Georgia June & The Flowers - The Lansdowne 11th NOVEMBER
Photos By: Shiraz Center
Review By: Sam Stalley
Sunny and blue skied wednesday afternoon welcomed The Flowers and Georgia June to the Lansdowne hotel in Sydney’s’ Chippendale. The Flowers opened to set the scene for an afternoon of easy listening and good music. The room filled, each attendee being welcomed by the impressive vocals of Aggy from The Flowers, calming but also captivating all who entered.
Live music has changed drastically. With all those in attendance required to be seated. The silver lining here (for the crowd), being a greater intimacy with the music itself. But less people means less going to the artists… I am just glad we can begin to support local Aussie acts once again, as much as we can.
Georgia June followed. With the room now full, we were all eager for the hour ahead. From out-of-this-world synths, to catchy melodies – Georgia June set the right mood for any setting thanks to their wide variety of sounds. Every song being performed with love by Georgia, having presence not just on the stage, but of the entire room.
A lot of their songs being odes to love, life and loss. It was refreshing to hear raw and visceral subjects being discussed through their lyrics. Growing older, the demands of life, and the hidden beauty in life, are themes that all featured in their performance. Creating for a memorable show.
With some epic guitar dispersed throughout the show, and a dynamic keyboard/synth soundscape, Georgia June are good for any occasion. Be it a quiet afternoon or a Saturday night boogie.
And, yes Georgia, we definitely enjoyed dancing vicariously through you. A big covid-safe hug back to the both of you - Georgia June and The Flowers.
Jack R Reilly - The Vanguard 10th November - Album Launch Show
Review & Photos By: Jade Guida
Birthday Girl delivered her moody and melodic set to the Sold Out Vanguard on Tuesday. While this is Maddie Er's solo project, her band are a cherry on top. The quirky quartet ooze delicacy, there tight harmonisation fill both the room and your whole being with warmth.
The band look at ease on the stage, a small mishap and wonderful recovery by the band made the set even more enjoyable, it cut through venue and any residual nervous energy. The songs are slow and winding, the kind of music you play at 3am regardless of if you are up late or up early.
Birthday Girl delivered a set that was inviting, basking in the warm light of the Vanguard it was a beautiful way for attendees to spend their Tuesday.
Jack R Reilly is hovering your hand just above a candle flame. The tiny licks of immense heat spreading until they engulf you. You are drawn in to the music, the lyrics, his whole being.
Playing songs from his newly released debut album Middle Everything. Live or recorded these songs are beautiful. A testament to the hard work and passion of Jack and many others.
If you didn't get the opportunity to catch one of Tuesdays shows I would strongly encourage you to go and listen to this release. These songs command attention and a listen through.
If you strip it all back to its haunting skeleton Jack R Reilly is an exceptional musician, his emotive lyrics intertwined with melodic choruses and poignant verses.
This was Jacks second sold out headline show, the first was just a few hours earlier and you can't tell. Jack and his band drip confidence as they play to the eager room. The set soaring and dipping creating an all around immersive listening experience.
Jack has a voice like a hot knife through butter.
It’s not the first time I have seen a full band set and it is always just a really incredible experience. You always leave wanting more. The most notable and consistent thing I have found is how well Jack R Reilly delivers on such a wide variety of sounds. From the softest tracks which are like whisper to your soul to the loud and racy tracks where your heart rate starts to mimic the bass line, every song is written and performed to perfection.
Birthday Girl
Jack R Reilly
The Tezz Fest | Factory Theatre - 6th November | The Terrys, Loons & Red Revel
Review and Photos By: Em Violet
There was no better feeling than stepping into the Factory Theatre on a Friday night after 8 months of not attending any gigs. It’s funny how something like this can make us realise how much we take for granted, especially when it comes to live music. That being said – I’m sure that everyone are becoming more excited that live music is slowly coming back, and what better way to enjoy that by attending The Tezz Fest which was a sold out show at the Factory Theatre on Friday 6th November.
The first band that rocked the stage were none other than Sydney funk band Red Revel.
The four-piece slayed their set as they played some of the catchiest tracks that I’ve ever heard. They filled the whole room with the sweet sounds of funky guitar, loud and groovy bass lines, steady drum beats and a wicked good sax that had everyone grooving in their seats.
The vibes that this band radiated were incredible and definitely a great start to the night.
Next up, we had the lovely Newcastle band Loons, who I was very excited to finally see and I certainly was not disappointed.
These boys had great stage presence that was enough to hook you in from the start of their set. Not only were their songs amazing but their ability to throw so much energy out into the room is incredible.
Their whole set was solid as they played through their songs with so much power and you could tell that it was engaging the audience as I could see them bopping around in their seats and chanting “one more song” by the end of the performance.
The performance by The Terrys was unbelievable if I had to give you one word to describe it.
The seats up the front of the venue were all full as everyone anticipated the band to take the stage, and when they did, I saw so much joy on everyone’s face. The vibes from this band were beyond belief.
Every single person in that audience were honestly just vibing in their seats to the fantastic sounds of the instruments. All the songs that were played throughout the set were strong and not to mention, groovy as fuck.
I also loved how well these guys interacted with their crowd- they were funny and killed it with every song.
Coming back to gigs, I never thought that seated events would have good energy or be fun, but I was definitely proved wrong as the crowd grooved along while seated and shouted lyrics back to the band. What a fantastic night.
Red Revel
Loons
The Terrys
FOLLOW RED REVEL
https://www.facebook.com/redrevelband
FOLLOW LOON
https://www.facebook.com/looniesband
FOLLOW THE TERRYS
https://www.facebook.com/thetezzas
Resurrection - Weekend 2 - Day II Sumeru, Astrodeath, Burden Man, Dust Devil and Mourners at Crowbar Sydney
Photos By: Angela New
Review By: Matt New
Amidst the challenges our music community has faced in the wake of the Covid-19 pandemic, Sydney's Doom Metal seems to be fighting against the grain of a crippled industry. In collaboration with Crowbar Sydney, the Resurrection festival, the brainchild of photographer Grim Reflections, has given some of Sydney's heaviest underground bands a platform to be heard.
My first live music experience in over 7 months, this was a stark awakening into the strange but necessary evolution of the live music experience. Full credit to Crowbar Sydney for flawlessly hosting and facilitating a Covid safe environment for all to enjoy a fun night out.
The intimate and warm atmosphere was a welcome change to the sweaty and usually chaotic moshpit vibe we had grown accustomed to. However, being able to be seated in the dim candle light glow over a beverage and food with mates brings a new kind of appreciation for viewing live music.
Kicking off night two of the second week of this event was doom newcomers Mourners. A 3 piece ensemble that has only formed over the past few months, experiencing their first show. So fresh to the scene in fact, all their songs were untitled. Groovy and sludgy with captivating colours of bass and guitar solos, this is a band that has made a great start in finding their voice in a powerful scene.
Dust Devil were the next band of the evening, and from the first note were on point. A beautiful fusion of "ethereal" doom laced with Kyuss style riffs and haunting solos. Their sound was something to behold sending a captivated audience into a trance.
