The Coronas @ The Basement Circular Quay, NSW Australia 14/03/2018 written by Brendan Lewis.

I THINK I’M DREAMING AGAIN

Wow, it feels like I’m dreaming…. again, for all I know, I could very well be! I mean, my god, seeing such an addictive dreamy Irish rock band play at such an intimate venue so soon after selling out their previous run of shows only three months ago, surely I must either have all the luck in the world, or be in reality, far from here, not in the real world. These guys with their live shows really do leave you in a dream-state filled with real feels that just won’t leave you alone, with a different ending each time! So….

Let’s make it happen!

This dream is started off on a high, with opening up-beat rockin’ song ‘How This Goes’, followed by dance-provoking Irish-wonder ‘Get Loose’. Lead singer Danny brings the visual energy up to a worthy level of the sound, as much as one can on a tiny stage like this, jiggling and wiggling about like a jolly-wee leprechaun, and keeps the hyped energy sustained like a pro as he says hello and welcomes us in the bridge section of ‘How This Goes’ and again in the intro of ‘Get Loose’. Although I am getting caught up a little with rockin’ out and bustin’ a move to these two favourites of mine, which I somehow manage to still take notes while simultaneously singing and dancing without singing my notes or writing the lyrics, I further multitask by taking notice of the sound mixers well-done job. The lengthy and thorough sound check that I witnessed earlier definitely paid off, as my keen ears don’t detect any faulting sound, and I can clearly hear all the sounds I’m used to hearing on the recorded songs, which makes it easy and pleasant to sing to and get loose to/bust out what I can only imagine is the girliest bum-wiggle!

After Danny discards his tambourine that was used in ‘Get Loose’, and the crowd all wiggle and sing along (mainly me), Danny demonstrates what us Irish do best… talk (hence my job), and gears the crowd up for a few more songs before this show goes live on Facebook for the second half. The first time I saw these guys live in 2015, the bar was set so incredibly high with the accuracy of the performed sound, musical and on-stage energy, musical flow and giant balloons, dazzling light displays and Danny diving into the crowd etc, which isn’t possibly doable in such a small venue. Tonight, the band embraces the intimacy of the venue and use it to bring the casualness even closer to you, with the show being scattered with chatter about song stories and humour between each song, which would normally be detrimental to the flow of energy at a typical larger-scale show.

For the rest of the dream, the band dish out fan favourites like rockin’ power-house ‘Listen Dear’ which gives bassist Knoxy a chance to shine with an attention-grabbing bass line, new feel-good jolly-roger ‘Real Feels’, ‘Closer To You’, ‘Dreaming again’ with a traditional Celtic intro, blues-rock addiction ‘Addicted To Progress’ and breakthrough classic ‘San Diego Song’. For some parts, bassist Knoxy’s energy isn’t matching the rest of the bands dreamy-grooves, but that can be forgiven with how technical his bass-lines are at times like in ‘Listen Dear’ and ‘Addicted To Progress’. Danny keeps on top of the energy however, as he moves from his guitar to the keyboard in songs like ‘The Long Way’ and ‘All The Others’. The casual feel is tightened even more with Danny informing us that it’s Dave’s (lead guitarist) birthday today, and instigates a happy birthday sing-a-long which the crowd fail to stay in-sync to, leading into ‘San Diego Song’, which Danny lets Dave take over as lead vocals as a birthday present in the first verse, giving Dave his chance to shine. This dream takes a more deeper emotive turn with songs like ‘Give Me A Minute’, ‘Someone Else’s Hands’ and the heart-achingly powerful ‘Closer To You’, to the pleading sway of ‘The Long Way’ then lifts straight back up like a dream that you just can’t figure out, with ‘Addicted To Progress’ and ‘Dreaming Again’ which fills the venue with a booming chorus of sing-a-longs to melodic and vocal hooks and cheers. As deep in this dream as the audience clearly is with the energy and positivity blazing around me, the casual setting from the band has seemed to make the audience think it’s perfectly ok to constantly talk which I personally find extremely rude and annoying, like a dog barking next door while you’re trying to sleep.

Now, after a pot-of- gold full of thanks to their audience, and Danny’s energetic excited grooves starting to look like he’s busting to take a massive pee, the band start the final song ‘Mark My Words’ which, hang on, this isn’t the usual pick of grand finale songs, where’s the big last hurrah? After the band leave the stage and the lights come on, I start to awake from this dream a little confused “what about the song the band dropped only this morning ‘Is There Still Time?’, and what about always-played fan favourite ‘Heroes Or Ghosts’?”

Just as I let my guard down and take out my ear-plugs, SURPRISE! Danny gives in to the encore demands and says “ok Sydney we’ll do this one together”. The energy and excitement is exploded as Danny takes turns with the crowd at singing parts of ‘Heroes Or Ghosts’, which he has done at the previous two shows I’ve witnessed, but this time, seems to be involving the audience and feeding off us a little more, taking advantage of the venues intimacy. The rest of the band join Danny on stage for the climax of ‘Heroes Or Ghosts’ and for the next song, the last big hurrah I was expecting, anthemic rock blast ‘Just Like That’. Wow! the energy on stage and off, is peaked dramatically in ‘Just Like That’ even before Danny steps off the stage and sings/plays the guitar in the centre of the audience, lapping up all the positive energy and throwing it right back at the crowd while the band keep the musical energy level elevated, making this a perfect grand finale for any rock show!

As I awaken from this whirlwind of a dream, I’m a little stunned! Getting to witness these Irish legends on the constant rise in such a small casual venue, which let the band really connect with their fans so intimately, was truly a dream come true! I very much look forward to seeing how the band will step up their game when they come back to Australia in November, and play the biggest venues yet for them in the country!

First Aid Kit @ Enmore Theatre, Sydney NSW Australia 03/04/2018 written by Brendan Lewis

FIREWORKS OF FLAVOUR

Thirsty? Good, because Swedish indie-folk sisters First Aid Kit, are quenching our thirst for full-bodied matured flavoursome musical wine, as they pour their hearts out into the glasses filled with samples from their freshly brewed new album, ‘Ruins’. This new album is filled with an explosion of musical flavours and attributes from sweet, smokey, crisp and heavy on the palate, so without a doubt, no matter what flavour your musical palate yearns for, tonight will serve up the perfect blend to hit that spot I’m sure.

*As you enter, please hand in your keys, drivers license, inhibitions and self respect…. For safety reasons of course*

An entrancing steady drum pulse with synced lights at the back of the stage start, with eery strings/violin soon accompanying it, to draw the sisters out onto the stage for the first song, appropriately the opening song off ‘Ruins’, ‘Rebel Heart’. This song quickly sets a warm delicate maturity in it’s tone, with vocal hooks swirling around the mid-tempo beat and string harmonies. I do feel however that this live blend is a little too hard on the palate as if it was filled with too much alcohol, as the drums draw the main focus, leaving the vocals, audible, yet overpowered. If the mix of sound was spot-on, this would’ve made a potent opening song, to get everyone hooked from the start, especially as both sisters sway with the swirling rhythm while playing their instruments at the forefront of the stage, as if intoxicated by the music.

The musical wine keeps flowing without a flicker of inconsistency, as the band flow straight into the next two songs ‘It’s A Shame’ and ‘King Of The World’. The first of these songs brings the taste to an uplifting sweet nectar, filled with major-key chords, uplifting powerful vocals blasts, organs giving complimenting harmonies/undertones, and all of which riding a skipping drum beat like a quick beating heart…. With a few extra beats. This uplifting taste prompts both girls to move around the stage in high-spirits, bringing an aesthetic energy to the show, that I didn’t see coming, with the calm, complex maturity of the music on a whole. Sadly though, the drums still draw the main focus and leave the sweet vocals struggling.

After the bassist (one of the two sisters) moves up close to us at the front and instigates a clap along to the next songs’ intro, ‘King Of The World’ keeps the happy vibe flowing with more colourful major-key chords that get the sisters energised and moving around the stage, jumping up and down excitedly (Or possibly drunkenly?) in surprising energetic charisma. The drums progress to a steady dance 1-3 beat and makes my musical sobriety tipsy, and if the rest of the audience weren’t so calm, relaxed and fixated, I’d totally bust a subtle move, with how universally easy to love this blend is, like a soft, sweet sauvignon. The vibrant vocals, which sit more comfortably in the blend, add so much sweet flavour to the mix, and yes, are still struggling to stay above the drums, but get their turn to shine brightly in the songs’ bridge, when the sound is more stripped back.

The girls now share their bubbly musical-intoxication with us, with a positive atmosphere-warming chat to their audience, further raising the positivity and engaging energy of the show after the previous songs’ hype. The sequential four songs that follow include ‘Postcard’, ‘Stay Gold’, ‘Lion’s Roar’ and ‘You Are The Problem Here’.

When trying copious amounts of wine as one does in Australia, you’re no doubt going to come across one you don’t like, but can appreciate for it’s raw qualities. ‘Postcard’ is that wine for me, like a fruity yet strong acidic white, this song has a very strong country (genre) flavour to it, which doesn’t sit as comfortably on my palate, yet I can definitely appreciate it’s quality, it is uplifting, and would be very easy to slow wiggle/dance to if this is your preferred blend. My appreciation is made easy, as the girls’ cool, refreshing vocals are sitting far more comfortably over the other sounds.

'Stay Gold’ now is far more appealing for my taste, and leaves me falling deeper into the depths of aural intoxication, with it’s powerful vocal melodies in the chorus, to a perfectly justifying gentle steady dance-beat, in an emotional yet vibrant and pleasant aroma, which the sisters enhance with positive on-stage energy. The bassist once again, gets the audience involved, as she moves up close and instigates another clap-along for the songs’ final chorus, which raises the essence around me superbly.

‘Lion’s Roar’ fills me with a flavour quite reflective of Galway Pipe Port. This song is dark, stripped back, full of crying emotion, yet warm, calming and evenly mixed. Just like a Galway Pipe, it’s accompanied by a rich fruit flavour, as the sisters bring a level of energy to the song, which it musically lacks, like one of the girls flicking her hair around like at a rock show, and is a little foreign for this song, but makes it sit more evenly in the mix of the entire set.

This may be a rock show after all, seeing as ‘You Are The Problem Here’ gives off an angsty aggressive rock scent, with it’s grungy guitar riff, and slightly too strong drums, that border-line on over-powering to the vocals. This adds a surprising spicy bite to the show, that gives more diverse flavours.

For the rest of this set which goes by in a hazy blur, the sound seems more even and pleasant to the palate more so than other songs previous, this may be that my ears have gotten used to the mix, like when you’ve had quite a few to drink and all alcohol goes down so much easier to tolerate, no matter how strong it is, or perhaps the sound mixer has adjusted the musical recipe? ….wow, I’m portraying myself as a MASSIVE drunk aye? This more pleasant blend is quite refreshing especially now as the top shelf stuff starts coming out, like the matured woody-smoke of popular track ‘Wolf’, fiery yet creamy new track ‘Fireworks’, bubbly sparkling sing-along ‘Waitress Song’ and finally, appropriate finishing song, closing track off ‘Ruin’ ‘Nothing Has To Be True’. All the songs’ demonstrate all the diverse flavours and aromas poured out in the set previously, engaging chats from the girls between songs, which in one case is a little too drawn out and feels like when the tour guide starts rambling on about how the wine’s made, and I’m thinking “I really just want to get back to the drinking part”, and leaves me drunk with musical sophistication and diversity.

Final call! After the audience around me drunkenly stamp their feet and yell out nonsense as one does when drunk (possibly literally in this case), the band re-emerge onto the stage for a four-song encore which features an unamplified, raw rendition of bright and sing/slur-along provoking ‘Hem Of Her Dress’ and finishes with the one we’ve all been waiting for, the full-bodied smokey favourite ‘My Silver Lining’, which fills me to the brim and caps off the session adequately.

If you read all the review, you should be filled with the same feelings as I was of this show. Full of flavour, a little too harsh in the mix at times, diverse, mature, and sophisticated. I thoroughly enjoyed exploring this show being a relatively new frontier for my musical tastes, and would definitely do this again in the future!

Simple Plan @ NEX, Newcastle NSW Australia 26/04/2018 written by Brendan Lewis

NO PADS, NO HELMETS … JUST BALLS!

Gather round team, let’s go over our strategy one more time! Tonight we’re up against the mighty pop/punk pioneers Simple Plan, and they’re taking on Newcastle as part of their ‘No Pads, No Helmets...Just Balls’ 15th anniversary tour! The band will no doubt be on the offence, hitting us with everything they’ve got with hits from the album like ‘Addicted’, ‘Worst Day Ever’ and ‘Perfect’ and other hard-hitting smashes from their artillery of hits, so keep your guard and fists up! It’s a full-house tonight of eager fans, and anyone that missed out on this momentous occasion is absolutely crazy!

GAME ON!...

As the lights go down and the crowd erupt into cheers, the show is kicked off with emergency sirens blaring with red lights circling with them. The band now charge onto the stage, running head-first into the set with opening song off ‘No Pads, No Helmets...Just Balls’ ‘I’d Do Anything’. As the intro starts, lead singer Pierre give us a “Newcastle, how you doing?!” before his cue to sing. The band all move around the stage in high-energy, passing the ball of energy to one another stunning the crowd from the starting line, then Pierre tackling the crowds’ attention by instigating a clap along to the songs’ beat in the bridge section, followed by a crash-course in melodic vocal-hook sing alongs to eg-on the crowd. For the first half of this song, Pierre’s vocals seem to be struggling to break-free from the other sounds surrounding them in the otherwise well constructed teamwork of sounds, but just when it seems like the vocals weren’t going to make it to the goal posts, Pierres voice picks up it’s game and slide tackles it across the line in the second half.

