Tag Archives: brisbane

Live review: Regurgitator – The Tivoli, Brisbane – 27/10/19

regurgitator brisbane the tivoli 2019

They may be 25 years into their distinguished and acclaimed career, but you can bet your shoes on the fact Regurgitator aren’t about to start taking themselves too seriously.

In fact, the Brisbane trio brought out all the weird and wondrous silliness they are known and loved for as an appreciative audience, many of whom were likely not born when the band formed, brought the party to the Tivoli on a balmy Sunday evening.

The second of two nights celebrating the homegrown legends, this was a veritable mini-festival of fun stretched over six hours, with supports Koko Uzi, The Stress of Leisure, The Fauves, Screamfeeder and Shonen Knife providing the build-up to the main event.

Much like Regurgitator’s musical output over the last quarter-century, it was a wild and eclectic affair that played out in several parts; each celebrating a different element of their history and interjected with humourous and ludicrous introductory videos featuring Dylan Lewis and Tim Rogers, among others, as well as retina-searing and, at times, hilariously lewd graphics.

regurgitator brisbane 2019

Early tracks ‘I Sucked a Lot of Cock to Get Where I Am’ and ‘F.S.O.’ (about domestic violence – “Let’s fuck that right off”, requests frontman Quan Yeomans), went down a storm amid a maelstrom of noise and enthusiasm as the band bounced around in costumes adorned with multi-coloured pom-poms.

Next came the rap-rock section, and a switch to the “life-sucking” (bassist Ben Ely’s words) tracksuits, with ‘Light Me on Fire’ proving to be a high point.

Another switch to a somewhat gold-sequinned costume affair and the arrival of Seja Vogel on keys brought the band to their ‘Unit’ phase, which was always going to be a major highlight of the evening, including the graphic cartoon rimming on the big screen during ‘I Will Lick Your Arsehole’.

The lingering feeling is that if Regurgitator was to somehow still exist 25 years from now, it would continue to be the irreverent, self-deprecating, outsider beast that it has always been. And that’s exactly how it should be.

For Scenestr

Live review: Alice Ivy + Miss Blanks + DVNA – The Foundry, Brisbane – 7/6/19

Fun and positive vibes were the name of the game at a bouncing Foundry in Fortitude Valley on Friday night (7th June).


Alice Ivy

In town to promote latest single ‘Close to You’, Melbourne beatmaker Alice Ivy was to play the penultimate show on a nine-stop tour in style, but if she was tired from yet another sizeable national tour, it certainly didn’t show.

First up was Gold Coast producer DVNA, who played a fun, earnest and endearing set to a filling Foundry, while taking time to thank her audience for coming along. Among a swag of smooth tracks, ‘Girl on the Move’ stood out as a soulful, glistening pop gem.


DVNA

Next came Miss Blanks, who dialled the sass up several hundredfold and truly got the party started in her typically brash and entertaining fashion. Between tracks the Brisbane rapper, and former Alice Ivy collaborator, was genuinely funny and self-deprecating, with set highlight ‘This Bitch’ bringing together everything good about her act: lyrical savviness, humour, profanity, and solid hip-hop chops.


Miss Blanks

This gig, however, was all about Alice Ivy. The Victorian producer and multi-instrumentalist was on top form from the get-go, as the audience increasingly let loose on a Friday night.

Switching between guitar, bass, electronics and more, she showed off her range across a swag of tracks from her debut album I’m Dreaming, but it was single ‘Close to You’ that we were here to witness in the flesh. The track, a poised and slick electronic pop number, went down a storm.

The good vibes increased with Alice Ivy thanking and expressing her love to everyone for coming, with fans returning the love many times over as the set came to a climax and a night of celebratory electronic pop came to a close with a sea of smiling faces spilling onto the street.

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Live review: Kimbra + Exhibitionist – The Triffid, Brisbane – 16/7/18

“Very meaningful,” is how Kimbra Johnson coolly describes her first gig in Australia in four years about midway through the first stop on her Primal Heart tour at Brisbane’s The Triffid on Monday night.