The revered Burden Man helped the evening hit the halfway mark in unique fashion. A brooding change of pace, their set kicked off seductively with the Nick Cave-esque croonings and ambient delayed layered guitars of front man Justin before descending into a powerful ball of distortion fuelled energy. This band offered much variety with their existential doom sound, making the most of any textures they could. Unique and mesmerising.
Astrodeath have fast become one of Sydney's best up and coming bands, and they do it with only two band members. From start to finish throughout their set, they power through with a post grunge sensibility akin to Silverchair whilst frontman Tim Lancken screams voraciously channeling his Nick Olivieri. It is evident that their music is fuelled by the love of performing live so with restrictions easing there will be plenty of opportunities to see this band in the not too distant future.
Finally on the menu for the evening, Sydney's doom metal pioneers Sumeru. Every time this band hits the stage the energy lifts, and the mass of power you are presented with is set to hit all your senses hard. Sumeru welcomed new material into their set for this special occasion and the fans were glued to the stage in awe as they fired riff after riff with ferocity and intent. The benchmark for Aussie doom metal this band gets better and better with every show I have had the pleasure of seeing them. Looking forward to their next release as I was hinted that something may be around the corner, so get excited.
Mourners
Dustdevil
Burden Man
Astrodeath
Sumeru
FOLLOW THE BANDS:
https://www.facebook.com/sumeruband
https://www.facebook.com/astrodeathband/
https://www.facebook.com/BurdenMan/
https://www.facebook.com/mournersdoom
https://www.facebook.com/dustdevildoom
Sunday Setlists- The Factory Theatre. The Darrans, Avalanche, Naughty Boys & The Toothpicks
REVIEW AND PHOTOS BY: JADE GUIDA
Sunday Setlist – The Factory Theatre
Welcome to the home of Sunday fun, drinks, food and epic music. The factory Theatre hosted the Sunday Setlist which brought local live acts together across the venue's various stages. I focused in the main room which had a phenomenal line up.
Line-Up: The Darrans / Avalanche / Naughty Boys / The Toothpicks
The Toothpicks pack a punch. They may look like the sweet boys next door, but they are an alt rock powerhouse. When they strolled on to the stage I couldn’t have expected such a tight and clean performance. Vocalist Harry Varvaressos has a voice like warm honey stirred through milk, it is smooth and has a warm tonal quality. Throwing a mix of Original tracks and covers the set flowed easily and brought a great energy to the room.
I don’t even know what to say about Naughty Boys. I mean, if you have seen or heard them you would know there is nothing you can say that would paint a full picture of what this band delivers. It is raw, punchy and real. I fucking loved them Punk in its most unadulterated form. This band is almost intimidating in their powerful performance and musicianship. With honesty at the forefront of their writing they put on a thought provoking performance that I couldn’t tear my attention away from. They delivered a set that I will never forget and judging from what I have heard this is the norm from these four inner west musicians.
Next up was Avalanche. They are just an extraordinary set of people. Guitarist Veronica, affectionately called ‘V’ is a phenomenal guitarist, every time I see her play a new wave of disbelief spreads through me. She plays with unparalleled confidence and Skill, she saunters around the stage, throws herself on the floor even mingles with the crowd all without missing a note. This alone is worth turning up to one of their shows. Vocalist Steve is equally as impressive, again a high energy performer, he boasts silky smooth vocals wrapped in a classic rock blanket. This band just gels together, they each bring a wonderfully unique and essential element which makes their music fun, at times comically witty and clever as well as making their performances unmissable. They do well on a big stage filling the space easily with their high octane performance.
The Darrans are Crisp and clean musicians. They create a vibrant electricity as soon as they hit the stage. Considering their music is somewhere between The Ramones and Frenzal Rhomb they have a light air about them, they could almost float around the stage as they spit out tunes as a cohesive unit. It is fast classic Aussie punk and you would be hard pressed to find a band doing it much better than this.
The Toothpicks
Naughty Boys
Avalanche
The Darrans
Surf Trash 'Wrong or Right' Single Launch ft. The Lenores 27 September
PHOTOS BY: SHIRAZ CENTER
REVIEW BY: AUSTIN WAGNER
Surf trash, a local band from Newcastle, played out a smashing concert over the weekend in Sydney. Their rugged looks, vibrant play style and punk rock vibe just in time as we head into summer.
What a cracker way to get back on the horse attending live gigs!
Their hard hitting openings and heart pumping rock anthems will transport you and your mates to an afternoon kicking off school just for the hell of it. A performance that echoed with other Aussie indie & alternative rock bands such as Pist idiots, Hockey Dad and WAAX whilst also bringing to the table their own unique blend of it all.
They were also supported by The Lenores on the night, an equally awesome band with an energetic live performance of aggressive, enthusiastic jumping and sporadic bursts of electric guitar to keep the excitement rolling. A sound very similar to that of Rise Against, Violent Soho, blink-182 and the Chats. An overall excellent display of raw 90s and 2000s punk rock.
Starting the night off with synchronous guitar swings, leg stumping drum beats, & vocal raws of pure energy. Surf trash’s grunge metallic style of their song Mayhem really got everyone going. They also played some of their new material such as Wrong or Right and the audience even got a sneak peak at some music yet to be released. All inclusive, an absolute ecstatic mix of banging tunes and belting vocals.
On stage, the drummer and lead vocalist Andrew Scott maintained a young spirited energy throughout the evening, keeping those rock rhythms rolling through the screaming and cheering of the audience in awe of what was a spectacular gig. Joining Andrew were his brother Nicholas and best mate Lachlan Jackson who kept the Aussies 90s rock vibe as they ripped out gritty and exhilarating guitar riffs that enticed the viewers, all whilst balancing the appearance of three guys just sitting on a beach as the sun goes down. Their sound radiated the challenges of youth and the struggles of aspiring men and women alike. They truly are the epitome of nothing but sun, vibes, mates and the music. Their intense but relaxed atmosphere certainly brought a calm to the daily stresses of our complex world. They’re a band where their appearance and personality clearly matches their genre.
All in all, it was an awesome way to kick of the live gigs again here in Sydney and I am personally eager to see this wild trio of eccentricity continue to bring this new and exciting sound to the genre of indie surf rock.
THE LENORS
SURF TRASH
Get Folked Punk - LazyBones Lounge Restaurant and Bar - 29TH September
REVIEW AND PHOTOS BY: JADE GUIDA
It is a weird feeling going back to shoot gigs, even more so to to be out there shooting a full lineup. Seeing friends and the regulars out there just enjoying life again. LazyBones in Marrickville have done a really nice job of putting together a covid safe Venue for music lovers to come out and enjoy a slice of music heaven. I haven’t been to LazyBones before and I really just loved the venue. It felt like home almost immediately, the staff are friendly, the setup is deliciously quirky and they offered me a lime in my apple juice, and honestly I can just get behind that kind of atmosphere.
Get Folked Punk is an apt name for what is essentially a folk punk night and it basically showcases every folk punk act you can find. The whole event has a homely feel, everyone seems to know each other and if you run in the scene you would likely run into some familiar faces or if you went in not knowing a soul, you would probably walk out with about fifteen new friends.