After a massive touchdown finale to the first song, the band run straight into the next three songs (yes, the next three consecutive songs off ‘No Pads.. etc’), ‘Worst Day Ever’, ‘You Don’t Mean Anything’ and ‘I’m Just A Kid’. The band slow their sprint around the field/stage ever so slightly in ‘Worst Day Ever’ and really focus on the sound, which sees Pierre’s vocals huddle in the mix of sound more evenly for this song. One of Pierre’s fellow band mates now helps carry the vocal density with some complimenting harmonies to Pierre’s lead vocals charging towards the goal posts, and raising the buzzing hype in the room with the songs’ anthemic choruses and uplifting pop/punk charge. Pierre now throws more engaging energy at us in the crowd by pausing the song in the bridge section, then commanding us “on the count of three, scream!” and as the drums start their rapid build up for the final chorus, Pierre reaches three and the entire band drop-kick the energy high out of this room as they all rock out hard for the final stretch.

The onslaught of energy from the band rages on both musically and charismatically, with ‘You Don’t Mean Anything’s with a fast stamping drum intro progressing into a mid-tempo major-key aggression and Pierre diving head-first into the other team (us, the crowd) as he jumps off the stage and leans into the crowd before returning to his band mates on stage, and finishes off the songs’ stride of energy as he stands tall on a fold-back speaker.

Pierre now revs up the crowd with an engaging pep talk to fire us all up for ‘I’m Just A Kid’. The crowd start singing along straight away in the stripped-back intro, which Pierre pauses to let the crowd take the ball for a line, as if toying with the other team letting them think they’re in the lead, before the song charges full force in the first verse. The sound is now perfect and quite pleasant on my musical palate, it seems the sound mixer just needed to warm up… he might’ve skipped the pre-game training. The songs’ tempo is slightly slower, but the pace of energy keeps speeding up, and I’m quite surprised that apart from jumping to the beat-drop in the songs’ final chorus after Pierre egs us on in the bridge, the crowd are not getting their mosh-on like at a typical Simple Plan show, instead, are simply content in musical fixation.

Charging through the rest of this album, ‘When I’m With You’ keeps the high-energy pop/punk vibe running, with beat-synced strobe-lights. ‘Meet You There’ slows the energys’ assent to a mid-tempo stride, yet dual layer vocals help drive the song to greater complimenting heights. ‘Addicted’ now boots the positive energy sky-high with it’s uplifting dumb-love vibe anthemic choruses of sing-alongs, perfectly justifying execution of the song by the band and Pierre letting the crowd sing “I’m a dick” for him, like that smart-ass player doing a dummy pass to make the other side trip over themselves.

The rest of the set is littered with intimate cheeky humour from Pierre mixed in with fun-fact anecdotes like how the band wrote this album in 2002 before Instagram, before Twitter, before Myspace even, before YouPorn and before free porn in general (now we know how Pierre spends his down-time these days) and quirky funny chats here and there, like how Pierre “always dreamed of one day travelling the world and having people play with my balls” after the band keeps the audience occupied with a flurry of beach balls launched into the crowd...which I did not see coming, in ‘One Day’. Along with the quirky humour, the set throws at us more differing pop/punk vibes of differing intensities, in-song engaging rev-ups from Pierre, plus guitar solos and drum solos to knock us all over with.

Like a final blaze of glory to charge the team into victory (before the encore of course), ‘Perfect’ is just that. The song starts with just Pierre on acoustic guitar and his candid emotional vocals crying out to his father and the audience lighting up with otherwise darkened room with phone lights, twinkling all around me before the rest of the band charge forth after the first chorus. This song really is a brilliant way to finish an album and thus a set, with it’s powerful vocals carried by dramatic guitar riffs and a steady beat which is performed perfectly!

As momentous and special as an anniversary show is with it’s respective album being played in it’s entirety which is a rare treat, I have been getting a little tired of the album and repetitive pop/punk vibe as engaging as it is, so luckily there’s an encore which will hit us with hard-hitters from the rest of the bands’ catalogues of hits to reacquaint my interest!

The band storm back out on stage after their half-time break and start the final charge/encore with power-surging pop/punk bite of monstrous proportion, ‘Shut Up’. This song charges the energy right back up, getting the whole crowd (including me) singing along and rocking out in defence of the bands’ on-stage energy and musical might, making this a strong re-opening song!

‘Jump’ raises the energy dramatically getting the whole crowd jumping to the beat and singing along to this rebellious pop/punk anthem, and for the rest of the long encore/short second set, the final charge to the finish line picks up in furosity and climactic energy full of sing alongs to ‘Boom’ and it’s clichè pop romance, as if fraternizing with the other team, ‘Jet Lag’, Summer Paradise’, ‘Crazy’ and grand finale, ‘Welcome To My Life’. Pierre invites the lead singer of supporting band Stateside, out onto the stage to sing the female vocals of ‘Jet Lags’ call and response, but I feel the Stateside singer isn’t doing the song justice and is a bit of a let down, made worse by her vocals not being loud enough to start with, but the crowd around me aren’t phased, and still in high spirits at this loved Simple Plan hit. Pierre now asks if anyone would like to join him on stage for an Instagram photo, then proceeds to invite fans (including me as he recognizes my apparently memorable curly hair) for a big group photo before the feel-good summer cruiser, ‘Summer Paradise’ then pleading declaration of surging power ‘Crazy’ with a dramatic build up/pause in the bridge and rev up from Pierre leading into the final chorus, and finally, the classic emo yet anthemic uplifting hit ‘Welcome To My Life’ which takes me back to when I was a wee-lad of 10 years old and is filled with a burst of sing along energy, smashing a final triumphant win at the games’ end!

Well done team, your energy was high and sustained throughout the set with differing dynamics to keep your opponent stunned, your musical techniques were sharp and precise and all worked well with one another, and your charisma and on-stage charm won over the audience from start to finish! ….Now hit the showers ladies!

Groovin’ The Moo @ Maitland Showground, Maitland NSW Australia 28/04/2018 written by Brendan Lewis.

WALK THE MOOSICAL PLANK

All aboard! All hands on deck for this ship of the damned, venturing through the open sea of people for Groovin’ The Moo, which has now arrived in Maitland to plunder it’s showgrounds of musical treasures! This ship be damned with a crew of scallywags like UK rock legends Royal Blood, Aussie rock guru’s Paul Kelly and Grinspoon, metalcore heavy-weights The Amity Affliction, new indie-pop/rock favourite Dean Lewis, indie-electronic/pop bombshell Vera Blue and a ship-load more!

Argh, full-speed ahead! BAHAHAHAHA!!!...

As I prepare myself for this voyage, no doubt there’ll be clashes between scallywag crewmen (artists) with how over-flowed this line-up is, and previous experiences with colossal line-ups such as this, so I suspect my time on-board may be profusely conflicted. To my disbelief however, there is absolutely NO clashes in ALL the artists set times that I hoped to witness today. It seems the crew haven’t been assigned their positions on-board the days’ timetable according to their hierarchy of commanding popularity like expected (most popular at the end of the day), instead the commanding officers are spaced out throughout the day to keep the scum on-board in-line.

My voyage is delayed a little, thanks to shipyard crew (security) all not having a clue as to where the most accessible place to be dropped off is and all struggling with the masses of rowdy pirates docking this ship (festival). Never-the-less, I have arrived on-board in time to catch the tail end of Baker Boy’s storm of hip-hop energy on the left-hand main stage. For what Baker Boy’s sound and performance is, it’s quite high-calibre and well presented, whether it’s your preferred cup of rum or not. After Baker Boy’s engaging attention drawing performance which leaves the already substantially full crowd wanting an encore, it’s time to head down Ocean Alley on the right-hand main stage.

It’s only 12:40pm and already the area is filled to the brim with party-pumped pirates, stretching as far as the eye can see….. Ok I’ll level with you, that’s not very far in my case, but you get the picture. Even at this stage in the day, securing a semi-decent viewing spot was a challenge, but who doesn’t like a challenge right? Be that as it may, Ocean Alley bring the energy level up dramatically with their unique and enticing blend of pop, rock, reggae and blues. The sound is without fault from both the band who dish out a perfect flow of hits that get the whole crowd singing along, and from the sound mixer, which comes across like a smooth fresh breeze to start the journey off splendidly.

After taking notes and trying to analyze Ocean Alley’s set while the left side of my body is grinded like pepper, from a suspiciously happy young lady, who I just pray to the gods of the sea is over 18, I swim through the sea of people to the undercover Moo-lin Rouge stage in time (thanks to the well-crafted timetable), for the sassy Lady Powers of Vera Blue, and her Regular Touch of anthemic dance grooves. Sadly, the sound mixer at this stage hasn’t done as well as over on the main stages for Ocean Alley, which is rather disappointing like realising the rum’s all gone… “Why is the rum, always gone?”. Vera’s anthemic sound is dominated heavily by bass, drums and her vocals, and leaves the rest of the melodic layers caught in a rip-tide of uneven sound. Still, Vera entertains the ocean of body heat under this tin roof like a pro regardless.

Now that we’re all hot and sweaty from Vera’s hot performance under the heat-trapping tin roof, and Vera’s alluring outfit which my friend describes to me, I have a bit of time to splash around, which is lucky because all this sweat and hustle and bustle in crowds including an obviously over-intoxicated guy walking straight into me head on, means I think I should visit the first aid tent to get a medical device re-secured on my arm. Heading over to the first aid tent, the crowd seems quite rowdy and I suspect are already thoroughly intoxicated despite the early hour, which makes navigating the area quite stressful, and is starting to make this cheeky pirate a bit grumpy. What isn’t now helping the case, is the first aid tent being over-packed with people feeling a bit seasick, likely thanks to that intoxication I suspected, which paints a pretty good picture of the attitude of people here. This unfortunately means that staff are run off their feet and take a while to even simply wrap a bandage around my device quickly, and now I need to rush over to the main stages for Dean Lewis and Portugal The Man.

Seeing as the vast ocean of intoxicated sea-creatures has intensified for Dean Lewis and the proceeding artists after at the main stages, I feel the challenge to venture to a safe and suitable standing spot at the stage to make use of my limited sight, will likely be a stressful one that would result in my defeat, so instead, I’m going to take post on dry land here in the VIP area near-by, and sip on a rather unintentionally suited for this theme, Captain Morgan’s spiced rum like the pirate I am.

The musical tide here at the main stages is getting quite choppy, and is giving my ears whiplash, as the sound changes from one genre/vibe to the next, making my ears feel like a rickety ship being thrown from side to side in a storm. Dean’s sound and flow is beautiful, heartfelt, and pure in an indie-pop/rock blend, which is so nice hearing Dean’s music being brought to life with a band, rather than an acoustic solo show the last time I saw him, which was exquisite, but would’ve left a gaping hole in the day’s energy I think. The musical current is steadily intensified, with Portugal The Man’s high-energy, dramatic alternative rock punches, then BAM! We get thrown around musically by Tkay Maidza, Winston Surfshirt then The Amity Affliction, Grinspoon, Lady Leshurr, Paul Kelly and Royal Blood.

Before my ears brave the immanent musical storm brewing on the main stages, my friend needs to find an ATM (which he could not), so let’s get the oars out and row through the depths of the festival. The night sky has fallen and as if the crowd weren’t enough of a pain in the ass as it was earlier, now is a whole new walk of the plank and I reckon some of these rowdy sailors should be thrown overboard by security….. I’m getting too old for this ship. What’s worse is unless my friend can’t follow a map, everything (stages, food, bars, merchandise etc) seems scattered all over the place without any reasonable method to the madness. But wait, there’s more! Returning to the VIP area near the main stages, I realise that I can hear bass from the other stages, indicating that the three stages aren’t spaced out enough in the open field of the showgrounds, which is a little frustrating when you’re, you know, trying to enjoy one particular performance or another.

That musical storm that was brewing has now arrived, so luckily I’ve got my Captain Morgan’s and a seat to brave this storm. Tkay Maidza brings Nicki Minaj-like electronic hip-hop rollers, which make my musical palate cringe, but my analytical side can appreciate her talent and charisma which is going down nicely with the crowd. Winston Surfshirt brings a flood of coffee shop vibed jazz/hip-hop/soul, featuring a little too prominent, horns sound, smooth dual male/female vocals, warm organ riffs and Winston jumping around the stage like a deranged lunatic. Hold on tight, because if that change from one extreme to the next was one thing, The Amity Affliction is up now with their thunderous metal-core bites! The sound mixer today for these two stages has done well so far, but for the extreme change in genre/style, I think is starting to float off course a bit. The set starts off with the focus very much on drums and clean vocals, where as the growling vocals and guitar/bass don’t seem to be on the same level sound wise. Luckily for whatever reason it may be, this is improved a bit heading deeper into the raging musical storm the band are brewing, but still not perfect. Nevertheless, the crowd is going wild and moshing violently, so good thing I didn’t follow my friend into the sea of scallywags! The storm eazes slightly with Grinspoon and their iconic Aussie rock hits spanning decades which the sound mixer has pulled rank for this set, then CRASH! The musical ship gets thrown viciously by Lady Leshurr. Even my fair and reasonable analytic mind is struggling for this one, the electronic/dance sound would be decent and passable if it wasn’t stopping and starting all the time, going off in all sorts of sporadic directions like Jack Sparrow’s compass, plus polluted with WAY too many party-horn sound-effects between sporadic changes every thirty seconds or so. As a result the crowds’ hype has died a little.

