Concert Review - Angie McMahon

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. 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo Credit: Images have been supplied.

Touring Australia for the very first time is American artist Ashnikko, who is bringing her unique blend of bubblegum/electropop/hip hop to our city. Playing two shows at the freshly re-opened Northcote Theatre, we were lucky enough to check out the matinee show, which while an all ages show, didn't stop the artist from letting loose. 

Supporting her Australian dates is Sydney electro-pop artist Donatachi, who wasted no time warming up the crowd for an energy-packed show. Playing an incredible range of remixes that spanned a couple of generations, including Benny Benassi's Satisfaction, Charli XCX's Vroom Vroom, and Cascada's Everytime We Touch, Donatachi's hyperpop had the room jumping along like crazy. Finishing on a fun take on Taylor Swift's Love Story and Lady Gaga's Just Dance, we had all sufficiently warmed up our singing voices by the time the opening set came to a close.

It's not long to go before the main event, and giant inflatable trees pop up onstage, which are met with screams from the audience. A few minutes later, Ashnikko struts onto the stage, launching into 2020 single Tantrum; serving up plenty of attitude which is returned in tenfolds from the crowd, while her rap-heavy song STUPID absolutely goes off - to the point where we struggle to hear her over all the fans singing along. Taking the time to address the theatre (and take a fan's BeReal for them), Ashnikko remembers that she's playing an all ages show - issuing a bad word warning for all the parents, which she cheekily extends to the whole show. Telling us all to put on our cowboy hats, she leads us into Working Bitch, complete with some fun choreography, before switching up the pace for her fun Kelis-featured track Deal With It. 

Introducing her next song, Ashnikko starts to talk about her sex life, censoring all the gory details for the audience, which just turns out to be the funniest thing to watch. The song in question is L8r Boi - a fun song that interpolates Avril Lavigne's classic single from 2002. The always relevant Invitation is up next, which the artist explains is the oldest song on her setlist, and is kept on there for a reason - especially in today's day and age. The audience gets silly for the shameless Princess Nokia featured track Slumber Party, while they scream along to every filthy lyric. Switching the mood up yet again, Ashnikko paints a picture for us of a fairy wandering through a forest, and being taken by nature - as the intro of latest single Worms starts playing. Leading us into a practice of self-love, which is now part of every show since the Demidevil tour, we're told to give ourselves a brain hug, before the only slow song in the set is up next - Panic Attacks in Paradise.  

The metal-infused Grimes collab Cry drives the crowd mad, before a mash-up of all four Halloweenie singles is dedicated to all the spooky girls. After leading the crowd into a chant of the lyrics to Manners, the pounding single Maggots is dedicated to assholes on the internet, and sees the audience jumping along to each lyrical jab. Telling the audience that she can't scream the next song, You Make Me Sick!, due to saving her vocal chords, Ashnikko truly makes up for it by headbanging like crazy, and physically throwing her all into the song. At this point, we're close to the end of such a strong set, so we're not surprised when the crowd starts demanding a shoey. Giving into the peer pressure of the audience, Ashnikko grabs a fan's boot and rips a shoey (albeit with water) - much to the audience's delight. How could a set end on an even bigger high? Close it out with the mammoth single Daisy - which Ashnikko stops mid-verse to ask fans to give her their all. The response is the theatre going manic, with the catchy-as-anything single being the perfect end to such a high-energy set. 

We personally cannot wait to see what the future holds for the artist, especially after the massive couple of years she's had with mixtape Demidevil, which absolutely blew up her career online. Like the new haircut she's rocking, Ashnikko's latest singles signal a new era for the genre-bending artist, whose debut album Weedkiller is due out in June this year. We can't wait to see what's in store for Ashnikko in the year ahead. 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo Credit: Valerie Lee

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

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

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

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

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

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

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

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

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

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

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

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

Photo Credit: Jonathan White

Rocketman takes us on one last journey to the moon. 

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

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

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

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

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

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

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

Photo Credit: Jonathan White

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tour Details 

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

Photo Credit: Valerie Lee

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Remaining tour dates and tickets can be found here. 

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

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

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

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

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