I know most review start from the first band and give you a run of the night but honestly fuck it. I hate conventional anyway, and if 2020 has taught me anything it is that sometimes a little chaos can be a good thing.
So let me start with Bruise Pristine. The trio played a striped back almost acoustic set. These three effortlessly deliver a moody grunge rock sound. The band played 20mg which has been a favourite of mine since I last saw the band. It is haunting and moody and confident in every way that music should be. Tired Eyes was another beautiful track, again a song that commands attention. Frankly I respect the power they radiate.
Now I will move on to Dal Failure. This guy seriously heckled me and I like him just that little bit more for that. He also fronts like someone who might heckle me and I think that should paint a picture of the type of music this guy plays. It is that real guttural kind of punk, it’s honest, upfront and relentlessly draws necessary social criticism. I think this type of music is almost a lost art, probably something you only see in this genre and style and this set was flawless. It is social criticism down to an art form.
Nothing Rhymes with David is pure heart. I really loved the dynamic of this band and the flow of their music. It is explosive and yet somehow still so restrained that it was perfect for the night. While these guys were the most powerful of the night the delicacy in which they perform their powerful songs made them a perfect addition to the lineup. Watching these guys was a treat, a meal sized treat which in fairness is how I prefer my treats anyway. They are energetic to the point of being almost animalistic, it is like the music runs on pure instinct.
Full disclosure, I left the final three acts until later because I know them and it would be impossible to write about their music without writing about them as people. The more times I meet Blake Cateris, Ed Barnes and Billy Puntton the more intricate I find their music, I can see their personalities woven in to the fabric of their songs. These three are such powerful writers, they take the rawest and most fragile of emotions and experiences and transform it into something tangible, I feel like I could hold their music in my hands. I am incredibly inspired by these three as musicians and as people.
Billy Puntton is a rare type of person, he radiates warmth and kindness. He was a late addition to the lineup but I don’t know if the night would have felt complete without him. You can’t be in a room with Billy and that space not immediately be just a little brighter and the same can be said for his music. The thing about his music is that it is poignant and articulate to the point of it being confronting. His music cuts through tragedy and the rawest of human emotion with comedy, wit and emotional intelligence.
His songs have an unrelenting and undeniable grit, a conviction, something inescapably confronting as he tackles some big topics through his music. Billy writes songs that make you feel more connected to yourself and the people around you, full of introspection and emotion.
Blake Cateris is probably one of the most hard working, dedicated and talented individuals I have ever known. I feel like I say that about him all the time and it’s because I am in constant awe of the fact.
Everything he touches has the distinctive markings of his dedication, time and thought. Whenever I hear a piece of music that Blake has had a hand in, you get this beautifully delicate balance of precision songwriting and emotive exploration of a topic. There is undeniable mastery in what Blake puts into this world and his ability to step between high energy sets with Molly and Krells and his solo music is second to none, everything he does is polished to perfection. I have a soft spot for acoustic versions of songs and the stripped back version of “What Went Wrong” was a real favourite from the night. You become more immersed in the story being told when the song is performed in this way, the delicate narrative is more prominent through the softer acoustic sound.
Ed Barnes is an Enigma. Every time I meet him, I become more enthralled by his presence, his calmness and his passion. I saw Ed play earlier in the year and something about his music just resounded with me. He radiates warmth, humour and intelligence in every situation and this emanates through his music.
Ed writes songs about his personal experiences with love and loss, he has this innate ability to make you feel like you experienced the narrative of the song first hand. A few songs stick out for me “Hey Noel”, “Prom Queen” and “All Things”, with classic raspy Bob Dylan - Esq vocals and charismatic banter explaining the tracks, you feel an incomprehensible connection to the songs, you want to know more about the situations, more about the people and more about Ed. I think it’s such a charming quality in a musician, to make you want to know more about their stories and Ed is a natural storyteller.
Bruise Pristine
Dal Failure
Nothing Rhymes with David
Billy Puntton
Blake Cateris
Ed Barnes
The Moving Stills, The Flowers, Teenage Dads & Honey Nothings
PHOTOS AND WORDS BY: SHIRAZ CENTER
Central Coast four-piece, The Moving Stills, alongside Melbourne’s Teenage Dads kicked off their 2020 co-headliner, ‘Antics Roadshow’, last night in Newtown’s infamous Waywards.
Supported by home-grown talent Honey Nothings and The Flowers, the crowd was aptly prepared for the buzzing evening ahead. The Stills brought a raw honesty to their tracks, often ending with a charming punch that left the crowd giddy.
After teasing some ripe new tunes,the indie surf rockers kicked up their melodic goodness pulling out favourites ‘Photo Upload’ and ‘Nineteen’ while vocalist Tom boogied with the crowd.Alt-poppers, Teenage Dads,created an unparalleled sound, serving as a groovy homage to the 60s. The crowd’s energy surged as the lead singer,Jordan,belted out ‘Devils Jam’ from behind his keyboard.
At that moment, the mood could only be compared to the likes of legendary rockers King Gizzard. Teenage Dads wrapped up their syrupy tunes as they were joined on stage by the Stills, playing the crowd favourite Dancing in the Moonlight
DENOUNCEMENT PYRE Alchemy Golgothen Remains, Somnium Nox & Sumeru
WORDS AND PHOTOS BY: JAMES GOUGH
Sydney’s own Alchemy opened Saturdays show with some crushing blackened death metal from a bunch of young dudes who’s sound is already very mature. This, I’m sure, is also why they are in the finals for the Wacken Metal Battle coming up later this month at Maxx Watts in Melbourne. These guys would explode on stage in Europe with front man Nic Webb’s presence on stage pacing back and forth across the stage bludgeoning the front row with his guttural voice.
Crowd finally starting to pack in. If your neck wasn’t sore already, Golgotha Remains will get you on your way. Blast beats, buzz-saw riffs and the haunting howls of Matthieu Van Den Brande. The new addition of some low end has really added so much to their sound.
A dark figure stands centre stage, a slight change of pace with a dark clean intro, lights dim and strobes flash. Enter Sominum Nox - a pure force to witness. With songs no less than eight minutes long, each track perfectly flowed into the next. The music was dark and a truly incredible experience.
What more can I say about this band? I’ve now seen Sumeru every time they’ve played Sydney in the past twelve months and I will continue to be at every show going forward. They are utterly incredible. By adding a neck breaker of an unreleased song to the setlist – and by the crowd’s reaction – it proves that Sumeru are on their way to another successful album. Here’s to hoping its release date is not too far away.
Returning for the first time in three years, Denoucment Pyre have come back ready to make up for lost time by opening with Almighty. The band started hard and fast as the pit became a sea of flying bodies. Throughout the hour-long set, the rooms energy did not let up. Front man ‘Decaylust’ is an incredible presence to witness. From tracks ‘Wounds’ and ‘Black Sun’, everyone in the room was captivated, right until the final track ‘Redeemer’, when Denoucment Pyre crushed everyone for the last time. Here’s to hoping it’s not years before they are crushing venues in Sydney again.