Now, at last, our destination of musical treasures is in sight….figuratively, with the quartermaster Paul Kelly, and the tyranny musical-pirate himself, Black Beard… I mean, Royal Blood. Paul Kelly is a risky play at this young-patron dominated festival but he pulls it off! The sound is perfect, great blend of instruments, but the flow of his set is a bit off as far as energy flow is concerned. Finally, bestowed upon us now is Royal Blood, the saviours of rock! My friend informs me that the masses of scallywag pirates are starting to exit the festival or go to the other stages half way through the bands’ set, which is a massive shock to me, as the band belt out high energy rock n’ roll power-surges from start to finish! It really is amazing how just two lads from the UK can emulate a full band sound, with just effect pedals on the bass guitar to create electric guitar sound simultaneously, sharp vocals like a pirates’ sword, and drums. It’s little wonder why these guys are so highly raved about, and apart from a little too drawn out grand finale, was an ace of a show full of killer hooks, thunderous riffs, solo’s and all!

Although there are a few more artists/bands on after Royal Blood for people who just can’t get enough, I feel like I’ve plundered enough musical treasure, and is time to abandon ship.

Are my spoils of musical treasures worth it I wonder? The musical gems were amazing and highly valuable and worthy, but the general vibe of a few too many rowdy trouble maker party-pirates and the stressful layout was far from enjoyable…. Hmmmm, I shall leave the verdict up to you...

Evanescence w/ Sydney Symphony Orchestra @ Sydney Opera House, Sydney NSW Australia 13/02/2018 written by Brendan Lewis.es

BRING ME TO LIFE

Do you believe in angels, ghosts, the heavens above, and the fiery pits below? Well tonight, Amy Lee from Evanescence will bring to life the imaginary, take us high above the clouds leaving us lost in paradise. Once our senses are truly unraveling at the end of the dream she’s tantalised us in, she will show us the secret door to the tempestuous fiery depths, in which if we enter, we can never go back…

Now, the illustrious new symphonic-rock masterpiece ‘Synthesis’ is brought to life in it’s entirety, hold on tight, for we are going under…

As the lights go down, the Sydney Symphony Orchestra open the door to the heavenly essence, as they start ‘Overture’ while Evanescence walk onto the stage in temporary absence of Amy, and with a godly roar from us in the audience, Amy glides onto the stage, in time to bring in the next song, ‘Never Go Back’. 

The lights flicker in sync to the dark heavy drum beats at the opening of ‘Never Go Back’, with Amy’s voice being pure and angelic, sending shivers down my spine. Amy let’s an orchestra member take over the piano she previously was playing in the song, so she can truly express the strength of her voice, singing with her incredible voice and body in perfect symmetry. In the second verse, the orchestra really step into the fold, bringing forth dramatic, dark cello and double bass, being the balanced darkness to Amy’s angelic light, with her spine tingling voice reaching climactic elevation nearing the songs’ close.

Leaving us all deeply spellbound, Amy now thanks us so much for being a part of this special occasion. As I sit completely God-smacked, I realise this venue, world-class orchestra and their sound mixer are weirdly perfect for this album and Amy’s symphonic vocals, with how the music is perfectly balanced to the point of me not requiring the use of my ear-plugs and with the way the walls around us hold and share the sound with one another. It's as if somehow, Amy wrote this album for this encounter.

A light electronic drum pattern and eery strings, bring us deeper into this dream for ‘Lacrymosa’, as we spiral deeper down the rabbit hole, to a mystical land unknown. The song gives off a haunting feeling as Amy’s voice is soft, wicked and hypnotic. Now the dark, haunting aura plunges into the intense cinematic deity wrath of electronic drum beats, with a calling of dramatic bass-dominated cello’s and double bass, and as the lights and music march us beneath, Amy throws her head from side to side, like a possessed voodoo doll, before she awakens from the curse, and her all-mighty classically trained voice breaks free, and elevates to incredible heights, calling to her fellow angels above.

Without a pause, the band now bring us straight into the ‘End Of The Dream’, which is then followed up with the hauntingly beautiful heart-throbbing symphony, ’My Heart Is Broken’ and emotion resurrecting track ‘Lithium’.  

A deep bass reigns throughout the hall, before Amy’s soft heaven sent voice joins the bass, and now, strings as Amy’s operatic voice raises in dynamics, echoing around me. As the rest of the song around Amy’s vocals build up to climactic shockwaves, Amy’s presence with the sinister music changes her from a sweet angel of God, to a vengeful poltergeist, haunting the world around her. The drummer too puts a demonic power into his performance, as if egging on the poltergeist in centre stage, and with the rest of the band along with the orchestra, it’s terrifying, yet exquisitely beautiful!

Now it seems our hearts can steady and our under-garments can dry, because it seems this poltergeist has been purified, and left now, is a sorrowful fallen angel reaching to the stars above in ‘My Heart Is Broken’. The purity of this angel is shone brightly, as Amy truly puts all her heart and soul into nailing every powerful note perfectly, bringing a new light through the taunting darkness that once was. With Amy’s strong expressive actions and the force of her voice, it sounds like she could be trapped within the story of this song, and fighting back tears which is as pure and authentic as a singer can get! Amy now demonstrates her ability to multi-task and takes her angelic ways to the piano for the songs’ bridge, before the explosion of celestial beauty in the final chorus.

Imagine Dragons @ Qudos Bank Arena, Sydney NSW Australia 19/05/2018 written by Brendan Lewis.

THIS IS RADIOACTIVE!

Legend is, there are four elemental pieces, that when joined, form a mystical being, differing in proportional form and energy. Legend is, that every few years, these elemental forces will unite, evolve, rise up and bring with them a new musical offering of radioactive thunder, more precious than gold.

It’s time, for the reign of Imagine Dragons ‘Evolve World Tour’ has begun…

As the enigmatic being awakens, documentary-sounding graphics on the screen atop the stage and some eerie bass, light drums and worldly synth build the suspense, as fans await the first song. The first three evolutionary forms of this being are opening track off ‘Evolve’, ‘I Don’t Know Why’, ‘Believer’ and ‘It’s Time’. All three songs start off reserved, calm withdrawn, until the songs’ energy can’t be contained any longer, like a Pokemon in it’s base form slowly reaching up to the right level, to finally break free and evolve to a new form…..I’m a 90’s kid. This is amplified dramatically, with a blast of confetti after an extended pause in ‘I Don’t Know Why’, separating the stripped back intro/first verse, and the full-force chorus. In ‘Believer’, the start is even more eerie, with the songs’ minor-key tone and now being stripped of all sounds except vocals and acoustic guitar, until the end of the first chorus, which then the song starts over in original form. The first explosive chorus is brought forth with a fiery blast of smoke shooting up from the stage in towers. For both the first two songs, once the energy hits, lead singer Dan races around the stage, energized from the flurry of energy around him, as he makes use of the stage and catwalk runway protruding from the middle. ‘It’s Time’ also starts withdrawn before raising the energy suddenly, with this song though, Dan plays on the crowds’ desire to sing along to every word, so the arena is filled with a chorus of uncontradicted choir-like vocals building up to the iconic piano riff in the songs’ intro, which in this case, is launched after the first chorus sing along.

The mix of sound tonight is quite confronting for me, yet effective to Imagine Dragons’s set, although it was unfortunately quite detrimental to The Temper Trap’s set beforehand. The sound level isn’t as loud as I were to expect, this does help emphasize the energy build up intended by the band, as each song naturally rises in energy level. However, for ‘It’s Time’, the songs’ energy did seem a little shy of sufficient until the last chorus when the band perform more dramatically.

The musical form transitions back to an embryonic state, as lead singer dedicates the next song to a school in the USA and proceeds with a heartwarming introductory talk before flowing perfectly into an acoustic cover of ‘Forever Young’, transforming this huge arena into an intimate room.

That embryo now bursts free of containment, as an eerie synth melody brings forth an energetic and dramatic display of drum and guitar collaborations from the band, with a flurry of psychedelic lighting reigning down around them, before ‘Gold’ takes shape. The energy both musically and energetically is thrust up high, emphasised dramatically by the calming absence of intensity in ‘Forever Young’ previously. This musical being seems to have reached it’s final form of greatness, or has it?

The rest of this show is like Goku from Dragon Ball Z in its’ energy, reaching “super-saiyan” heights in parts like in the uplifting feel-good track ‘On Top Of The World’ which features an array of giant balloons for the crowd to paddle around like purring kitties, ‘Make It Up To You’ with it’s dance-provoking sound and infectious melodic hooks, withdrawing back to “saiyan” status for songs like ‘Demons’, which lead singer Dan tells us about his experiences with depression and therapy, and how important it is to seek help at times, bringing the vibe to inspirational sobering heights, and exceeding those power-levels even more, reaching “super-saiyan 2,3 and 4”, in songs along the way littered with incredible drum solos, edgy show-off guitar riffs, climactic vocals and amplified by SO much confetti and smoke shooting up from the stage, as all the band run around the stage wildly as if set alight by the burning energy!

The sound tonight has been differing in quality I feel, it has perfectly justified the climactic sound of some songs, but in others, hasn’t been loud enough in some sound attributes (example, an iconic synthesizer hook, or bass line that needs to stand out), and as a result, lets the hype deflate at times, regardless of the perfectly executed performance from the band. To be fair, Imagine Dragons’ constantly evolving music features so many challenging and diverse sounds and layers, I can imagine it would be rather challenging for any sound mixer to harness a perfect all-round mix to complement every song adequately.

However, the confusing sound mix is brought to its’ full potential in ‘Radioactive’, which the energy in the arena is! The song started with an anticipation-building intro, that leads to the songs’ signature psychedelic layers and booming drums with roaring vocals. In the songs’ bridge, the energy explodes or rather, transforms like Optimus Prime after being equipped with upgrades and new weapons, as all the band members on stage take to a drum for a massive attention demanding all-out drum solo! And of course, this song brings with it MORE BLOODY CONFETTI! Seriously, guys I’m starting to look like a freakin’ paper mache! Still, after the band blast out everything they’ve got like Goku’s ‘Solar Bomb’, the show begs nor needs no encore, as THIS, is the mystical beings final form of greatness!

The sound tonight was yes, confusing, and at times confronting. However, the bands’ incredible display of comradery, energy and high musical calibre from start to finish of this perfectly-flowing set full of life, well and truly makes up for the occasionally lacking sound mix, and truly left the entire crowd feeling on top of the world and radioactive with excitement!

San Cisco @ Florida Beach Bar, Terrigal NSW Australia 24/03/2018 written by Brendan Lewis

LET’S GO THE DISTANCE

Throw your dancing shoes on, whip out those awkward bumblebee sunnies, rock that retro perm and let’s disco with San Cisco! No more waiting for the weekend, for the weekend is now here.  Tonight, these wild things are bustin’ an old-school magic groove, proving that these kids are cool still, as they do their thang in super slow slo-mo, and go the distance.

Let’s par-tay! ….which glittery dress do I wear?

After settling on a dress with the perfect balance on classy and slutty, I’ve shimmied my way to the front on this dancefloor to join the charged up high-spirited crowd, ready to boogie as a synth-based auramatic intro, filled with anticipation starts as the band walk out on stage here at “The Beery” …...side note... seriously people,  how the hell did you get ‘The Beery’ from Florida Beach Bar???

The band start this party off with ‘Did You Get What You Came For?’ off their latest album, followed by ‘SloMo’. The first of these two grooves is very strong in the 90’s synth-pop force, and as clear as Jordi’s lead male vocals are which is always a relief, the over-all sound isn’t as loud as I would’ve expected, and is very focused on vocals, synthesisers/keyboards and drums. On top of this, there’s not a lot of movement on stage to catch my limited sight, which may be due to the may-be faulty sound mix making the band struggle with their sound, or the fact that the audience hasn’t started shakin’ a tail feather yet, or perhaps, the fact that the band aren’t overly energetic is what’s causing the lack of energy in the audience? We now reach the songs’ bridge section, which features a crowd-pleasing guitar solo to help get the crowd moving, but still, this isn’t the big bold kick-off song I normally expect at a show… wait for it…

Next, ‘SloMo’ is far from it, with it’s up-beat tempo, that the catchy-as-funk vocal melodies in the chorus and the attention-grabbing guitar riff dances on. It’s great that the guitarist gets its’ turn in the the spotlight and shine brightly as they rightly should, and this songs’ classic disco-anthem vibe is extremely colourful like a mirror ball reflecting all the psychedelic lights, and easy to get down to and get my slut on, I mean, dance on. This does prompt the crowd to start drearily bopping and singing along, but the energy is still quite withdrawn.

The band now say a quick hello and thank you to the audience before the next swagger of songs ‘About You’, ‘Beach’, ‘Magic’ and touring track ‘The Distance’. ‘About You’ features a far more chilled-out vibe with calm honest female-lead vocals, with hook melodies in the chorus that get stuck in your head….. Or at least it sounds like female vocals…. If that is still you Jordi, my bad, and well, take it as a compliment, you’re pulling off a chick’s voice too! The fact that people are singing along more attentively now indicates that this is a fan favourite and is further drawing peoples’ attention which is good, but the absence of musical and on-stage energy doesn’t raise the nights’ vibe sufficiently at this point…. Wait for it….

The energy on stage starts creeping up at last in ‘Beach’, with Jennifer now on keys grooving away judging by the blurry shape of wild curly hair moving around, and the/a guitarist (Jordi?) starting to bust a noticeable move, closer to the front. The atmosphere in the venue is changed to a high-school prom/formal dance feel with a chorus of girly sing alongs, like in that movie, you know, that movie with the daggy high-school prom. (you mean every soppy teenage romances ever made?) exactly! As cheesy as this vibe is, Jordi is showing off some sparkly vocals full of diversity, with both crisp highs and smooth lows.

