Having caught Basement at their energetic show with Turnover in Sydney a few years ago, I couldn’t pass up the chance to watch them again co-headlining with The Story So Far, a band I’ve always planned to see but never did until now. Supporting at the Roundhouse at UNSW were two Sydney locals, The Dead Love and Endless Heights, our own homegrown heroes.
At first, the bustling garage-dwelling post-punk of Melbourne’s RVG (that’s Romy Vager Group, for those of you playing at home) seemed an ill fit in contrast with tonight’s headliner – almost at odds, even. The reality is, however, RV are a complement to this bill – and, indeed, any bill lucky enough to have them. They provide everything a great indie-rock band should: Introspective insight, solid foundations to dance or sway upon, propulsive walls of guitar and a series of peaks and valleys that allow one to appreciate their stylistic contrasts that coarse throughout each song. The quartet are still riding high on the momentum of their excellent 2017 debut LP, A Quality of Mercy, and the lion’s share of the record gets a run-through here. Given the album was essentially recorded live upstairs at The Tote, it’s no surprise that the electricity and urgency captured on record translates seamlessly to the live environment. Even those among the early arrivals who have no idea who the band are (read: all but maybe five of them) are quick to pick up what RVG are putting down – which, in itself, says a lot about how convincing a live band they are.
Thando brought her one night only show to Melbourne’s Sooki Lounge on Friday the 12th of April. Accompanied by her full band, in what was essentially a last hurrah before she goes on hiatus ahead of the upcoming birth of her baby, it was surely a night to remember.
What’s the best way to celebrate the eve of one of the most religious events of the year? Get pissed with strangers at Star Bar and go to a Dropkick Murphys Flogging Molly show. On the 18th of April, Good Friday Eve, Metro Theatre held host to one of the most influential Irish rock bands in history, and it sure delivered.
Mallrat, the 20-year-old pocket rocket hailing from Brisbane, took to the Metro Theatre stage for the first of two sold out shows in Sydney on Thursday Night, following a completely sold out run of shows across Australia as part of the ‘Nobody’s Home’ Tour.
Sasha March has unveiled a bright slice of alt-indie with her new single “Ten Days”, released on 22nd March. Hailing from Adelaide, currently based in Sydney, March’s new music signals a new musical path. The track shows March remains true to her folk foundations, however is defined by strong alt-indie instrumentation and delivery. You can listen to the track here.
Last Dinosaurs are the kind of band that have consistently proved their timelessness – and just how effortlessly it comes to them. The Dinos have continued to pull huge crowds through their decade-long tenure, all the while completely selling out huge tours internationally.
“Murder is women’s business” – overheard at the venue.
Over the past few years, the true crime industry has boomed. Podcasts such as Casefile and Last Podcast on the Left have grown in popularity, and My Favourite Murder is consistently in iTunes’ Top 10 comedy podcasts, with over 19 million monthly downloads. Shows like Making a Murderer and The Staircase have become global sensations. Liking true crime has gone from being something you do on the downlow, an interest you have but don’t tell anyone about, to one that is spoken about regularly, between friends, colleagues and even strangers. And data shows these watchers and listeners are predominantly women (and this was even touched upon in the audience Q&A, asking why true crime seems to be so popular with female audiences).
On the back of incredible album Rue and a colossal performance at Unify Gathering 2019, Sydney four-piece Hellions have continued in their seemingly endless rise. Gearing up for some of their biggest headlines to date, we sat down with drummer Anthony Carusso for a quick chat about Rue, and what’s to come.
I must preface this review with an admission: I was conflicted about what I was to hear on the night of this gig. I’m all for artists celebrating milestones such as this; especially independent Australian artists. However, 15 years is a long time in the Information Age, and I was worried that some of the content of Butterfingers’ debut record ‘Breakfast at Fatboys’ hadn’t aged particularly gracefully during that time.