Glass Ocean & Ebonivory @ The Chippo Saturday 7th March 2020
WORDS BY: MATTHEW NEW | PHOTOS BY: ANGIE NEW
The Chippo is fast becoming one of the most sought after venues for bands to play in Sydney. The dimly lit basement room with posters lining the roof made for a very intimate pub-style setting for the evening’s proceedings.
Starting the night off was Sydney 4 piece act Scarburrow. From the get go, they were electric and completely engaged with their audience. Lead by vocalist Lauren Coleman, they powered through an emotive set which included a very beefy rendition of the Veronicas “4ever” An incredible job by a young band that has not played in over a year!!
Following Scarburrow was another Sydney 4 piece band with a lot of hype surrounding them in Introspect. Leading into the set with the mesmerising opener “Behold” and “AD Astra”, the band were completely locked in as singer Felicity Jayne joined them on stage. From the first note the crowd were taken on a dreamlike journey of melodic prog. The highlight of the night surely went to guitarist Jamie McVicker, whose Nan, visiting from the UK, stood proudly watching her grandson and his band perform a near flawless set.
Ebonivory have been setting the Australian Progressive Metal scene on fire, and it is very evident to see why. The Ballarat boys made the trek to Sydney to showcase their powerful, yet delicate songs to an adorning Sydney crowd. Every member of this band has so much talent on their respective instrument and it was astonishing to witness in a live setting. Crowd favourite "Tales Of Termina" flowed seamlessly into their single “Explosions After Dark” which went off without a hitch. Everyone was left shouting for more as their set seemed to fly past.
Finally capping off the evening was Sydney’s revered Glass Ocean. Featuring a new member in Julian Dobric on guitar, you would be fooled into thinking this lineup had been together for years. The lads captivated the audience with some beloved favourites such as "Winter Hold" and "The Mystery" while we were gifted some brand new tracks from their upcoming release later in the year. Frontman Tobias Atkins was near impossible to lose focus of on stage, as he swayed and swooned throughout the set with his soulfully powerful bravado. Glass Ocean hit it out of the park and i wait with baited breath for what they have in store for us in the near future.
Mom Jeans, Lazy Susans & Zen Haircuts - Crowbar Sydney 1st March
WORDS AND PHOTOS BY: JADE GUIDA
I will admit this wasn’t the first time I have seen western Sydney's Zen Haircuts in action, so I am already very much a fan of what the Zennies have to offer.
This band's sound is almost impossible to pin down, they deliver a unique blend of new-wave emo combined with a spattering of both indie and punk rock. While they undeniably sit outside any of those genres, they have created a sound with a charismatic punch which is almost immediately identifiably their own.
The band delivered a performance with unquestionable electricity, the trio appear to have this almost symbiotic flow during their live performance.
It is hard to not immediately love a band who has an Instagram bio that reads “we’re gay AF [and] sing sad songs”. There is an ominous vulnerability to this band, you know from the way they float around the stage that they are going to suck you in to a dream state like the Pensieve in Harry Potter.
The band seemed right at home under the hazy pink lights of crowbar Sydney, as they easily settle in to their set. Tackling some heavy themes through their music they engage a large portion of the crowd who are captivated, hanging off every lyric and clapping along to every song.
The set from these Melbourne indie rockers leaves you pining for more of the dazed euphoria they create throughout their set.
A small disclaimer, I am a pretty big fan of Mom Jeans so this may edge towards being a little bias. This band is like a Rubik’s cube you just can’t solve. At their core this band sings sad songs. But not the sort of sad you cry to in the dark, the kind of sad songs you want fall in love to.
This band is tight.
I mean almost faultless in their delivery of their songs to a live audience. The natural eb and flow of the set and energy is seamless, the songs flow easily in to the next with some fun banter between members as they tune between songs. The whole band radiates this energy that makes a room full of strangers feel like a family. The band starts with classic "death cup", on paper its a downer of a song but my god does this rally the mom jeans family into a frenzy.
The whole audience is stomping and screaming as Bass player Sam Kless pulls faces and eggs on the elated front row. Even this simple act adds a layer of unexpected welcome to their show.
This band has an unrivalled ability to cut through seemingly sad lyrics, with high energy punk jumps and hardcore kicks that changes the dynamic from what would be a somber affair ,to an experience that leaves you screaming “I don't mind that you lie sometimes, Because I lie too, guess I'm just like you” to a total stranger like they know exactly how you take your morning coffee.
Between The Buried & Me + The Omnific - Factory Theatre 27th February
PHOTOS AND WORDS BY: MONIKA SMITH
Factory Theatre was pretty full as they had a few acts playing in their rooms this night.
As I entered the room which at this point was full enough to walk around comfortably but also had enough bodies that had you ducking and weaving through people. It is always nice to see people turn up for an opening act.
The Omnific who are a progressive instrumental band from Melbourne kicked off the night. These lads do things a little different with having just two bass players and a drummer. This allows them to make the music that they produce incredibly unique. Whilst sitting in the same level as some of the more well-known bands in their genre this sets them apart enough to make you sit up and take notice a little more.
The bass lines intertwined but also had this feel of a chaotic mix which synced incredibly well with the rhythmically precise drumming (who also is quite animated as he smashes on the skins). You could feel the bass in your chest and all over your body; but it was at a pace that felt like a pleasant massage. They boys swapped instruments during the set but flawlessly picked up where they left off.
It was either Matthew or Toby (Sorry I don’t know your faces yet!) who spoke into the mic and said “You guys are fucking sick!” the crowd laughed and cheered at his enthusiasm to which he said “Keep that energy up!”.
The guys finished out the set and the punters who arrived early were not disappointed.
After a small break the crowd had grown and there was a solid group of people standing shoulder to shoulder at the front of the room. Between The Buried And Me took to the stage to the roar of everyone in the room.
Kicking off the evening with ‘Astral Body’ the crowd's enthusiastic response did not waiver at all from start to finish.
This band is one of the best there has been in the industry. They have this incredible ability to take a song that seems to gentle and inviting to contorting it into this death metal chunky treat.
Frontman Tommy Giles Roger, Jr who looks absolutely delightful sprouting a little bit of salt and pepper in his hair stared out into the crowd with a massive grin on his face and stated “We got old!”. Alas as did we all but considering their (still young) ages; they played like the youthful band from the beginning of their breakout careers.
The set was broken up in 2 parts; the band walked off the stage but reappeared about 10 minutes later (I wasn’t counting the time so this could be entirely inaccurate)
'Condemned to the Gallows' kicked off the second set which basically turned the crowd into what can only visually be described as a shark feeding frenzy. You could not the absolute delight on everyone's faces.
The whole night for any BTBAM fan was just perfect. It seemed as though everyone in the room got to hear one, or if not all of their favourite songs.
They finished the night with ‘White Walls’ which left everyone completely dissatisfied, but only because the night had ended. Not because of anything wrong. I mean if it were at all possible for the show to continue everyone in the room would have agreed to it.
Whitesnake at Qudos Bank Arena Sydney 26th February 2020
PHOTOS & WORDS BY: MONIKA SMITH
We’ll be breaking down this review in two parts for the Whitesnake & Scorpions show.