After the musical and audience’s energy is dropped in ‘Magic’ despite more on-stage energy from the band, with seductive retro-funk female lead vocals. (I’m quite certain this time they’re female). These vocals build up to an even more seductive vocal hook at the songs’ end, Jordi now says hi and asks how we’re all doing, and spruces up the positivity with a quick engaging chat to raise the energy for ‘The Distance’. ‘The Distance’ raises the energy nicely after that half-time rev up from Jordi, dual male/female vocals and smooth walking bass lines, now people are starting to get their groove on and I can finally unleash my super-dorky moves in this hyped up crowd!

For the rest of this night of getting my slut on, I mean, dance on the band serve up more tasty retro treats like ‘Awkward’ (how I’m feeling as I try and sing along to the incredibly infectious vocal hook, and sadly fail) but ‘Hey Did I Do You Wrong?’ really? Well, if so let’s ‘Wash It All Away’ with loads more energy which is climaxing to sweaty levels, as ‘That Boy’ on stage continues to fire us all up as he totally shows me up with his disco dance moves! All these songs are filled with unique disco-synth vibes that are highly uplifting and get the crowd moving and jumping to the point where it’s starting to resemble an actual mosh-pit which, side note, thank god I have the barrier to hold on to, because the floor is EXTREMELY slippery due to sweat and spilt drinks and would be rather tricky for even patrons with full range of vision. But, all good things must come to an end, after the band engage us more and share quick stories between songs, they now announce that this is the last song. The lucky last song tonight is ‘Fred Astaire’ with its up-beat shakin’ verses, and slow nostalgic choruses and the guitarist to my left (again, quite possibly Jordi) party-rockin’ out up close on stage, and regardless of the band having to pause the song to check if someone in the audience who obviously was injured was alright (slipped on the dangerously wet floor maybe?) this song ends the night on a high!

You don’t have to go home, but you can’t stay here….. Just kidding, there’s an encore. The band give in to the intoxicated roars from the crowd demanding an encore and give us two more songs ‘Run’ and fan favourite ‘Too Much Time Together’ thus capping the energy off with a band and making the crowd go wild and jump/get their slut on more fiercely than previously!

Now for the hardest part of the night, coming down from the hype of energy, coming home and slipping off those heels exposing blistered feet, scrubbing off mascara and getting out of that sparkly classy/slutty dress and looking back on the night I just had, and my god, I can imagine that would be a right pain in the ass if I weren’t pulling your leg and were actually wearing that sparkly dress. (which I could totally pull off btw)

It took a little while for the show to creep up and get everyone energised and draw their attention, and the mix of sound seemed a little unsure, but when it picked up it really picked up and was a truly fun retro disco vibed night in the end, filled with anthemic hooks and infectious vocals and synthesiser melodies!

Hilltop Hoods 'Show Business' Tour - Qudos Bank Arena, Sydney 03/09/2022

LET’S CHASE THAT FEELING!

Tonight, I’ma Chase That Feeling down here at the front barrier of Qudos Bank Arena in The Nosebleed Section, because Aussie hip-hop icons Hilltop Hoods are Still Standing after the involuntary hiatus on the music scene caused by the pandemic, and Hilltop Hoods are ready to party and remind us why we need to hold on tight to live music and why they’re at the top of the Aussie hip-hop scene, on the bands’ ‘Show Business’ Tour! 

Now, if you’re familiar with my reviews you’d know I normally take my readers through an in-depth, song-by-song analysis. Tonight though, I don’t feel that’s necessary and I’d just be repeating myself… a-lot! No no, it doesn’t mean this show is repetitive and anything short of special, quite the opposite.

The energy, excitement and sheer fun-happy vibes skyrocketed straight away with opening song ‘Leave Me Lonely’, with a notable suspense-building sudden stop in the bridge section to raise the impact for the final chorus, then straight into one of my all-time favourites, ‘Chase That Feeling’. Which I should note, that for the live experience this song features an extra ‘synth’ sound added into the songs intro.

Now, picture this, you’re in the crowd at Qudos Bank arena, if you’re not wearing protective ear-plug down here at the front of the standing crowd (I am THANK JEEBUS!) you’re bombarded by bones-rattling bass, but luckily, astonishingly, it doesn’t even come close to drowning out the vocals and other musical layers, I mean, there could be a smidgen more mid-range in the mix, but that’s me looking for any gaps, but by the sheer excitement emanating from fans around me from the band racing around the stage, feeding off our energy and each others on stage perfectly surrounded by a dazzling light show, you’d think this is as good as it gets and that it’ll be more of the same throughout the performance right? You know, fans sing along at the top of their lungs… in my ears, the band revs us up between songs, we clap along to beats, jump when the band tells us to, maybe a bit of confetti for us to bat-away from our faces like cats etc etc.

Well yes, that does all happen as I described but with a few key differences that make this show truly special and memorable. First off, after the band play ‘Chase That Feeling’, they ask “has anyone here not seen us before?” which the young girl to my right calls out that she hasn’t, it’s her first time. (you never forget your first) Then, the band member who asked the question pointed the girl out and ask what her name is, “Mia!” then the band say hi to Mia, thank her and the rest of us for being here, mention Mia a few more times as the band rev us up leading into ‘The Nosebleed Section’, which was perfect for the songs’ lyrics in the chorus “I fell in love with the people in the front row”... but apparently my blind eyes missed one little, iddy-bitty detail. After Mia called out her name and one of the band members confirmed it, he unfastened his watch and gave it to Mia! No, I doubt it was a $10,000 Rolex or anything, more likely one of the custom Hilltop Hoods G-Shock watches, which if anything I think is better!

But the special moments don’t end there! After the band play ‘I Love It’, one of the band members “where’s the blind guy with the sign?” (yes, me) and wants me to hold it up for him to read out. Apparently he has it shown on the big screens for everyone to see while he reads it out, calls me a bloody legend and asks “who reckons I should give him a drum stick” which he does. And he calls ME a bloody legend?! Then a couple of songs later, after nearly burning my eyebrows off with pyro-technics and covering us all in confetti (definitely not the last time for either!), the bloody-legend who gave me the drum stick and gave Mia his watch came off the stage to connect with us in the front row more personally, including giving me a hug during one of their song.

Now I could go on and on about the insane energy from start to finish, the perfect flow of musical energy from one song to the next, being absolutely covered in several rounds of confetti, not to mention losing my eyebrows and beautiful Irish-red beard to at least three separate occasions of flames shooting up from the stage about five metres in front of us here at the front, and how the band performed each song perfectly, but the most important thing to point out is this.

It’s one thing to talk to the crowd at an arena concert with roughly 22,000 fans, rev us up and what not, but Hilltop Hoods have shown, no scratch that, proven to us that their fans do really mean so much to them and they will go out of their way to connect with us even in a massive venue with rules, regulations, precise time restriction, complex stage set ups etc. They perfectly blended the intimacy of a small venue like they played at in their early days where they could be closer to their fans, and a full-scale arena show with all the fancy trimmings and effects.

This night, finished with the grand finale of ‘Cosby Sweater’ which Hilltop Hoods brought Elsy Wamaro and A.B Originals on stage to do some extra parts and join in on the fun, was truly a special, fun happy celebration of the music we all love, being back to witness it live on stages again, and sharing it with fans, friends and loved-ones alike, venue sizes and limitations be-damned!

I Love It!

The Rubens 'Live Loud & Local' - Coogee Bay Hotel Sydney 03/02/2021

AN ABSOLUTE MASTERPIECE!

The Rubens ‘Coopers Live Loud & Local’ @ Coogee Bay Hotel 03/02/21

Much loved Sydney soul-pop/rock connoisseurs, The Rubens just released the Masterpiece of a fourth album that is ‘0202’... on 12/02. To bring their live music back to fans after the forced hiatus from COVID-19 lockdowns and to get fans excited for the album with a taste of new music, The Rubens, brought to you by Live Nation Australia and Coopers Beer (the latter supplying a generous amount of their products to the band, who in turn gave me full access to when I interviewed them before the show, Hallelujah!).

Free beer, catching up with an awesome bunch of musicians for an awesome interview and live music after so long, understandably I’m feeling like a Million Man!

Free beer aside though, Masterpiece indeed…

Like all masterpieces from the likes of Van Gough, Da Vinci and those Ninja Turtles ones, each piece has its own complexity and layers, this show is no different.

Let’s start with the background, a simple uncrowded, modestly spaced canvas in which each stand-out focal point, in this case, the band members both individually and as a whole, are highlighted by simple, but highly effective lighting of differing colours and pattern which literally highlight each member, being more-so effective as each member has their own designated space, diffusing their own personal touches of complementive splashes of movement to the musical colour.

You know when you look at a piece of art, and something nags at you, a finite, subtle detail that may or may not have been intentional? Well, when the lights go down, and the chosen song for the band to walk out to blasts out of the speakers, building up the excitement to a fever pitch, the next few seconds that follow (the crucial elevated point in which to grab and carry) are filled with silence? This could be intended, as the opening song ‘Muddy Evil Pain’ paints the mid-ground of the shows canvas in a cooling, exciting, bright (and for those of us with Synesthesia) blue synth pallet for Sam’s warm, and I say this in a completely manly analytical way, seductive vocals

I find that the effectiveness of the use of colour and how they contrast, largely defines a painting. In the concert scene, likewise does the effectiveness of how all the sounds in a performance are balanced. My first reaction to the balance of sound is “wow! Sam’s voice sits perfectly in the mix, but wow that bass is a bit overwhelming” but when I really think about it, yes, the bass is very prominent, but thankfully all of the other musical elements still shine through adequately and so as the show progresses, my focus is drawn to the bass at times like the raspy guitar and bass hooks in ‘Best We Got’, but in a pleasant way. Although the guitar and bass riff do risk drawing my focus away from Sam and his passionate voice.

This masterpiece is not a conceptual piece, it has true authenticity throughout it! Each song is bang-on to the way it was recorded, new and old songs alike. Not just the sound has true authenticity though, the way Sam talks to us between songs expressing how he was nearly brought to tears of joy as he walked out on stage at the start of the show, to the funky wiggles and dance moves he whips out during some of the more seductive songs, like ‘Go On’, ‘My Gun’ which Sam adds slight personal expressive adjustments to the rhythm of his vocals in the verses, which gives the song a more unique to the night feel, and of course, ‘Hoops’ which isn’t actually at the end of the set. That brings me to another important aspect of this work of art.

A lot of concerts and paintings alike, will display a bold exciting element at the start to draw the viewers attention and raise excitement, then save the best finishing touch to last, but in some cases, if you look at all the details in between, it dips and curves, which don’t get me wrong, in some instances is effective yes, but I’m in awe of how the show tonight is like a painting of a speeding train, it just keeps building up momentum as it travels which is largely done through the placement of the songs in the set, being so placed for the flow of the songs energy regardless of popularity, which even though smash hit ‘Hoops’ does of course raise the energy in the crowd, the energy just keeps rising in the proceeding songs!

Ah now for the actual song ‘Masterpiece’! Sam very excitedly prompts the crowd to stand up at our COVID-friendly seating positions, getting caught up in the moment, which is a brilliant burst of colour in the middle of the set and as intended, raises the energy level in the room immensely! A lot of that energy is from security racing around ordering people to sit back down, not just in ‘Masterpiece’ but here and there for the rest of the show especially in ‘Million Man’… whoopsy! To be fair, Sam does apologise profusely to security after ‘Masterpiece’.

This show from the dazzling colours and textures of electronic-pop mixed with indie-rock, soul, funk and pinches of gospel flavour truly does leave me with that feeling like when you lay eyes on a true masterpiece that will stand the test of time, and leaves you entranced and mesmorized in it’s beauty! 

A message to The Rubens… Better get your musical and performance brushes ready guys, ‘cause after that masterpiece, you’ve left a large anticipatory canvas to fill on your album tour in April!

Atreyu 'In Our Wake' Album Tour, Sydney, February 27 2020

THE TIME IS NOW!

“Everyone leaves a legacy no matter how big or small”, so when our time’s up, what will we leave in our wake? With the earth being plagued with recent pestilence (the deadly strand of Coronavirus), war, famine and ultimately, death, not to mention the recent catastrophic bushfires then flooding in Australia, you’d think the four horseman have risen and it really is armageddon!

So it’s a good thing U.S Metalcore godfathers Atreyu have raised the question of what will we leave in our wake with their latest album ‘In Our Wake’.

You may not think now is the time for such questions, but yes, the time is now... 

In all the chaos in the wake of this concert, I’ve had time to reflect and put this show into perspective. When I recently spoke to drummer and vocalist Brandon (listen to the full interview here) and asked, “when you come out onto the stage, what do you give fans that other metal bands don’t?” Brandon told me “for us music is a place where we can go and let our guard down, and kind of, be vulnerable, kind of, show our insides a bit, we want people to be able to do the same thing at our shows. I think a lot of metal shows or heavy music is very serious and whatever, we’re very lighthearted on stage it’s a very fun atmosphere I think that, we want to give that open door for people to just come and lose their s***”. So, was shit lost?... figuratively, not literally.

For starters, before doors open, I notice that the queue of fans waiting to enter isn’t exactly extensive, and those of here seem quite calm and unsurprisingly, I hear talk of VOCID19, so has this scared fans away and put a damp blanket on the night?

Secondly, this venue plays host to many heavy genre performances, and I’ve got to know the typical sound here, it’s like a natural ruby, red-hot, dense, has many layers but can often bare too many imperfections (in this case commonly too much bass) and generally is clear, but still gritty.

Thirdly, typically the opening song will be the first song off the bands’ touring album, and the grand finale will be their greatest hit, so in this case, ‘In Our Wake’ and ‘Becoming The Bull’ respectively?

So, is this a clear but gritty little gem that makes us lose our s***?

