After a colossal night at The Metro Theatre, hearing the phrase ‘pop punk is dead’ feels oh so desperately wrong. Having been near sixteen months since the release of their third album The Peace and The Panic, Welsh Four-Piece Neck Deep finally returned to Sydney as headliners for a ridiculously high energy fueled night of nonstop bops – and they’ve brought along some Aussie staples for the ride too.
With a line-up that looked like it came straight from a Triple J Hottest 100 top 10 from 20+ years ago, Scene and Heard festival was a nostalgic experience.
Although with a majority of attendees more mature than the average festival audience, there was a youthful atmosphere around Newcastle’s Wickham Park – reminiscent of late 90’s and early 2000’s, the festival was a celebration of teen angst, rock and roll, Australian music and what it means to people.
Front End Loader and Dallas Crane set the tone for the day, classic rock riffs, loud drums with vocals to match. There were some old classics thrown into the mix like Rock And Roll from Led Zeppelin that got everyone looking up and eager to hear more. Read More
Y’know, I can’t help but laugh when looking back at when I volunteered to review and photograph a gig down in my hometown of Frankston. I should’ve known what I was signing myself up for. A heavy punk hardcore vibe in the dark and dingy Pelly Bar in the heart of Frankston’s sketchy at best night scene… All the signs were there. It got rowdy.
After a year’s worth of writers block Melbourne based Pop/Rock/Emo/Punk outfit Ceres are back. On tour for the new single ‘Viv in the Front Seat’ which released early August, the fans have showed that they are hungry for music, selling out all four shows of their East Coast run. They have taken fellow Melbourne powerhouse Press Club on the road and had some incredibly stacked lineups, showcasing the talent in the emerging Emo Rock scene that Australia has.
There are few bands in the history of Australian music who have managed to maintain credibility throughout the decades to the same extent Radio Birdman have. Into the Maelstrom, a recent film documenting the history and the development of the band, revealed an act determined to force something which was at that point foreign into Australian rock n roll. It also revealed a band tearing itself apart from the inside out over the course of forty-five years of writing, recording and performing.
The Piano guys consists of “four dorky Dads from Utah”, who stumbled across fame through YouTube. The story of this group begins with Paul Anderson in a small shop in Utah, who believed that rather than use traditional modes of advertising there was potential to sell pianos for his store - The Piano Guys - through social media. Despite their unique attempt at advertising, the store is now closed however the four guys behind the videos - Jon Schmidt (pianist), Steven Sharp Nelson (cellist), Paul Anderson (videographer) and Al van der Been (music producer) continue on.
Making my way through the crowd to perch myself in the best position possible, a sudden sadness fell upon me.It hit me that the man I had come to bare witness to is essentially one of the last frontmen standing from the phenomena we call “grunge”. But that sadness quickly lifted when Novocastrian, Grace Turner quietly made her way on stage to deliver a set of songs, some seemingly unfinished, but beautiful and authentic all the same. Her gorgeous voice floated over captivating chord changes and the cracks in her voice showed the true raw emotion that resides inside of her. Authentic. Relatable.
Saturday night saw three of the most exciting acts in Australian hip-hop turn the Oxford Art Factory into the sweaty pit it’s meant to be. Headliner Tkay Maidza, fresh off the release of her latest album, brought Kwame and Arno Faraji along for the ride. They bounced around the stage, giving the crowd all they had. For Kwame, it was a hometown show, which meant the crowd was even more raucous during his set. WOW, his latest hit, was a stand-out. But the night truly belonged to Tkay, who tore through her set with unwavering charm and energy.
In an attempt to cater for the Venn diagram that our headliners sit in, the bill for this evening sports two bands from very different schools of heavy music. Flaming Wrekage are beer-swilling, blokey traditionalists – the kind of band who would play the Stag on weeknights – while Shackles come from the more breakneck-paced school of songwriting, as employed by the likes of Napalm Death and fellow countrymen Extortion. The former make a valiant effort to win over the early arrivals – so moved is one front-row devotee, he averages three raised devil horns per song, which is an impressive quota by anyone’s standards. That said, they’re easily outperformed by the latter. Perhaps it’s a case of absence making the heart grow fonder, but the rarity of seeing Shackles play these days seems to make their sets all the more vital. They power through their set as if they’ve never been off the road, only stopping for a minor technical hitch. The crowd responds in kind, showing its first proper signs of movement as momentum builds. It’s good to have Shackles back, if only for a moment in time.Read More
Playing two packed out Enmore Theatres on back to back nights is no small feat and yet, Windang boys Hockey Dad put on a stellar show on the fourth night of the ‘Join the Club’ single tour. The tour is hitting a heap of capital cities and features several all ages dates and sold out a majority of the dates, spurring the dynamic duo to add extra shows in most of the cities. Taking fellow Wollongong wave makers TOTTY and Melbourne Pop Rockers Tiny Little Houses on the road, this tour is set to be a series of shows not to miss.