Standing outside the venue with my fellow photographers I managed to witness people from all walks of life slowly making their way into Qudos Bank Arena at Sydney’s Olympic Park.
With Whitesnake and Scorpions both hailing from the 60s/70s it was really incredible to see a huge amount of young kids at the show to people who have probably been fans of one or both of the bands since their beginning.
To make the night even better I dragged my mother along, I won’t give her age out of respect (even though she looks 20 years younger than she is!) but she is floating around the same era as some of the older members of both bands. The fact that she also hails from Germany just made it all a little sweeter.
With Klaus Meine having been hospitalised in Melbourne, as the original Sydney show being cancelled. A lot of people seemed a little anxious mixed with excited that the rescheduled show was going ahead. Understandably a lot of people poured out their frustrations online having been out of pocket due to this, but also backed by a lot of people who echoed that the bands would not have cancelled unless it were dire. This is the unpredictable nature of all things rock’n’roll.
Once inside the arena you could notably see the absence of a lot of people who would have been there from all corners of Australia who could not make it to the newly rescheduled show but as the night progressed, the energy, enthusiasm and overall excited people in the room made it seem like every single seat in the arena was full with the buzz that was in the air.
As we waited in the pit for the mighty Whitesnake to take the stage, I glanced at the eager faces of the punters gripping to the barriers ready for the show to take place. Shortly after 7:30pm the band took to the stage to the absolute delight of the crowd.
Front man David Coverdale beaming with the hugest smile on his face, with an unmissable commanding presence as if he towered over the crowd in height alone. The stage was set up with a runway down the middle where he spent most of his time serenading the people from every inch of the stage; ensuring to move around enough that everyone felt involved and could catch a glimpse of his never-ending grin.
The band powered through with a youthful presence that could match any young upcoming band with old and new tracks covering as much ground for as many peoples tastes as possible from ‘Hey You (You Make Me Rock)’, ‘Shut up and Kiss Me’ plus many more massive hits.
The crowd singing along with ‘Ain't No Love In the Heart Of The City’ and the band looked in as much joy as they could possibly muster with the interaction from everyone in the room.
The band works so well together and what made it even more entertaining was that this amazing group of musicians held their own, with tossing the crowd a few solos to showcase their talents. Having a few guitar duels with Reb Beach and Joel Hoekstra sliding into a beautifully syncronised rendition of ‘Waltzing Matilda’.
Scorpions at Qudos Bank Arena Sydney 26th February 2020
PHOTOS & WORDS BY: MONIKA SMITH
We’ll be breaking down this review in two parts for the Whitesnake & Scorpions show.
Here we continue with Scorpions.
With Klaus Meine having been hospitalised in Melbourne, as the original Sydney show being cancelled. A lot of people seemed a little anxious mixed with excited that the rescheduled show was going ahead. Understandably a lot of people poured out their frustrations online having been out of pocket due to this, but also backed by a lot of people who echoed that the bands would not have cancelled unless it were dire. This is the unpredictable nature of all things rock’n’roll.
Following Whitesnake’s incredible performance the roar from the crowd for Scorpion’s taking the stage was massive. Last time they were here they had to cancel as Klaus had lost his voice, as especially amazing as the band is if that show had gone forward there would have been a lot of unhappy customers, more so than were happy at the cancellation. This must have plagued the minds of the band; I can only speculate the gut and heart wrenching moment they discovered that Klaus had fallen ill once more. Shock flew out amongst everyone, but the main point is, he is healthy and by all means if this all could have been prevented/avoided no doubt the whole Scorpion’s camp would’ve made it run smoothly. Rescheduling or cancelling is not something any band wants to do ever to their fans; its not just about the money, more so that they do not want to disappoint anyone.
With that out of the way, let's just focus on what these absolute legendary people brought forth to their fans.
A large Scorpions banner covered the entire stage as the second set of the night cascading to the ground as the staff of the arena hurriedly gathered it and pulled it all out of sight.
On the large screens covering the stage the image from the banner was lit as lightning flashed around it. Slowly turning into a movie scene with a helicopter buzzing around a city skyline with everyone's eyes drawn to the bustling scene.
The band glided onto the stage as if by magic throwing straight into their set with the tenacity of an ominous storm consuming the crowd in its entirety.
Smashing through their tracks ‘The Zoo’ and ‘Catch the Train’ were flawlessly flowed into the hearts of all the people in the crowd. It was brilliant watching everyone from every age bracket getting so far into the songs that everyone almost moved as one.
Meine moved around the stage with a little caution, but considering what he had been through this was entirely understandable, what made it mostly unnoticeable as the power being his voice outshone and override the fact that the man had gone through surgery. If you had no idea what he had gone through you would never really have noticed any difference as he performed spectacularly.
Rudolf Schenker and Matthias Jabs proficiently and flawlessly played through each song which your mind could have been fooled into thinking you were listening to a recording.
Meine took things down to a slower pace talking about the devastation he witnessed with the Australian Bush fires. He talked about the inability for the band to join one of the many fundraisers that were going on around the country. So the entire band dedicated the songs ‘Send Me an Angel’ and ‘Winds of Change’ to the hardworking firefighters, the people who had lost their lives, the homes that were lost and the massive loss to the Koala population (and other animals of course).
The entire band gathered at the front on the long cat walk with Dee moving from the kit at the back of the stage to a small kit directly behind the band.
We cannot overlook the moment when later on in the set when Dee and his kit were raised up into the air while he performed another spectacular solo.
Beastwars - 8th February 2020 - Crowbar Sydney
Words & Photos: James Gough
Bands: Astrodeath | Potion | Sumeru | Beastwars
It was my first time seeing Astrodeath live, and after hearing them I was blown away. For only a two piece band, their sound and presence would have you double taking the stage in front of you. Considering everyone in the room was well watered (by beer and rain alike), Astrodeath had everyone warmed up and ready for the night ahead of them.
Potion kept the fire going with one of the heaviest sets on Friday night. From the opening moment that frontman Lee Jowono thundered a scream to the crowd, a wall of sound slammed the room like a sledgehammer testing Crowbars foundations. Along with Jowono, drummer Chris Downey and Stella Leung on the low end, the trio bludgeon you with thirty minutes of some of the best doom this country has to offer.
Now if this room wasn’t hot enough already, Sumeru take the stage and instantly turn Crowbar into a furnace and don’t let up for the next half an hour. With a set list filled with neck breakers like ‘Embrace the Cold’ and ‘Rivers of Lethe’, the energy in the room is electric and the crowd responds to what Sumeru are dishing out.
Quick change overs are always great and also don’t give people a chance to catch their breath for tonight’s headliner, New Zealand’s own Beastwars. As Matt Hyde walks on stage and belts out “you boys ready?! yep, yep, yep, let’s do it”, the band kicks straight into action and like all the other bands tonight, Beastwars absolutely crushed.