In a nutshell, yes, much s*** was lost! The band did not however, fulfill my prediction of the opening and closing songs however, instead, they chose the placement of the songs throughout the show according to the rise and fall of energy it would seem, which is in my opinion, a far more effective move, as if you’ve paid to see a band who has more than one “hit”, chances are no matter what, everyone’s gonna stick around until the very end anyway, whether you leave your best to last or not. So when they open the show with ‘The Time Is Now’... any guesses as to what was lost?

Despite my observation earlier of a laxed queue, the venue is absolutely packed now thankfully, also thankfully, people are politely and respectfully losing their s***, they’re dancing, jumping and singing along, which the latter does render the sound mix hard to hear the bands’ vocals at times, but all in all is a pretty top-quality sound mix. Even when a band member steps off the stage and onto the step of the barricade to engage fans, people are still letting everyone around them, you know, breathe and stay alive.

Currently as I write this two weeks later, thinking back over the concert going over my notes, it brings a smile to my face and gives me a warm refreshing respite from the stress and gloom of the COVID19 outbreak, which has been making me lose my s*** in a whole other way.

So whether it is the anthemic sing alongs, the intense energy the entire band dished out from start to finish, the flow of energy from song to song or the addition of a brilliant cover of Bon Jovi’s ‘You Give Love A Bad Name’, which brings the singing along to a whole new height, or all the above, Brandon was true to his word and gave us all the open door for us to let our guard down, and lose our s***. 

Now that's what sets Atreyu apart from other heavy metal bands!

Missy Higgins @ Sydney Coliseum Theatre, February 28 2020

WHAT MAKES A CONCERT SPECIAL?

What makes a concert special? A truly satisfying and memorable event? When you go to as many concerts as I do, simply going to a concert in general, is not necessarily special. So what does make one special?

Is it perhaps that this is the first concert in a brand-new state of the art venue since it’s official re-opening? Maybe the fact that Missy Higgins, a household name in the Australian contemporary pop scene is giving this new venue a whirl? Is it the staff and accessibility of the venue, or perhaps none of the above, and just simply the performance and sound and nothing else?

Now because this review is, well, special, I’m going to do things a bit differently. Because there’s a lot to cover, I’m going to pick and choose selecting things to treat you to, like a gourmet meal, so bon appetit! 

First, the staff and venue accessibility entrees. As soon as I enter the Eastern foyer, staff, namely Patricia, greeted me to assist with signing in and then gave very specific and helpful directions to my companion. When this venue was in it’s planning phase, it was described as “the West's answer to a second Opera House”. Quite a tall order! Now, we all know and love the iconic Opera House, but as far as accessibility goes, it isn’t without fault, seeing as the venue was built in a time before elevators I suspect, or at least before a great need for them. As a result, despite adaptation over the years, there is at least one instance in which stairs are unavoidable. This venue on the other hand, has been built in a time where elevators and OH&S regulations are required, so as a result, getting from the Eastern foyer to the theatre is not only easy thanks to constant support from staff along the way, but also because there are completely level walkways and elevators throughout the venue, regardless if you’re ticketed to sit at the back of the balcony. This has an effect much like a sweet and succulent entree to warm and invigorate the taste-buds before the main meal.

The main course, being the performance of course, is a complex one, so I’ll break it down into four parts. First we have the ingredients, which in this case are the songs Missy chooses to play and the talking and crowd interaction throughout the set. Second, there’s the quantity, so at the end of the show, are you feeling satisfied, or are you left still hungry for more, or are you bloated and feel the meal was too big. Third, you have the sauce and seasoning, which is the sound from the band, acoustics of the venue, and sound mixer. And finally, how well was everything cooked? If you can’t put that metaphor together yourself, pretty much, did Missy and her band perform each song well?

The songs and talking/crowd interaction; Normally from what I’ve experienced at concerts, the most effective way to open a show is to head straight into the first song, which should be an energy lift, to raise the energy and get the crowd excited, and then after the first or second song, then talk to the audience. But this is a, well, special show (if you’ve made a drinking game from everytime I say well, special, you’re probably getting quite smashed by now!), so when Missy, and if I’m correct, only Missy, first walks out onto the stage, she greets us, not a shy or simple “hey Sydney, thanks for coming! This first song is X and goes something like…”, no, Missy slices through everyone’s expectation and breaks out well-rehearsed and tasteful humour! Example being “wow, what a beautiful venue! Honestly this is all I know of Rooty Hill”, Before introducing her first song, a delicate and raw song that is only her exquisite voice and well garnished piano playing which brings a more relaxed casual essence to the atmosphere in the theatre. This humour is spotted throughout the set after most of Missy’s songs, interacting with her audience in instances such as when a woman yells out “can my girlfriend sing with you?!” which Missy replies “uhm, that’s not really in the set, how loud is your voice?” and the absolutely priceless instance in which Missy combines a personal anecdote of her life and how the song links to the moment, in which Missy tells us how she was given the opportunity to record a song for a TV show on Foxtel, and how she’s not up with the whole Foxtel-y world but “I figured out a loophole. Sign up for Foxtel on demand, do the ten day free trial, watch the series in ten days, then cancel the subscription! Bob’s your uncle!” which is followed by an eruption of laughter! and how before playing a particular song, she told us the story leading up to it in which she went through a phase of not knowing if she could continue with the demands of the music industry, keep writing music so she “as cliche as it is, had to go and find myself, I went to India, got diarrhea etc etc and eventually it lead me back to music”.

Now as far as the songs go, after the first delicacy of the piano and vocals solo, Missy then introduces the rest of her band, including drums, bass, keyboard, guitar and backing vocals. These musical ingredients give the set a wide range of textures to play with! The set flows from one song to the next according to the rise and fall of musical energy more so than the most popular songs being last. This is the equivalent of a multi-course meal tailored to introduce each flavour one after the other in the most complementive way. Another noteworthy technique is adding a couple of acoustic solo songs roughly in the middle of the set, giving the palate a cleansing break to emphasize the the burst of flavours in the second half. One of these acoustic songs by Missy features her on a Ukulele giving a funky flavour twist to the typical pop music elements.

As far as the sound goes, the sauce and seasoning, there’s a few points that need outlining. The first, is this theatre is one, fully carpeted and by the sounds of it, has lots of sound absorbing materials and well crafted shaping of the roof and walls to best manipulate sound, A.K.A, good acoustics. The problem with the Opera House is that the Concert Hall I’m fairly certain, was designed for non-amplified sounds, commonly well, opera singing. So the Concert Hall’s design is to best carry and resonate sound throughout the venue, which can be tricky to tame for contemporary music of today. This venue however, was perfectly tailored for optimal performance from the sound system which brings a whole new meaning to loud and clear! This of course, is nothing without the sound mixer doing a good or bad job of the performers’ sound, which in this case, is superb! All sounds on stage are perfectly complementive to one another, whilst highlighting Missy’s vocals, and the backing vocals just shy of power to Missy’s. It also elevates and highlights the guitar solo’s in a few songs’ bridge sections, likewise with the piano solo’s in others. So does that answer the point of the bands’ sound? If not, let me spell it out for you… S, c, r, u, m, p, t, i, o, u, s! There is so much musical colour and tantalizing elements as I mentioned before, to the blues vibes in popular tracks like ‘Scar’ and ‘Ten Days’, which the latter has a more enriched blues energy for this live rendition, which is uplifting and delighting despite the emotional content of the song. Not to mention the contrasting darker feel of ‘Cemetary’ which paradoxically has a potent dance aroma to it.

And to sum it all up, am I and the rest of the audience satisfied? Did the show not have enough? thus were we left wanting more? Or are we bloated? Well, a little bit of all the above I guess! I’m thoroughly satisfied on all counts, and it was the perfect amount/proportion, but because it was so delicious, and I consumed it as much as I possibly could, I am quite bloated, but it’s the same feeling like when you’ve eaten a whole bunch of your mum’s homemade Baileys, white chocolate and Maltesers cheesecake… 

More please! That’s what makes a concert well, special and memorable! 

Fire Fight Australia, February 16 2020

AUSTRALIA, WE ARE WITH YOU!

Ashes to ashes, dust to dust

A reason to celebrate, this is far from just

A nation in need, in devastations wake

We may be aching, but we will not break

World-class artists unite, and stand together

For one hell of a night we’ll remember forever!

Even as I arrive at the venue and check-in, wait no, even earlier when the organisers reached out to find out how best to accommodate me with my disability (lack of sight) at the event, I feel a warm, highly hospitable and sense of family from the event staff which emanates to all media guests, and I’m sure all disabled patrons alike, which I feel sets the organisers and promoters TEG Dainty and TEG Live, for today at the top of their class and worth recognition! Promising start indeed!

It’ll be very interesting to see how the flow of acts here today/tonight is, as I thought the positioning of artists on the scheduling was quite odd, for example, you’d think Queen would be on last right? Nope, not even close… (although I acknowledge the symbolism of having the mother and father of Australian singers, that is, John Farnham and Olivia Newton-John capping off the night) but wouldn’t most people just leave after Queen? And the sweet, bubbly indie-pop delight Amy Shark’s on straight after the good-ol’ creepy-crawlin’ theatrical-rock legend Alice Cooper, I mean, one extreme to the next! ...This shall be interesting indeed!

Up first is the country-rock swagger of Lee Kernaghan followed by the soulful serenity of Conrad Sewell and then the bouncin’ pimped-up beats of Baker Boy. For these three artists, although vastly different genres, each bring a similar and complementing energy. The country-rock swagger of Lee Kernaghan gets us all groovin’ despite the midday heat upon us, then the soulful vibes of Conrad Sewell cool us down whilst still lifting our spirits like a sweet frozen margarita! Baker Boy on the other hand, his catchy vocal flicks and fully loaded beats are more like a Jagabomb, you wanna down those beats as fast as you can and keep going, but if you’re not careful, they’ll knock you on yo’ ass!

Today it's already blatantly obvious that this is no ordinary event and yet there’s a paradox at play here. On the one hand, today brings the festival atmosphere, with over twenty performers over just shy of eleven hours. On the other hand, it’s made apparent to me as comedian, fund-raiser and presenter for today Celeste Barber and the other presenter talk to fans near the front of the stage and ask if anyone camped out, and yes, several people did camp out overnight to have prime positions at the barrier… like a normal concert… that happens to be broadcast live over several TV channels.

As Daryl Braithwaite performs the unofficial Australian anthem that gets 70,000 people all singing along to, ‘Horses’ and two other songs (yes, Daryl does actually have more than just that one song, shocking, I know right!) which is followed up by the heart-felt acoustic anthems of Pete Murray and the iconic rock-gritt of Grinspoon, no matter what music comes our way, the energy and mood in the stadium is the same, electric! And here’s why… Both Celeste with her cheeky humour and stunning costumes which change each time she emerges onto the stage, plus the other presenter,  remind people that although today is a happy occasion with world-class entertainment, the reason why we’re all here is to raise much needed funds for the recent devastation of the wide-spread bushfires, and although the recent deluge has doused most or all fires across the country (or at least in New South Wales), the damage is still there, lives have still been lost, infrastructure crumbled, wildlife depleted and crops, agriculture, businesses, all effected, and all needing help! And both presenters remind us to please buy a t-shirt which all profits go to bushfire relief and not just that, to simply just donate if you can! And the way they deliver these messages is sprinkled with humour and good-vibes which brings a buzzing air of comradery and sense of family, a family of 70,000! To add another special touch to the event, the male presenter brings out two volunteer firefighters to say a few words and have 70,000 appreciative fans applaud them for all their hard work! Plus what’s more, if all these incredible artists here today wasn’t heartwarming enough, several artists from around the world reached out to Australia via pre-recorded videos displayed here today, reminding us “Australia, you are not alone, we are here with you”.

Each performance throughout the night from Guy Sebastian (who dedicates ‘Battle Scars’ to all who've been affected by the fires), Jessica Mauboy, Ronan Keating (who steps off the stage and walks in front of the barrier high-fiving fans in his last song, all three songs in which take me back to the late 90’s), Peking Duk, 5 Seconds Of Summer, Delta Goodrum, Illy (the latter two who made especially crafty use of the full stage setup with catwalk), Amy Shark and Hilltop Hoods all bring a pure light to the event filled with an energy like none I’ve witnessed at any other concert event, you can feel how dedicated and strongly they’re committed to this worthy cause. Each artist/band connect with both the thousands of fans here at ANZ stadium, the probably millions watching on TV and those affected by the fires past and present in such a wholesome earnestness that can’t be faked!

As Australia's been devastated by recent bushfires, world-class artists and music fans alike came together for a massive concert for bushfire relief recently at ANZ Stadium Sydney, Fire Fight Australia! Brendan the blind guy was lucky enough to head along and had the opportunity to slip in a sneaky quick chat with iconic Aussie hip-hop pioneers, HILLTOP HOODS who donated their time to the worthy cause! Sign up to the Keen Eye 4 Concerts newsletter at www.keeneye4concerts.com

As amazing as it was to meet and do a quick interview with Hilltop Hoods, it did mean I missed Alice Cooper’s performance. Not to worry though, I have seen him live in the past and know it would’ve been incredible! 

Now for the main reason why a lot of people raced to get tickets and some camped out overnight, the legendary Queen + Adam Lambert! By this stage the energy isn’t quite as beaming as it was a few hours ago which is to be expected as things wrap-up but even with Queen and Adam being significantly later onto the stage than planned, the crowd go wild! Now of course experiencing Queen’s performance live is nothing short of special, but I have two minor let-downs personally (remember, I’m only one man’s opinion!) I was quite upset the band didn’t finish ‘Bohemian Rhapsody’ instead flowing it into ‘Radio Gaga’ at the songs build up that makes everyone sing like a complete lunatic, you know, “I see a little silhouette-oh of a man, scaramouche, scaramouche, will you do the Fandango?” COME ON! WHY?!!! The other is really just my personal opinion. I thought as suitable as Adam’s voice is for the higher and some mid-range notes and yes he did do well, I don’t think he quite lives up to the legend of Freddy Mercury.

