Concert Review - Conan Gray

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

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

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

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

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

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

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

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

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

Photo Credit: Ian Reyno

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo Credit: Lauren Tepfer

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

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

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

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

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

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

Caroline Polachek soars to new heights in her first Australian tour

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Melbourne's iconic Sidney Myer Music Bowl played host to a night of indie rock hits, as two of the genre's heavy-hitters Bloc Party and Interpol played to a packed-out crowd. Returning to Australia for a series of huge co-headline shows, the two bands are in the middle of their tour, playing dates across the East Coast, and taking punters on a journey through their records over the years. 

On supporting duties was Newcastle post-punk quintet Dust, who played a flawless set that set the tone for the night. Taking influence from international bands such as Fontaines D.C. and IDLES, Dust have put their own spin on the genre, adding experimental elements (including saxophone) which only further elevate their raw and progressive sound. Standout moments from their set included the haunting Ward 52, The Gutter, and their anxiety-ridden Joy (Guilt), which brought their incredible opening set to a close. After releasing their debut EP et cetera, etc earlier this year to rave reviews, we are excited to see their inevitable success continue. 

New Yorkers Interpol were up next; walking out to a screaming audience who were eager to see the return of the band since their last shows in the country, back in 2019. Known for their moody and atmospheric sound, Interpol wasted no time immersing the audience within their signature layered soundscapes, which have remained a constant throughout their seven albums. Frontman Paul Banks' brooding vocals, coupled with the band's tight instrumentals, created a hauntingly beautiful performance, with opening track Untitled easing the crowds into what would soon become a mass singalong, which quickly lead intoC'mere and their hit The Rover. 

Banks was every bit as calm and collected as you could be playing to a mass of people - with his slicked-back hair and sunglasses that stayed put all show, while bandmates Daniel Kessler on guitar and drummer Sam Fogarino thrashed about on stage. Take You On a Cruise from their second album shifted the mood, as a dazzling sea of lights swam across the music bowl, all thanks to a giant disco ball. Taking the audience through newer track Into the Night, we're swiftly taken back once again to their first album for the faster-paced Roland.

The perfectly delivered Obstacle 1 had the audience yelling along, while Rest My Chemistry also stood out as a set highlight; the two tracks obviously picked as instant crowd pleasers. It's at this point that Banks addresses the audience with an 'it's amazing to be back. Australia, it's been way too long', as well as the band's pride in sharing the stage with Bloc Party. Newer, but equally moody track Toni is up next, which gears everyone up for a crowd chant during classics No I in Threesome and Evil - the latter sending the bowl's punters into an absolute frenzy. Before we know it, Interpol's set is coming to a close with the seemingly never-ending track The New, and final song Slow Hands which gets the biggest audience reaction, and pulls everyone to their feet for one last dance.

With the audience eagerly waiting for the night's closing act Bloc Party to come on, the mood set by the night's performances was hard to deny, and the nostalgia was felt by all. In Situ from 2022's album Alpha Games kicked off the set as Kele Okereke and band who were 'heaps excited to be in Melbourne' rolled into You Should Know The Truth and the 2007 fan-favourite Hunting For Witches - as we're all told to get the party started. Rough Justice was next, before a throwback to their fourth studio album for Real Talk and Kettling - described as 'golden oldies' in comparison to their new single High Life. 

A Paul Kelly Dumb Things intro lead into Song For Clay (Disappear Here) and Silent Alarm classic Banquet to really lift the mood, as we immersed ourselves in the absolute best of Bloc Party's back catalogue. The best thing about seeing Bloc Party live is the array of hits - both their most popular and well-known songs as well as some of their hidden gems from across the years. Traps, Different Drugs, Only He Can Heal Me and Blue are special treats; with them being some of the songs not performed in every set list, and the crowd truly went absolutely wild for So Here We Are. Trademark single Helicopter transported us back to the mid-2000s, jamming out on Guitar Hero, but it was our all-time fave Flux that stepped the night up a notch, as Kele screamed for the crowd to 'keep it moving'. 

Modern masterpiece The Prayer was yet another set highlight - as its live adaptation sent the bowl into overdrive with its thumping drum beats and anthemic chorus. Explaining that This Modern Love is about a boy from St Kilda, Kele divulged with the audience on his fond memories of listening to Interpol, and the fact that they were the first band to take Bloc Party on tour - bringing this tour full circle. With one last rocket in their pocket, certified banger Ratchet is the song to end all sets, and saw the entire venue light up and dance along to every word, as the night sadly comes to an end.

Never did we think we'd be seeing two iconic mid-2000s indie bands back-to-back in 2023 - but their incredible catalogues over the years are proof that their unique sounds have stood the test of time after so long. With good vibes all around, and the crowd filtering out of the music bowl after such an incredible live show, it's a comforting thought that their live performances have held up through time. 

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.

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.