By this point in the night the crowd was fired up. Beastwars dish out a set list consisting of tracks ‘Lake of Fire’, ‘Call out the Dead’ and ending with ‘Damn the Sky’. Getting to see Beastwars twice within the last 6 months has been unreal, and fingers crossed it’s not too long before they’re back again!
Obituary, Wormrot & LO! - Metro Theatre Sydney 17th January 2020
First up on the bill was Sydney’s own LO! (Look & Behold) the punters who arrived early to the venue were in for an absolute treat. The almost packed room was ready for the crushing and technically explosive set from the local lads. Front man Sam Dillon’s commanding presence on stage is like what you could imagine the aftermath of a dense forest that has been hit by a tornado leaving twisted limbs and utter chaos; but at the same time creating something of absolute beauty.
His voice slams you in the ear holes, bounces off the walls and then crack you in the back of the skull for a pleasantly unexpected head spin of euphoric proportions. He vocalised the current plights facing Australia and encouraged the crowd to all come together under the banner of tragedy we are currently facing to attempt to make things better; reminding us that we should by all means be angry about the current state of affairs.
The whole band flawlessly grinded through their set with Sam clambering into the crowd to join the frenzy and hype them up for the upcoming acts.
Up next on the bill was Singapore’s grindcore giants Wormrot, forming in 2007 there was a huge amount of buzz in the crowd for Arif, Rasyid and Vijesh to take the stage.
They were more than rewarded with what sprang forth from the lads.
Arif ignited on the stage with the power of 1000 suns darting back and forth; whilst jumping onto the barrier to scream sweet nothings into the crowd's face. Whilst the band shredded and walloped everyone's senses into a climax that everyone soon realised that the word of mouth about the outstanding performance of this band was 100% true.
With the two support bands having finished their sets, and wetting the palate of the punters; the crowd was both ready, and unprepared for the sheer overpowering presence that is Obituary. This band formed back in 1984, went through a couple of name changes before settling with Obituary in 1988.
Taking to the stage the crowd just about lost their minds seeing the lords of death metal in front of their eyes.
The combined enthusiasm spewed out amongst all that were attending the show and from the moment that the band hit their first note people began crowd surfing and tumbled into the photographer's pit with security working hard to keep up with the rolling bodies.
Before we could even get through our allocated 3 songs to shoot, we were advised to leave the photographers pit (this is why we LOVE and respect Soundworks Touring; not only are they the hardest working crew in the industry but their concerns always focus on everyone's safety as a priority).
Pushing my way through the sweaty wall of human bodies getting a human shower of combined moistness from everyone around me, I took a vantage point at the rear of the venue to witness absolute organised chaos not only from the band but from all of the punters. The combined heat from all the bodies in the room and the magnificent show that the band put on made for a perfect evening of a delicious metal feast; the whole night left me with wanting more but also overly fulfilled to complete satisfaction.
LAIBACH - THE METRO THEATRE SYDNEY - 16TH JANUARY 2020
PHOTOS AND WORDS BY: MONIKA SMITH
The room was filled with a quiet, calming sound of a piano playing a somewhat haunting tune while on the dark walls of The Metro Theatre Sydney and on the stage a projection was cast.
Out from the shadows the band slowly began to take the stage with Marina Martensson’s voice twisting through the air like creeper vines gently climbing the walls of an old castle. With her gorgeous gothic dress and her fiery hair. It was all well matched to the sound belted from her chest.
Milan Fras soon joined the stage as the band skillfully turned the original Sound Of Music tracks into something entirely new.
The band flawlessly worked their way through the main popular songs of the motion picture with the crowd enticed by the opening to their show, singing along and becoming a swaying calm sea in unison.
As the highs of Marina Martensson’s voice cut like a diamond on glass, Milan Fras complete opposite deep vocals set the tone perfectly.
The band finished their Sound Of Music section with So Long, Farewell as Milan Fras and Marina Martensson exited the stage for the next part of the show.
The band began to play what can be describe as a dramatic horror movie scene piano solo that tore through your soul and could easily be used in any movie to get people’s hearts racing, the whole band began this intertwined chaotic dance of music that both did and did not make any sense but you could not stop staring; your ears were pricked to their fullest of heights as eventually Milan Fras returned to the stage in a new costume.
The bands final portion of the night covered a plethora of songs, as the most mind boggling, eye ball orgasmic images danced across the walls and the stage.
The crowd by the end of the evening was absolutely rewarded for the first ever Australian show. The whole experience was so magnificent that I almost missed my train home.
EYEHATEGOD, Black Rheno + Potion - 14th December 2019 Crowbar Syd
PHOTOS & WORDS BY: MONIKA SMITH
Local Sydney band Potion took to the stage to do some final soundchecks, and while this was going on drummer Chris Downey playfully performed a few seductive model poses with his kit for one of the photographers in the pit. The band started their set of doom laced psychedelic tones that instantly made the air in the room thicken.
Under a smoky haze and a pile of hair on his face, singer Lee Jowono’s voice and guitar tore shreds into the murky air in absolute precision to have the crowd completely engaged and their eyes glued to the stage; whilst Stella Leung’s heady bass playing and outward glare into the crowd could have obliterated anything in her path.
Black Rheno, a band who I have seen quite a few times now. There is always someone in the crowd that is yelling at them telling them they suck; which I will forever find entertaining and hilarious. I don’t know if they ever hear these slurs but it never phases them nor does it slow their pace. To those that want to know a little bit more about this band; who are curious as to know what they are like live. I have summed it up thusly:
Black Rheno are like a wayward Bull who has taken too many drugs, in a Fine Bone China shop, that is inside a washing machine on its final spin cycle.
Milla always manages to find himself in the crowd, tossing people around like they’re made of nothing, creating his own circle pit and generally embracing the rambunctious lifestyle of an unhinged punk; forever entertaining. Whilst Nano holds his guitar in an almost vertical position and thrashes around the stage like he is possessed by a demon.
Things were going to plan until drummer Doug’s fast feet were too much for the poor Crowbar Sydney’s bass drum skin and he punched a hole through it. Rendering it useless, and even with the deft hands of Ean from Soundworks Touring their set was cut short as the bass drum could not be repaired.
EYEHATEGOD have not graced the shore of Australia for a while and the packed room were eager to hear the lords of sludge smother their ears, eyes and lungs to point of ecstasy.
As the band clambered on stage to the delight of the punters Mike IX Williams paced back and forth before grabbing the mic stand, flipping it upside down and licking it as if it were a tasty ice-cream. The band have long been known to walking their own pathway instead of following along with the sheep of the music industry, dominating and being one of the frontrunners for all that is sludge.
Their set slathered the punters in the thick dripping ooze of sludge that cannot be washed from your body or soul even after 1 million showers. As Mike stood at the front of the crowd, arms outstretched; flipping the double bird to everyone in the room everyone was on a high that they would not come down from for a while. EYEHATEGOD have perfected their sound, presence on stage and engagement with the punters to a point where not much can be improved at all. As people in the crowd dance (as best you can to sludge), swayed, nodded their heads in unison and air drummed their way through the set EYEHATEGOD came, saw and absolutely conquered the Crowbar Sydney.