From rock to pop, to country and soul,

A beautiful energy, was brought from them all

The love and support from fans artists and more

Made this, for me and others I’m sure

One hell of a show…

We’ll remember forevermore 

The Amity Affliction - UOW Unibar, Wollongong NSW AU, January 24 2020

FEELING ALL F****D UP?…

How do you feel? Are you okay? What happens when you’re not? When you feel all f****d up, you think to yourself “all I do is sink into my impending coffin”....

What do you do?...

Even those at the height of their euphoria, surely are affected too as the dramatic war/death-march bang of the drums and underlining bass to flickering lights, floats over the audience in a pent-up frustration-filled mist, as the band makes their grand entrance. This sets the perfect tone for what comes next.

Joel’s rapturous screams and the heavy minor tones in the first two songs (the second of which I’m fairly sure is new single ‘All My Friends Are Dead’ off the band’s upcoming album) build up the heat and aggression exponentially, which the crowd seem to consume as intended! Cleverly, the first two songs are powerhouse slaughters, screams of desperation, whereas the third song still keeps the energy at a red-hot fever-pitch, with constant movement of stage from the band, weaving through and around complementing lighting, which gives an emphasis to the frustration/desperation/angst feelings of the music. However, this song introduces Ahren’s clean more-melodic vocals as well as some free-falling piano droplets in the chorus after the wailing guitar riffs and aggressive scream vocals in the verses. This I feel puts more emphasis on the desperation. I have a feeling I’m on the money with the intent of the essence one feels in this song, as in the more pleading desperation of the chorus, both Joel and Ahren support each other perfectly in both sound and on-stage charisma, which makes one another stronger. So when Ahren reaches out to the audience to offer a hand in singing in the bridge section, it hits home hard!

The aggressive screaming vocals, rapid pounding drums seeming to emulate a rushing heartbeat, thick commanding bassline and razor-sharp guitar riffs that cut deep. Plus the acoustics of the venue don’t seem ideal, as I took note of the shiny wood flooring in which my cane slid across as I entered, and from what I can see, it’s a rather large venue. I can tell this as I can hear the sounds echoing off the walls and up the back… recipe for disaster. Just like a glimmer of hope, a slither of positivity, a lifeline if you will, in a terrible situation, these speakers are capable enough to hit us with the full-force of the bands punch (musically) AND keep perfect clarity, even at such high volume! But the real saving-grace is the sound mixer, who clearly knows this venue and/or the bands sound! Despite the reflective surfaces which the sound bounces to-and-fro in their own invisible moshpit, but the sound mixer prevails to my immense relief!

The mood is shifted slightly to a more uplifting hopeful essence with ‘Shine On’ and its anthemic easy to sing- along-to chorus. But when after ‘Shine On’ comes ‘Ivy (Doomsday)’ it maintains an anthemic power in the chorus, uplifting the energy in the crowd, whilst still delivering a serious, overwhelming potency in the songs core.

Now that this reckoning is in full effect, the crowd is hyped up to extreme levels, making me very thankful I chose to steer clear of the centre of the barrier! (two metres to my left is all hell breaking loose!) The security can’t keep up with the constant flow of crowd surfers, especially in crowd favourite songs like ‘Pittsburgh’, ‘I Take The Weather With Me’ new hit ‘Soak Me In Bleach’ and the grand finale of ‘All F****d Up’, seriously, as I watch the line of crowd surfers exiting/walking in front of the barrier, it seems as though half a dozen all came out simultaneously! No wonder the heat in here is extreme!

Instead of going on and on with how the band smash out all the songs to perfection, well, I do believe Ahren struggled a little in one of the choruses of the later songs, but I’ll turn a blind eye, but all you need to know is this…

Consistently throughout the set I, and I’m sure the rest of us here, are reminded of the power of music, friends, family and everyone around us to help guide us through dark times. The band display this perfectly with the way Joel and Ahren lean on each other and complement each other, as well as the band reaching out to their audience to help with singing key lines, letting the crowd sing lead whilst Ahren sings harmonies in the verse of one song drawing near the sets close, and melodies in strategic intervals, bringing an uplifting positive power to the heavy somber darkness of the songs’ meanings, in a perfect paradox!

How do you feel? Are you okay? What happens when you’re not? When you feel all f****d up, you think to yourself “all I do is sink into my impending coffin”....

What do you do? Reach out, ask for help and draw strength, courage and support from those around you like The Amity Affliction.

Music brings us together...

Elton John 'Farewell Yellow Brick Road' - First State Super Theatre Sydney, December 21 2019

“WE’RE OFF TO SEE THE WIZARD, THE WONDERFUL SIR ELTON JOHN!”

Can you feel the love tonight? And if not, are you ready for love? As we step into Christmas and 2019 comes to an end, so does an incredible 57-year adventure, but not before traversing through the spoils of this iconic path, before we say goodbye yellow brick road for the last time, and do the crocodile rock with the rocket man himself!

Slip on your tiny dancer shoes and click your heels together three times, “we’re off to see the wizard! The wonderful Sir Elton John!...”

As the lights go down, the mighty Elton John emerges onto the stage and we’re all thrust into a world of magic, filled with buzzing euphoria, the first stops on this adventure are the iconic ‘Bonnie And The Jets’, ‘All The Girls Love Alice’, ‘I Guess That’s Why They Call It The Blues’, ‘Border Song’ and ‘Tiny Dancer’.

I’m instantly mesmerized by the sound on all fronts! The sound mix supremely highlights Elton’s iconic vocals, which are so sharp and poised, in both the falsetto pitches and the grandeur baritone vocals, as if decades haven’t passed, and he’s still in his youth, only having written the songs yesterday! This with Elton’s dazzling star-spangled costumes, well-choreographed stage visual and lighting seems to sprinkle a mist of magic throughout the theatre, transporting us all back in time!

Opening with ‘Bonnie And The Jets’ followed by ‘All The Girls Love Alice’ perfectly introduces the musical characters and sets the scene/plot-line! ‘Bonnie And The Jets’ brings forth a cool, refreshing soulful, yet uplifting mid-tempo dance sway, to grab the attention straight away, but not charge at the energy like a bull to a red rag… oh hello, here’s the red rag!  ‘All The Girls Love Alice’ rockets the energy forward dramatically, as if introducing the big-bad-enemy in the story. But in all seriousness, very well executed, as both these songs display two separate, yet complementing essences. (cruisy sway-dance/upbeat and energetic foot tapping and head bobbing)

Elton now greets us all, like Dorothy introducing herself to all the characters along the way in The Wizard Of Oz, and Elton does it in a way that speaks to both the masses in the theatre, and everyone individually somehow! This sparks more feel-good magic in the crowd for the infectious blues of ‘I Guess That’s Why They Call It The Blues’ before Elton delights us with reminiscent stories of his career, before we encounter a ‘Tiny Dancer’ along the yellow brick road.

This may be a Tiny Dancer, but what’s not tiny is the number of people standing up to dance in this song! Although it can be quite annoying having everyone stand up right in front of you, being seated, I honestly can’t blame them! Just like it’s no wonder why The Wizard Of Oz has become a household name and an icon, it’s no wonder why the same applies for Elton! I’ve got goosebumps from how tantalisingly perfect his vocals are whilst playing the piano like... well, like Elton John. I’m a pianist myself and “great scott!” I wish I could play the piano like that, but to play like that at his age… of 21… while bopping away, pointing and waving his arms when possible AND singing like that? Yeah, I’m out!

I guess all of Elton John songs are iconic, so it’s hard to pick which one to really delve into without blabbering on ‘til the new year. So one, two, miss-a-few and, oh! Hello!...

After a grand blues-rock flurry of piano swishes and complementive lights and visual effects in the bridge section of ‘Indian Summer’, the continuity is kept perfectly, seamlessly flowing ‘Indian Summer’ into a theatrical suspense-building video, bringing forth quite possibly my personal favourite, ‘Rocket Man’. The smile on my face just widened immensely! It’s funny, Elton’s vocals seem more on the baritone end than the recording, but it honestly seems like it’s intended, not that Elton can’t hit the higher notes. As a result, it actually seems more quintessentially Elton… it’s hard to explain, but I feel like if he did do the really high notes in the verses of the song, it would just seem out of place now? And if you were thinking “well maybe he’s too old and can’t sing like he once did?” well, sorry, no. The way he sustains the note near the end of the song and controls the vibrato in both his falsetto and baritone vocals shoots that theory down hard! And just to add the cherry on the top, that extra dash of magic, Elton activates different sounds on his piano for the dazzling piano solo at the end… wait, is he on a rotating platform? I swear he was facing me when I last looked through my distance magnifier?!

As we head deeper into the forest of magical sounds, we encounter a ‘Candle In The Wind’ which is met with a sea of standing ovations, in which I join in on, holding up my sign “DRUM STICK 4 BLIND GUY PLZ?!” After ‘Funeral For A Friend/Love Lies Bleeding’, to my amazement, someone from Elton/the band’s entourage comes up to me and hands me two drum sticks, informing me they’re from Nigel himself! Now, the reason why I mention this, is because it proves that it’s not just an illusion with how Elton speaks to several thousand people as if he’s only speaking to twenty-odd people, Elton and clearly his band are actually connected with the audience!

We’re in the second half of the show, and you might think people might be shifting in their seats, going to the bar, checking their phones etc? Well I doubt it, seeing as for example, the interest is perfectly maintained with honest, personal anecdotes from Elton, including talking about his own struggles with depression which he implores people to seek help when depressed, shattering the spell-woven illusion that Elton is some kind of God and not a human being like the rest of us. It’s also a little hard to drift off when theatrical dark, evil “wicked witch of the west” vibe wind and booming thunder claps (which I’m glad neither myself or my guide dog, with his heavy-duty dog ear-muffs on, have full bladders), along with call-and-response musical battles between Elton on the piano and Nigel on drums/percussion is peppered in the set!

But even the magical yellow brick road has an end. Finishing up (after profusely thanking us all and introducing/thanking his band of course) with the defiant power-punching whopper ‘I’m Still Standing’, followed by the infectious dance like nobody’s watching, sing-along crazily like the drunk-lady who’s pulled me up to join her in ‘Crocodile Rock’ and finally the final punch that vanquishes the evil witch in The Wizard Of Oz, ‘Saturday Night’s Alright (For Fighting)’ which is capped off with a burst of confetti! BAM!!!

But just like in a movie, or book, there’s also the epilogue/wrap-up after the climax right? Even Elton John dishes out an encore which consists of ‘Your Song and finally, poetically, ‘Goodbye Yellow Brick Road’ as we too say goodbye yellow brick road!

The next day…

I may have 48 hours to publish this review, but I honestly can’t wait to tell the world of my thrilling adventures on the yellow brick road! I feel so incredibly honoured to have witnessed such a momentous occasion, and sitting here writing this review, I’m still awash in euphoric goosebumps!

Goodbye yellow brick road...

Walking On Cars 'Colours Australian Tour' - Factory Theatre Sydney, November 29 2019

“LIKE A KINDERGARTENER WITH A DULUX COLOUR CHART”

Imagine, if you will, a canvas of vast emptiness and thus possibility. Then just like the big-bang, bringing light, life and colour to the once blank canvas that is our universe. This is poetically fitting for this show tonight, because Irish alternative-rock band Walking On Cars are here in Sydney for the first time ever, to fill this blank canvas with their musical colour, in celebration of their second studio album, ‘Colours’.

And if for no other reason, this show will be memorable surely, seeing as lead singer Patrick told me in a recent interview (interview here) the band walked onto the stage at first, completely naked.

So well, “lads, let’s walk on cars!”...

I’m right up against the stage, there’s no barrier between the crowd and the band, so this could be very awkward if they do walk out naked. I feel rather conflicted that no, they are not, even I can see that thanks to Patrick coming right up to the edge of the stage, nearly standing on my hands, before launching into the first two songs, ‘Too Emotional’ and ‘Don’t Mind Me’.

I had expected the opening song to be the typical choice being the opening song off the touring album, in this case being the darkly wicked rebellion of ‘Monster’, but opening with ‘Too Emotional’ to a backdrop of dazzling lights brings a very suitable uplifting vibrant essence. Although I feel the bass is slightly too potent in the sound mix (only because I’m picking all the pieces apart analytically like Lego), Patrick’s brilliantly controlled falsetto vocals, even while he dances around the stage is the main focal point of colour. This song with it’s bright musical colour mixed with the visual colour in the stage lighting is like a kindergartener taking to a Dulux colour chart sample kit to my Synesthesia!

Although the tone deepens to a solemn deep blue in ‘Don’t Mind Me’, Patrick’s on stage charisma with him taking to a single electric drum pad to accompany the sharp, precise drum strikes keeps the energy in the crowd elevated nicely! This added with the increased urgency-filled cry of emotion in the last chorus caps this song off superbly!

Next we have splashes of colour, ‘Waitin On The Corner’, ‘Always With You’ and ‘Ship Goes Down’. In all three songs, Patrick maintains a high energy to his on-stage charisma, being the common thread that links each musical story to the next. For ‘Waitin On The Corner’, I’m filled with a rich pastel red glow emanating a dance provoking vibe, with all voices in the crowd singing in unison constantly throughout the song. The icing to the feel-good energy cake is Patrick taking to playing a guitar while captivating the audience with his voice. In ‘Always With You’, once my ears become acquainted with what song it is, I’m wondering where the piano intro is? Then I realise it’s there, just not prominent enough which is a bit disappointing. But again, Lego pieces. In ‘Ship Goes Down’ a refreshing cool ice-blue soulful mist settles on the aural palate, and with Patricks full-hearted honesty, the dancing melodies and Patricks on-stage charisma, I feel the atmosphere is quite reminiscent of The Script.

