed she wasn't here to mess around. 

With Big Time Nothing, St. Vincent gestured to her ear, playfully egging the crowd on for louder cheers, before seamlessly transitioning into Marrow, where she both shredded on her guitar and had a dance, while the band showed off their impressive talents. The set slowed down for Dilettante, where she sat at the front of the stage, engaging with the audience. During the song, she teased, 'Do you know what I want, Melbourne? For you to stand up. I know it's Monday, but come on!' Pulling out a vocal synthesiser, she sang through the voice-distorting device to add an experimental edge to the track. 

From there, the energy ramped back up with Pay Your Way in Pain and Digital Witness; the latter kicking off with an electrifying 'Let’s fucking go!' as the crowd obeyed her command to move. The dynamic performance continued with Sweetest Fruit and Flea, which featured synchronised choreography with her band. Expressing gratitude, St. Vincent told the crowd, 'Hello Melbourne, I love you all. I'm so glad you're here, and that's all I have to say at this moment.' The theatricality continued with Cheerleader, where she handed her guitar into the crowd and concluded with the band producing a powerful drum solo. 

After Broken Man, the distorted opening riff of Birth in Reverse brought an instant wave of recognition from fans, while Hell Is Near provided a darker, more introspective moment. Acknowledging that it had been a minute since she'd last been to Australia, St. Vincent talked about feeling alienated, finding belonging and navigating life with dignity and humour as she transitioned into New York. Joining the crowd for this intimate number, fans were treated to long hugs, playful moments on people's phones, and getting up close and personal with the artist. 

The final act was a masterclass in showmanship, as Sugarboy featured epic guitar battles and the high-energy All Born Screaming, the title track of the tour, closed the main set on a triumphant note. Returning to the stage for the encore, she performed Somebody Like Me, thanking the crowd with, 'Thank you so much Melbourne, I love you dearly.'

St Vincent. delivered a performance that was equal parts raw, theatrical and emotionally resonant. With more shows to come in Melbourne and Victoria, fans who missed out tonight have a couple more chances to experience the brilliance of this truly singular artist. 

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.

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 

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. 

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