SCENE & HEARD FESTIVAL (NEWCASTLE) - 10TH NOVEMBER 2019
PHOTOS BY: MONIKA SMITH / WORDS BY: LEWIS MORLEY
FULL PHOTO GALLERY: RAWING IN THE PIT MEDIA FACEBOOK
Nestled amongst towering fig-trees which ring Wickham Park is one of Australia's premier nostalgia festivals. Focused on the biggest music from the 90s and early 2000s, Scene & Heard Newcastle is the relatively pint-sized sister festival to This-That.
One of the strongest points for Scene & Heard is this partnership: both festivals share significant organisation and infrastructure, being held one day after the other. Where This-That is at the bleeding-edge of music, hosting the newest, most popular current artists, Scene & Heard goes the opposite way, playing almost as a slower after party, showcasing classic hits.
This partnership is much to Scene & Heard’s advantage, as it gives the smaller festival access to a much larger venue with significantly more infrastructure and amenities than it could justify alone. So, while the festival area is trimmed down slightly from that of its larger sister (one stage and a small DJ tent), it still uses almost all of the massive park, which gives Scene & Heard room to breathe, even during the headline act. This also means more than enough food and drink options, short lines, plenty of grassed space for chilling out, and even a surplus of toilets (which is very welcome). Altogether this makes for a more laid back, easy atmosphere than the packed crowds of many larger festivals, and one main stage with manageable band-breaks (just enough time to grab some food) means there’s a whole lot less stress and absolutely no FOMO.
Some of the best acts of the 90s and early 2000s made the cut for Scene & Heard Newcastle on Sunday the 10th of November. Many of the artists who turned up absolutely could have headlined almost any festival at their peak popularity, and I was genuinely impressed by how little the years have changed their sound.
First up was Even, and I may be showing my youth by saying that I’d never heard of them before Sunday, but my scepticism was immediately shut down by their opening song “Stop and Go Man”. Its distinctively 90s indie sound, to me reminiscent of You Am I (one of my favourite bands), immediately had me feeling the era, and completely suited the dusty festival-at-midday vibes. Punters, many with folding chairs and picnic blankets in tow, trickled in at a steady pace, and by the end of their set the mosh was filling out nicely, with a solid ring of chairs and blankets behind.
Following Even, and a 20 minute break during which Gyroscope’s “Doctor Doctor” helped fill the void (definitely more than once), Magic Dirt crashed onto the stage looking as 90s rock cool as ever. They got off, in my opinion, to a rocky start, toying around experimentally for an over-long instrumental, but then settled into their stride. Their huge, epic sound filled the half-amphitheater as Adalita heralded the intro for “Plastic Loveless Letter”, at which point most of the lawn chairs spilled their (now frantically dancing) owners into the pit. The song ended with a tribute to late bassist Dean Turner, as Adalita plucked those punters drinking Jack Daniels (Turner's favourite) from the crowd, bringing them onstage for a pretty hectic rendition of “Dirty Jeans”, complete with tambourine borrowed from The Dandy Warhols. Altogether, and as was a trend throughout the day, a throwback to some amazing hits from the last few decades, their set ending with a classic, terrifying, and fittingly theatrical almost-smashing of their instruments.
Another run of “Doctor Doctor” for good measure and it was time for one of my most anticipated acts, Sneaky Sound System. Angus sauntered onstage first, teasing the now screaming crowd from behind his desk with warbling synths and hard beats, before a peaked roar from the pit announced Connie’s entrance to the stage. The clarity and soulful power of her vocal performance was nothing short of mind-blowing. The billowing clouds of smoke and dust picked up by the breeze mirrored the rippling, flowing majesty of her outfit (which I choose to believe was tailored specifically for this performance), and the smooth ebb and flow of her voice. This was an absolutely packed set, with the duo spinning back-to-back bangers for a solid 40 minutes. “Kansas City” had the crowd on their feet again, chests pounding with the beat, before Connie whipped them into a manic screaming mass for “UFO”, the perfect electropop singalong.
Then came alt-rockers Jebediah, with Vanessa sporting a fantastic mohawk/mullet combination (dare I call it a mollet?) and Kevin Mitchell (Aka Bob Evans) sporting his distinctively Aussie, nasal punk voice. Emancipation anthem “Leaving Home” had punters literally tearing off their clothes in excitement. Crowd choruses of ‘I hope you come around’ abound for “She’s Like a Comet”. Overall the Perth crew haven’t lost an ounce of energy, delivering hits like “Harpoon” and “Fall Down” with an obvious excitement, and an unmistakable joy to be onstage.
Alex Lloyd may be best known for his memorable vocal performance on Hottest-100 (2001) winner “Amazing”, definitely one of the biggest earworms of the decade, but his strong, confident vocals cut well into a much deeper repertoire than I’d given him credit for. While I was almost entirely unfamiliar with his catalogue, the few I knew (“Beautiful”, “Green”) were surprisingly magical (Alex’s fantastic vocal control has, if anything, improved with age), and the majority of his set passed as a welcome mid-afternoon breather between some pretty intense and energetic acts.
Eskimo Joe (who were absolutely ROBBED of a 2006 Hottest-100 win), and they’re still rolling strong! There’s hardly a better song to open a set than “Sarah”. With its rhythmic tics, spine tingling pick grind, Kavyen’s hushing, distinctively rounded vocals and building crescendo into ‘EMERGENCYYY’. It filled me with warmth to see the pure joy the three clearly derived just from performing, backed up by the energy and skill which got them the fame they so rightly earned (much better than Augie March... Australia, the way you vote is truly confounding sometimes). The trio made the most of plentiful stage space, and wasted not at inch of it - playing to the adoring crowd, whirling and running to punctuate the ethereality of “New York”. Ending the set, hearts ticked along to the majesty of “From the Sea” (at least that song came third to actual competition in 2004), and I was genuinely disappointed to see these absolute masters leave the stage. If you’re craving some Joe as much as I am writing this, they’ve just released a ton of classics backed by Perth Symphony Orchestra - go check it out.
The only imported act on the bill, The Dandy Warhols, came out to a hypnotic buzz, quickly followed by a deathly silence. Technical difficulties, apparently, but understandable - as Courtney Taylor-Taylor so perfectly put it: ‘We require huge amounts of energy to rock so massively’. It’s a testament to the professionalism and skill of the Scene & Heard team that everything was back up in only a couple of minutes. The speakers resonated to the rumbling growls and hypnotic warbles of Zia’s impressive synth setup as the Dandies’ signature blend of psychedelic/shoegaze rock took hold of the audience. The entrancing atmosphere was only enhanced by the almost permanent, familiarly sweet plumes of stage smoke (I pity you, Monika, lost in the primordial fog of the photo pit).
Sun set to the soundtrack of Veronica Mars, as “We Used to be Friends” brought our nostalgia across into other media (and reminded me how ridiculously little Kristen Bell has aged in the last 15 years). This, of course, elicited a massive audience reaction, with people sprinting past me from all over the site, vying for a prime dancing position. With the going down of the sun came the light show; suitably hypnotic as the set hit a true psychedelic stride - the return of the tambourine, the rhythmic wash of the bass and soothing rolls of Courtney’s voice. Almost to punctuate the psychedelia, barefoot dance circles started to spring up on the outskirts of the pit, kicking up small puffs of dust to glow in the evening light and throwing back to the primal heart of festival culture.