As the set progresses, I’m seeing a lot of blue as far as my Synesthesia is concerned, which is usually a pretty good indication of the songs key being in C, which I mean, come on, that’s pretty normal in mainstream music. However, this show is far from bland and typical! The way the band move from song to song, Patrick swapping guitars, taking to the single drum pad and dancing around the stage whilst perfectly controlling his vocals added with the general musical vibe, is of performance calibre of that of The Script, Imagine Dragons and OneRepublic!

For me personally, the highlights are how well Patrick moves up and down his vocal range, stretching his vocal chords like and accordian, whilst keeping perfect control especially in ‘Love Backs Down’, along with the burst of euphoric energy in ‘Two Stones’ which Patrick perfectly conducts the crowds energy and vocal hook sing alongs. Another crafty element to this song, is the nifty little vocal lick at the end of the songs chorus, being set to be triggered/played at the drum strike of Patrick on the electric drum pad. As well as the addition of female vocals from keyboardist Sorcha in ‘One Last Dance’ with it’s love-struck warmth and Imagine Dragons flavour!

As the show draws close to its end, dishing out deep emotional greens, pleasant bright yellows and pop-typical blues (musical colour I mean), blending a perfect brew of contrasting colours and thus emotions, with both solemn, heavy-hearted minor tones and bubbly, happy uplifting major tones peppered throughout, I’m feeling so glad I came out to witness this memorable show, because before too long, you’ll be paying big-bucks to see them in much, much larger venues, that, I have no doubt!

But all things must come to an end at some point, and the anthemic, rebellion of ‘Monster’ with its chorus hooks that demand full attention and singing along to, is a pretty damn good finish to a bloody good show!

But just like a painter never being fully satisfied with their work and constantly adding final touches, yep, there’s an encore, which is good seeing as we haven't yet witnessed the band’s greatest hit ‘Catch Me If You Can’ yet!

This encore starting off with ‘Catch Me If You Can’ which sprays beaming energy that gets the whole crowd singing along to, also features ‘Coming My Way’, ‘When We Were Kids’ and finally, to my delight, ‘Speeding Cars’. Although ‘Speeding Cars’ is a temptingly pleading song, the vocal hooks and the grand rock-out at the songs close is simply ace, and the perfect final touch to step back from the masterpiece that is this show, and admire with full satisfaction, even with the band not playing ‘At Gunpoint’ as I’d hoped!

Scene & Heard Festival Newcastle - Review & Interviews, November 10 2019

YOU ONLY THINK YOU’VE SEEN AND HEARD IT ALL!

Sometimes in life, you come across those times when you realise you’ve seen and heard it all before, but really, when a quaint little festival on a beautiful sunny, but not smolderingly hot day boasts a line-up featuring national rock legends such as Wolfmother, Eskimo Joe, Jebediah and Magic Dirt, plus international rock legends The Dandy Warhols, well… what’s the harm in a little bit of familiarity right? But that’s the thing, although I’ve seen most of these bands perform live before, will this festival bring a sense of familiarity?...

What better way to start the day, than by chatting to some Aussie rock veterans before catching the rest of opening band Even on the main stage!

I’m definitely feeling pumped and ready for the day ahead after that awesome interview, and keen to get up on stage and do the chicken dance with Magic Dirt! But for now, Even’s 90’s psychedelic/indie-rock tunes are rather refreshing and aromatic, like the scent of flowers that takes you back to your childhood home, which is quite a nice way to kick off the day!

I know it’s still early in the day, but so far the vibe is not that of most festivals I’m familiar with. Everyone, staff, artists and general festival goers are all relaxed, in high-spirits and the atmosphere is just generally pleasant! I mean even backstage, instead of people rushing around like headless chooks trying to keep to the schedule down to the second, stressing out and what not, everyone back here is calm, happy and relaxed, and yet everything is still professional and without incident! (what you don’t see behind closed doors right?!)

Now for Magic Turd, I mean Magic Dirt, this should be good! Adelita told me at the start of the day, how in the absence of Dean, who tragically passed away in the early 2000’s, which resulted in the bands hiatus, that getting back on stage now, they’re driven by Dean’s memory and although he’s not with them on stage, he’s like Ben Kenobi, he’s always with them, guiding them and make them stronger in the way of the musical force. And their performance today? Well, strong in the force, this one is! Even though I can’t see their body language and what have you, I can feel the raw honesty feeling they’re putting into their performance, and Adelita sounds like Ben Kenobi and the crowd’s positivity is filling her up, driving her. She’s belting out all the notes perfectly, as if she’d just written them yesterday, she really sounds like she’s having a ball! When she invites me plus a few others up to dance around in ‘Dirty Jeans’, then I can see Adelita’s and the rest of the bands positivity up close, and believe me, it’s radioactive!

I feel kind of famous now, with everyone passing me saying good on ya mate, I saw your daggy dance moves up on stage! Well, I mean they didn’t say daggy, but I’m sure they were thinking it! But no time to bask in the glory, ‘cause Sneaky Sound System is up next. I thought it was rather odd, that Sneaky Sound System, an electronic duo (singer and DJ) are on the main stage, amidst all these rock legends… this should be interesting! Somehow, Sneaky Sound System’s dance anthems may seem starkly out of place on the main stage, I mean you’d expect them to be headlining the smaller stage with some electronic acts for those who feel like boogying right? On paper, yes, but it somehow fits perfectly on the main stage to help lift the atmosphere even higher!

I must say, even as the afternoon crawls on, and the big-guns on the line-up start to emerge, Wickham Park is still spacious and rather easy to navigate, even if you’re blind-drunk or like me, simply just blind! On top of that, the vibe is still laid-back, easy-going and not obnoxious which is a much-welcomed contrast to a lot of festivals!, oh, it’s time to go chat to Even, then catch the last bit of Jebediah and first few songs of Alex Lloyd, before an impromptu unrehearsed chat with The Dandy Warhols… what could possibly go wrong? B.R.B.

...Ok, in my defense, 1; Alex Lloyd was playing on the main stage like, right behind the tent me Courtney and Brent were in. 2; I’m terrible with names and 3; I didn’t know who I was interviewing until I entered the tent.

After grabbing the biggest burger I’ve ever enjoyed at a festival for the normal festival price, if not slightly less, I get to just sit back, shake off the embarrassment from the interview with The Dandy Warhols and enjoy the last few bands!

As you could probably tell in the interview with Courtney and Brent, Courtney seemed a bit… uhm, well… spaced out? After fixing the technical faults at the start of The Dandy Warhols set, the band put on a really great set! Although, it did sound as though Courtney may not have been at his best. But still, the rest of the band kicked-ass! Some might say that the band’s two biggest hits 'Bohemian Like You’ and ‘We Used To Be Friends’ are a vast contrast to the rest of their hits, but live on stage today, the way the band flow seamlessly from one song to the next, and mix up the live rendition of ‘We Used To Be Friends’, brings nice continuity in the flow throughout the set!

Honestly, all the acts on the line-up kicked-ass and took everyone here, in the still spacious, easy to navigate, pleasant atmospheric park back in time, rediscovering their youth and giving you the nostalgic tingles! For me personally, hearing Eskimo Joe and Wolfmother live always take me back to my early teens, and hearing them today, it’s like being reunited with old class-mates from high-school in a way, and both these bands never disappoint in their live shows that’s for sure! Plus even though The Dandy Warhols are arguably the most established/successful band on the line-up and in that case, fitting to be put last on the schedule, putting Wolfmother last really blows the energy out of the park! But even with the spike in energy in the park, the vibe is still surprisingly laid-back and all-round ace!

At the end of the night, you may have seen and heard festivals like this, which too boast killer line-ups, but have you seen and heard a festival so enjoyable as a whole as this? I tell you, that’s a tall order!

Ali Barter - 'Hello, I'm Doing My Best' album tour, Sydney, November 1 2019

BREAKING NEWS OUT OF SYDNEY

THIS GIRL MAY SURPRISE YOU!

Put out your Cigarette and Please Stay focused. I Won’t Lie, This Girl Ali Barter has Big Ones of music (not talking about any Girlie Bits here, get your mind out of the gutter) instore for the Oxford Art Factory Sydney, on her ‘Hello, I’m Doing My Best’ album tour. This album and likely performance too, is full of Hypercolour, filled with exotic pop/rock flavours resembling that of which you would find at a Far Away Cocktail Bar in Tokyo.

As soon as Ali puts One Foot In the venue’s she plays at, the crowds are treated to a spectacular experience. Brendan the blind guy is at the Oxford Art Factory with the full scoop…

Brendan; “Thanks… I guess, me in the future? The atmosphere here at the Oxford Art Factory is well, electric, there’s no other way to describe it!”                     

Brendan; “When Ali walks out onto the stage to very enthusiastic applause, you’d expect the opening song to be the opening song off the album in which the tour is set around. When I interviewed Ali recently (interview here.) she told me that her performances have grown not just in fact that she’s gone from being a three-piece band, to now being a four-piece, but also in the sense that this being her second studio album, she now has a lot more songs to play around with in her set. You can tell Ali’s really put this into consideration with how she shapes the flow of energy in the set with what songs go where. Coming back to expecting the first song of the night to be the opening track off her latest album, that would be the soft, raw, delicate ‘Lester’, which flows straight into the edgy attitude-driven ‘Ur A Piece Of S**t’. But instead, Ali chooses not to even start off with anything delicate in the slightest, and instead hits the energy hard with ‘Backseat’ off her latest album, which really lands the energy at a running pace!”

“How does the crowd respond to this?”

Brendan; “The crowd absorbs this energy just as Ali would likely have intended, with maximum positivity. There’s no shortage of fans singing and dancing to this still quite fresh track, and when Ali follows up with ‘Cigarette’, the opening song off her debut studio album, then ‘Please Stay’ also off her debut album, the energy around me in the crowds seems to lift just that one step higher.”

“Sounds like it’s going rather well so far. So how is Ali’s performance?”

Brendan; “I can’t fault it to be honest! I’m finding her bass guitar is a little too heavy in the sound mix, but that’s not Ali’s fault, and it doesn’t smudge Ali’s vocal attack thankfully. Ali’s vocals from what I can tell are sharp and precise, a sign she’s poised, well-rehearsed and in her element. What’s more, she’s confident in her vocals as well as when she embraces her audience and shares personal anecdotes about her life that influenced particular songs. You know those times when you can hear the smile on someone's face when they speak? Tonight is one of those examples.”

(Ali informed Brendan after the show that she was indeed smiling all throughout the show).

"Are there any particular moments that stand out in the set to you Brendan?”

Brendan; “As a matter of fact yes there is. After the set is in full swing energy-wise and we’ve been riding the hype up to the rollercoasters peak, what goes up must come down right? Ali’s band take a break and now it’s only Ali and an acoustic guitar for ‘January’. Not only is this strategically well placed in the set to give a change in dynamics, but this song being stripped-back to being just vocals and guitar really highlights the sustained high notes Ali belts out near the songs close.”

“How does Ali bring the energy back up to the hype she commandeered at the start of the night?”

Brendan; “After Cooling-off with the acoustic rendition of ‘January’, not only does Ali raise the energy back up to it’s initial heights but exceeds it. To end the set on a high after more charming anecdotes from Ali, she charges into new single ‘Big Ones’ which is high velocity in itself, but given the huge contrast from the rawness of ‘January’, the energy level seems even more accentuated. After ‘Big Ones’, Ali then finishes up with the way I expected the night to start, with the folkish, raw, delicate ‘Lester’ which flows into the edgy fire-cracker ‘Ur A Piece Of S**t’, which really is the definition of going out with a bang!... figuratively, not literally of course.”

“It does seem like an excellent way to finish the set, but she hasn’t played her biggest hit ‘Girlie Bits’ yet, has she?”

Brendan; “That’s right, no she most certainly has not, and the crowd all know it and won’t let her leave without playing it. So of course there’s an encore which consists of a solo acoustic rendition of ‘It’s Not Real’ and last but definitely not least, ‘Girlie Bits’. The energy in the crowd for ‘Girlie Bits is quite extraordinary! I mean this isn’t the kind of show to push and go wild and act like complete buffoons, instead it’s a show that you simply sing and dance your heart out to, and that’s exactly what everyone’s doing.”

“Any last notes on the show?”

Brendan; “Yes, me personally, I think it may have been more appropriate to either replace ‘It’s Not Real’ or add after ‘It’s Not Real’, ‘Light Them On Fire’. The dynamics in ‘Light Them On Fire’ with the anthemic chorus and fiery yet intimate and relatable lyrics would’ve been a brilliant incline in energy to then be met with ‘Girlie Bits’ to take it even higher. But apart from that, Ali’s come such a long way in her career and all the effort and heart and soul she puts into her music and performance is definitely evident. I strongly recommend people to head along to one of Ali’s performances and support this Aussie talent!”

“One last thing, what inspires you to write your reviews in all these different and thematic ways? I mean you’re practically talking to yourself here”

Brendan; “Come on, if I don’t mix things up I get bored! And I mean hello, I’m doing my best here!”

Grinspoon - 'Chemical Heart Tour', Sydney November 2 2019

WELCOME TO CHEMISTRY 101!

Welcome to Chemistry 101 with your Champion teachers, Grinspoon. Seriously, I sucked at chemistry in school, like, to the point I honestly can’t remember doing it… wait, chemistry is what gives Black Rabbits their colour, and what makes Dogs Run right? Yet somehow, here I am, a somewhat teachers-aid, helping Grinspoon take you through all the Thrills, Kills & Sunday Pills on their ‘Chemical Heart’ tour Tonight, which is sure to be Just Ace and a sure Hard Act To Follow!