The dark of night had truly set in, blinding spotlights roamed the crowd like an alien invasion. The official headline, Wolfmother, arrived behind a full wall of smoke to howling guitars and the screams of the masses. The smoke cleared to “Victorious”, a more recent hit and powerful starter to the main event for the night. It’s been a day for distinctive voices, but arguably no voice in Australian music is as recognisable as that of Andrew Stockdale. Probably no hair is quite as recognisable either; Andrew’s glorious mane took pride of place onstage - perfectly preened, healthy and shining as ever.
Deftly sliding into “New Moon Rising”, Andrew expertly worked the audience into a hive-mind of claps - the song just makes so much sense live with its building power, tension and plenty of space for interaction, not to mention that fantastic wail!
As the set progressed to “Woman” I came to realise just how many hits the trio actually had; three songs deep and we’re still rolling in some of the biggest Aussie songs of the century, all of which have been masterfully built specifically for an intense live performance. My first thought was “How can they possibly build from here?”, but of course they did, pulling out their newest release “Chase the Feeling” with its crunchy rock’n roll guitar riffs, which drop off briefly, building the quiet tension into a perfectly retro sounding solo, executed with that mix of passion and technicality which brings shivers down your spine. My personal favourite - “Apple Tree”- was just as frantic and insane as I’d dared hope; the tight, claustrophobic chorus deftly conflicting with the broad sprawl of the verses. This speed then gave way to the epic, soul-filling breadth of “Colossal” with its Iron-Maiden-esque riffs and forceful vocals, the howls reaching levels of a shouted brutal intensity I haven’t heard since Ground Components’ barely controlled screams. At this point, the whole band is teasing the audience, ending every song with a dramatic flourish as if it were the last, each time inciting a massive roar from the crowd.
From the bluesy jangle of “Vagabond” to the screaming guitars of “Pyramid” it’s increasingly evident how varied are the influences and tastes of this insanely live-music-focused band. A bass heavy interlude pumped the blood back into everyone’s tired legs as the Wolfmother logo started to glow and grow and Andrew invited the crowd to another dimension. The lighting went insane, fitfully flitting from sky to pit and whipping beams of light chaotically across the field before slamming home as the grand finale pierced the crowd’s screams - that most iconic intro - “Joker and the Thief”. It’s a song which just ripples through your soul live, and hammers in the fact that you truly are in the presence of Aus music royalty, and unquestionable masters of live performance.
Regurgitator, Shonen Knife, The Fauves & Nervous Wrex
Words & Photos by: Monika Smith
Kicking off the night were Sydney youngsters Nervous Wrex; (just making the assumption that they were probably not born by the start of the Gurg’s surge into our musical ear holes) they still manage to capture everything that you have been through whilst growing up; the insights to it all, falling in love and just your general overall life's hurdles which is relevant to just about everyone. Despite playing to a rather empty room, they managed to fill the empty spaces with their collective almighty sound, enthusiasm and ability to juggle different instruments. For the punters that turned up early their response to the delightful treat that they had experienced filled the room with cheers, applauds and they reciprocated Nervous Wrex’s infectious energy on stage which made it feel like the room was packed to the brim.
The room had significantly filled out by the time The Fauves were about to come on (a conversation with a couple of photographers made me realise that there may have been a bit of confusion with the timings of the show).
When it comes to The Fauves all I can say is “Coca Cola Sampler CD Easter Show” and a lot of people (my age and older) get what I am saying (I STILL have this CD). It came with the freshest of hits including The Favues “Dogs Are The Best People”. The voices of the crowd and the interaction from The Favues could be felt in every corner of the room. With the backdrop to their album “Driveway Heart Attack” added an artistic glow to the stage, the band has not faltered even after all these years to deliver a spectacular and heartfelt performance.
HOW IS THIS THE FIRST TIME I HAVE EVER HEARD OF SHONEN KNIFE??? So many lost years of being able to enjoy this magical and absolutely wonderful band. Formed in 1981 and even Kurt Cobain himself has sung their praises; for good reason too. You can tell they love what they do, because you can feel it in your soul. It bursts harder and louder than a glitter filled balloon. As we know glitter is a bugger to be removed but is a sparkly reminder of some good times that were had. Just thinking back to their performance makes me beam with a big old stupid grin. Fitted out with similar patterned tops, but different colours; they dominated the evening and the crowd were absolutely mesmerised by every single second of their set. I want to see them play 100 more times.
14 years old, singing, dancing and bassing to “I Will Lick Your Asshole.” Unit; ahhhhh the album that joined many others being played on repeat. Coming with me in my backpack; being spun in my walkman. Having a major crush on Quan for the rest of my teenage years. The silver album cover with a big yellow round circle in the middle, with the words “Warning 18+, This albums contains explicit language and is not recommended for persons under the age of eighteen” in a black outlined rectangle under the word Unit. Buying it from HMV where they didn’t care and I was happy about that.
I turned out just fine though! (I think...)
These guys have not aged in 25 years; they look like the youthful lads who started to dominate the Australian 90’s music scene with the Molly Meldrum stamp of approval.
Stepping out on stage looking like they had all gotten into a Pom Pom and glue stick battle in your relatives crafts room before the show started. Looking rather beautiful as the crowd held their breath as The Gurg began the night at at gentle simmer with Like It Like That and by the end of the evening everyone in the room would be boiling hot and served up a moorish feast.
To describe this show as THE BEST SHOW OF 2019 thus far, is the most understated thing I can go for right now; I feel disgusted to say it in such a fashion but how else to describe the sheer perfection and thoroughly enjoyable experience of Regurgitator would require a degree in Etymology, Linguistics and interpretive dance. None of which I have achieved in my life.
Between all the costume changes and shooting us into space with their honey dipped set; we were entertained with some videos (Shout out to Paul Curtis – or say so all the credits!) by a few blasts from the past such as Dylan Lewis to continue the momentum whilst Quan, Ben and Peter made for a quick change into neon tracksuits. The evening would see two more costume changes, the next to follow were 3 human sparkling disco balls. As the night progressed it is one of those nights you genuinely feel that it has gone by way too quickly and that is should never, ever end. Do over?
The Gurg continued to absolutely crush the crowd with their flawless stage presence, kicking in fond memories of our youth and also to be ever so grateful to be now living in this moment.
For the final costume change for the evening; springing out from the shadows in leaps, bounds and terrible executed Grand Jeté’s were the fully transformed Gurg-swans in their pink tutus with glowing fairy lights.
Oh what a sight to behold!
The band connect so well not just with each other, but they have this somewhat hypnotic trance like ability that just pulls you right in, so anything that you've been concerned about in life or any worries you have melt away. Just when you thought the evening could not get any better, Shonen Knife, and Nervous Wrex joined Regurgitator on stage for the final song Sedated by The Ramones.
500 Stars out of 5!
My only criticism of the night: It ended.