Right Now, I have No Reason to keep on like this, so Ready 1, 2, 3 class is commencing now!...

For a change in perspective, and to rest my aching twenty-five year-old bones, I’ve opted to see what it’s like witnessing a Grinspoon gig from a seat near the mixing tower, via high-power binoculars. Especially too, as if you read my review of Grinspoon’s Newcastle gig in 2017, well, the crowd was brutal and got me a tad riled up, (come on, who tries snatching the drumstick that one of the band members hands to me out of my grasp?!), and that was a small venue… the Hordern Pavilion is not!

What I love about the Hordern, is the lighting and stage effects are always a real treat! What, a blind person can’t enjoy the aesthetics too? Well, a rush of electrifying lights and stage effects propels the energy sky-high for the band to catch, squeeze and thrash around in ‘DC X 3’ which is seamlessly flowed into ‘Lost Control’ and after barely enough time for the crowd to lose control with applause, straight into ‘Sickfest’ and then still no rest for the wicked, straight into ‘Just Ace’.

What does over twenty years of experience as Aussie rock ‘n’ roll professors (the band) provide one with? Well for starters, the band sure know how to conduct the energy and toy with it perfectly, manipulating the mood in the venue like a science experiment gone oh-so right! Honestly, I’m not a fan of ‘DC X 3’ much, simply because I’m a crazy cat guy, but that aside, Phil’s voice capturing both punk rebellion and gruff agro bite to call on, mixed with edgy guitar riffs and driving drum strikes lands the crowd right in the palm of their hands by the looks of things. (A sea of fists, and sporadic energy from the crowd, in response to the mass-movement on stage to a backdrop of fiery lighting). This aggression-filled rebellious track sends a chemical rush of savage pent-up aggression, met with excitement throughout the venue, it’s like a steroid/ecstacy hybrid! ...Please don’t try that at home… or anywhere for that matter!

‘Lost Control’ is a perfect follow-up to ‘DC X 3’ because, literally, the crowd have already lost control like they’ve submitted to a potent chemical… actually for all I know that could be the case? But seriously, this song keeps the hard-hitting rock brutality at 11, whilst presenting a more anthemic chorus to chew on and regurgitate simultaneously, with a fist pumping like the pumping motion will push it out of you! (that image? You’re welcome!).

‘Sickfest’ keeps the energy elevated, while giving a morphing beat drive like the most epic acid-trip ever, (that is what we learnt in chemistry right?), transforming from a whip-lash intro beat, to a dance-provoking strut in the verses and finally a sexy swagger in the chorus to Phil’s rough vocal bite. 

‘Just Ace’ is a rush of contrasting intense energy, it’s brighter, more uplifting, more up-beat. This is one of those short, sweet bangers that you’re glad doesn’t go for longer, or you’d probably faint from busting out the energy it invokes, well, that is if your fitness level resembles that of mine anyway. It’s a smart move putting this song after the previous three slammers, to keep the energy nice and high, but acknowledging the aggression in the previous songs’ energy, it gives a refreshing cool positive breeze, so not to start a full-blown brawl/riot!

Honestly, I could keep going on and on like this, but we’d still be here reading tomorrow evening. But the reason I went into a comprehensive assessment of these first four songs is that it perfectly paints the picture for the show! 

The energy is high all the way through the set, however the band conduct the precise reactions intended perfectly, dropping anthemic hook sing-alongs like my personal favourite ‘Hard Act To Follow’, plus instigating melodic sing-alongs with the crowd, all amidst a smokescreen of white-hot intensity. Then later in the set after everyone’s drenched in sweat, a refreshing solemn-hearted self-reflective track like ‘Better Off Alone’ which poetically is like that moment when you stop and really take stock of your thoughts and feelings. Plus to reel back in any drifting attention that may have gone astray, Phil pops-up at a small secondary stage behind the mosh pit for an acoustic solo track, which helps remind people other than in the thick of the mosh, that they’re a part of this moment too. 

But acoustic tracks and deep self analytical tracks are no way to end a rock show right? Despite this being the ‘Chemical Heart’ tour and said song being arguably the band’s greatest hit, it’s not a suitable grand finale, it’s an amazing track yes, but it lacks that spark to finish a set with. So ‘Chemical Heart’ is in the encore yes, but only before the band thank us from the bottom of their hearts and finish with ‘Champion’ and ‘More Than You Are’. Both these two last tracks restore any and all energy the show once had, with the psych-up egging-on fire in ‘Champion’ which is like a red flag to a bull, and the extreme thrashing brutality with Phil belting out raspy edge in both tracks! 

After all this, being seated I’m rather thankful I dodged the onslaught of crowd-surfers and just insane energy emanating from the mosh, it really let me enjoy the sound mixers handy-work with the set to its fullest, I mean it was just ace!

Right, time for grading;

Flow of songs/energy. A+

Interaction with crowd. B

Sound mix. A+ 

Band performance (solo’s, instrumentation, accuracy etc). A

All in all. One bloody good show!!!

Sannia 'Better' & 'Daylight' Twin Single Launch, Sydney 14/09/2019

THIS WAS NEVER MEANt TO BE

First and foremost, this review was never meant to be, but here we are.

Let me set the scene for you, it’s 11pm and Sannia, a talented young singer/songwriter all the way from the Mornington Peninsula in Victoria’s south, has been Travelling up to Sydney since 5am to put on a free show at a venue seldom spoken of, and never heard of by myself prior to the launch of her twin singles ‘Better’ and ‘Daylight’. 

Driving since 5am, small mysterious venue, sounds like a recipe for disaster..

“My sister calls it an ear-worm, it burrows in and gets stuck in your head”. That’s what Sannia said about her single ‘Better’ when I interviewed her recently, (Listen to the podcast here) so when she opens her set with the song, we, the audience, all have worms.

I was quite surprised that Sannia chose this to be her opening song as it’s definitely an infectious stand-out sensation of rich aural vibrancy, so it’s rather risky dishing out a trump-card/climactic song straight-up. Let me put it this way, you don’t show your hand too soon in poker right? You milk it, win as much as possible before hitting them with the royal-flush … but that’s exactly what makes this song the perfect initiation!

You may recall earlier this year my review of the CHVRCHES concert at the Sydney Opera House, in which I took you through my literally colourful musical perspective Synesthesia? Well tonight, Sannia starting her set with ‘Better’ is like being splashed in the face with a flurry of gorgeous, rich, vibrant red, orange and pink paint! Let me tell you, being splashed in the face with paint sure as hell brings you out of the mellow, lax 3-drink state! (don’t worry, I won’t be driving home with alcohol in my system, I’m not irresponsible!).

Now one’s performance can be perfect, but if the sound quality is poor, it’s like trying to polish a… and being a small, lesser used venue, my expectations weren’t high as far as the sound quality on the venues part. You know when a mate tells you “ah yeah, the new Avengers movie was alright” then you watch it and it blows your mind as your expectations weren’t unrealistically high? Well that’s EXACTLY the case tonight! A complementive minimal amplificated sound atop non-amplified drums is set just right and is pure, crisp, crystal-clear, resonating Sannia’s vocals naturally and simply perfectly through the rather classy intimate venue!

Right right, back to Sannia’s actual performance. As I said, this review was never meant to be, it was simply a nice night out to enjoy some music from a talented and all-in-all lovely artist, enjoying a drink or two with no requirements of a review. But oh… my… GOSH! 

I feel terrible that this show was free as this kind of musical and performance calibre is that of artists I’m used to packing out much, much larger venue and requiring a decent admission fee! I knew Sannia has a great voice and her three released singles all convey exquisite aural flavours and both vocal and musical diversity, but I know I know, I’m really laying it on heaps here, but seriously, I can see why people apparently cry during Sannia’s songs. In every song, I’m filled with swirling colours moving up and down the pitch tonal-key spectrum with her band perfectly complementing her musical complexity and honest raw emotions. And if you know her first single released last year ‘Go And Get Over’, you’d know the incredibly powerful, hard-to-hit note that occures on the word ‘fine’ five times throughout the song? Well she nails it live, all five of the ‘fine’s!

There’s really only one thing I find to let the show down to be honest, it only went for forty-five minutes or so. No seriously, I’m not being coerced to write this, each and every song brought a smile to my face and most gave me euphoric goose-bumps leaving me wanting more, but I knew my attempts at demanding an encore wouldn’t be successful. 

This review was never meant to be, but this performance demanded it. Because quite simply, when this musical gem is brought to the attention of the masses, performing at large theatres across the country to thousands of adoring fans, I want to be able to say…

I witnessed a performance that brought forth a review that was never meant to be... 

The Cat Empire 'Stolen Diamonds' National Tour, Sydney, October 3 2019

ANYBODY UP FOR SOMETHING TROPICAL?

Hello ladies and gentlemen, and welcome aboard The Chariot for The Cat Empire tropical island cruise featuring your host Oscar Wilde! Anybody not ready now better hold on tight, ‘cause the rhythm of this voyage is expected to be well, moving, to say the least! Onboard with us tonight, we have ‘Stolen Diamonds’ the latest gem from Melbourne’s favourite jazz kitties The Cat Empire, an album brighter than gold!

Ladies and gentlemen, wolves, fishies, bulls and everyone/thing else, please grab a cocktail and have your boarding pass ready, it’s time to party!…

As we stand at the precipice of the performance, the band walking out onto the stage and taking to the helm that are their respective instruments, the already densely packed theatre is filled with a wave of static excitement!

The first stop on this tropical venture, we’re met with a delectable serving of tropical jazz, fun and rasta in ‘Anybody’, featured on the band’s latest album, followed by the fruity cocktail of ‘Sleep Won’t Sleep’, I swear I can almost see the palm trees, coconuts and hammocks on the beach!

‘Anybody’ is like the “complementary” cocktail upon entry (that is included in the entry fee), that offers something new and different to the cocktails we all are used to and have enjoyed, in moderation of course… *cough-cough*. Whereas,  ‘Sleep Won’t Sleep’ is that passionfruit/white-chocolate Martini you know and love! Like a well-blended cocktail, the sound tonight is mixed to perfection! I can hear all sounds sitting comfortably among one another, whilst not overpowering Felix’s vocals at the forefront, and there’s a lot of layers to account for too! (vocals, guitar, bass, keys, drums, DJ/decks, horns and percussion). 

As I find myself becoming pleasantly intoxicated by the tasty mix of sound, the addition of Felix on the bongo’s tapping away swiftly in a “call and response” jam-off with the DJ in the bridge section of ‘Wolves’, and the all-out jam between all band members in the bridge section of ‘Sleep Won’t Sleep’ is nothing short of mesmerizing. That, plus the smooth horns (I honestly have no idea if it’s in-fact trombone, saxophone, trumpet or what?) and the chorus of voices singing the hook lyrics “all night long” in the chorus is rather potent!

Thus far, Felix has been like an entertaining host on an island tour “on the left we have Felix holding the microphone out to the crowd, to sing the hook melody in the bridge section of ‘Call Me Home’. On the right we have the highly fun jazz improv jamming featuring the admittedly sexiest piano solo in the bridge section ‘Fishies’, followed by some incredible high notes ( which shouldn’t be possible for a male over the age of twelve) performed in perfect clarity by Felix in ‘Darkness’, with it’s deeper feeling portraying the mixed feeling of awe, captivation and excitement as one witnesses the historic events of Pompei” This is all while Felix races around the stage, dancing and waving to the crowd when possible like a tour guide who’s way too jolly for the suspiciously sudden vacancy of alcohol onboard the ship… hmmm. Still, Felix’s energy and the way he coordinates his actions with his musical performance is far too well executed for someone intoxicated to pull off… well, smoothly at least!

Despite the fun, tropical fiesta that is this show, the crowd are rather calm? It’s not until Felix revs us up with a clap-along to the building-up beats in the bridge section of ‘Two Shoes’ that people actually dance and jump in the sequential chorus after the build-up! Me on the other hand, I’ve been shamelessly grooving the entire time… ok, maybe slightly shameful. The insane drum solo in the bridge section of ‘Darkness’ probably helped energize the crowd!

We all have a favourite destination on these kinds of tours, and mine is definitely ‘The Chariot’ with it’s rasta grooves in the verses with Felix’s quick rolling vocals that build up to the insanely infectious, lively jazz salsa dance of a chorus! I was already musically quite intoxicated by these tropical fuels, but now? The horn melodies in the chorus with keyboard rhythms bouncing around them and driving beat elevates my slightly shameful dance moves to straight out shameful, no slightness about it. Still, I’m not the only one, and seeing as I can’t see people looking at me, eh!

No but seriously, as Felix told me in our interview before the show, (watch here) music brings us together which I couldn’t agree more! Tonight is a prime example, we’re all here regardless of any language barriers, differences in culture, beliefs or status, all brought together by a mutual love! And when it’s a show like this filled with passion, energy, improvisations, crowd interaction and tantalising tropical aural flavours, you can’t help but let your hair down, forget the stress of normal everyday life and dance without a shred of remorse, ‘cause we’re all doing the same, so it’d be a real shame not to!

I could go on and on, taking you through every single song on this journey, but really, after nineteen songs (sixteen plus a three song encore) I think everyone would agree that like a truly euphoric and memorable holiday, I don’t want it to end and wish it could continue! And even with the absence of the band’s greatest hit ‘Hello’ and the anthemic and kind of sexy swagger of ‘Prophets In The Sky’ which I was hoping to be played, I am far from disappointed! In summary, this is one of the most fun “let your hair down” concerts you could attend whether you’re a jazz fan typically or not!

Thank you for choosing to travel with Keen Eye 4 Concerts, I hope you’ve enjoyed your trip as much as I have and I hope to have you aboard again soon!