Kimbra Brisbane The Triffid Primal Heart 2018

Yep, meaningful. Yep, four years. Yep, Monday night. It’s not the most obvious choice for a triumphant return to a country to which she has ample musical links, but that didn’t stop a large and enthusiastic crowd gathering to collectively fend off the winter bite and enjoy some top tuneage under the arched roof of one of Brisbane’s finest venues.

Exhibitionist – aka Brisbane’s Kirsty Tickle and band – set the tone with a half-hour set of sometimes smooth, sometimes brooding, sometimes dark pop. “Sorry, guys,” she smirks, as she introduces ‘Sally’s Song’ – written with Sally Seltmann with music industry misogyny firmly in the crosshairs. Meanwhile, French drummer Jonathan Boulet is grinning from ear to ear as he basks in Les Bleus’ recent World Cup triumph, before closer ‘Being a Woman’ is introduced as “a little bit aggressive”, and is widely appreciated for being exactly that.

Now for something a whole lotta meaningful. New Zealander Kimbra takes to the stage amid a cacophony of vibration and expectation, taking her position stage-centre with the assurance of someone who has appeared on many of the biggest stages worldwide in the last few years.

An early one-two of ‘The Good War’ and ‘Black Sky’ showcases the strength in depth on the Hamilton native’s third album as the singer strides across the stage surveying her domain, while singles ‘Human’ and ‘Like They Do on the TV’ get big responses from an audience finally starting to relax.

‘Settle Down’ keeps the mood high, before the sparse ‘Past Love’ breaks it all back down. After ‘Two Way Street’, Kimbra challenges her crowd to dance when ‘Sweet Relief’ brings the funk in spades. It’s a veritable musical smorgasboard with no obvious flaw or failing.

All in all, when you look past the electicism, seemingly effortless style, and retina-threatening lights, it’s the 28-year-old’s powerful, soaring voice that’s the star of the show. Who knows what sort of meaningful stuff Kimbra can come up with in the next four years?

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Live review: Mojo Burning Festival – Hamilton Hotel, Brisbane – 14/4/18

The fifth annual Mojo Burning Festival proved that it continues to be a local musical force to be reckoned with at the Hamilton Hotel on Saturday night (14th April).

Positioned as an ‘outside-the-box’ blues, rock and stoner festival, the gathering has gone from strength to strength since its comparatively humble beginnings at the New Globe Theatre in 2014.

Thirty excellent bands over three stages and ten hours is an embarrassment of riches by any festival standard, and almost instant turnaround times between acts kept the momentum going throughout the day.

The Zed Charles Hendrix Experience in the psych room proved to be an early-evening highlight: the balance of showmanship and homage to the songs was just right, and a perfectly blazed ‘Hey Joe’ was a solid closer.

Over at the blues stage, Hat Fitz and Cara let loose a barnstorming set of country/blues numbers, working up a sweat before a baying audience, and climaxing with the stomping ‘Power’.

It was clear that Jeff Martin was a big reason for the presence of many at the festival, and not without good reason. The Tea Party singer-guitarist upped the ante with a solo set of style and class, with some humour thrown in for good measure. ‘Coming Home’, ‘The Bazaar’, ‘Stars in the Sand’ and ‘Line in the Sand’ were mashed up with NIN/Johnny Cash, the Doors and Martin’s heroes Led Zeppelin to make a hard-rockin’ audience happy.

Jeff Martin Mojo Burning Brisbane 2018

After the intensity of Martin, the light-hearted Henry Wagons was a fun point of difference. The Melburnian, with trademark leopard-print jacket and headband, jokingly teased the audience between alt-country numbers, before getting among them during final song ‘Willie Nelson’.

Henry Wagons Mojo Burning Brisbane 2018

Then came Wolfmother and bedlam. Stockdale and co. still know how to rock, and HARD, and as the rock stage became a barrage of headbanging, big riffs and bigger hair, keeping track of anything became increasingly difficult. ‘New Moon Rising’ and ‘Dimension’ were highlights, as were Stockdale’s wardrobe changes. Everything else was lost in a haze of noise and exhilaration.

Wolfmother Mojo Burning Brisbane 2018

Throughout the evening there was a rail-thin and somewhat bookish-looking guy moving among the crowd, fixing a dark-eyed, intense stare on anyone crossing his path while sipping on a schooner with an almost un-Australian restraint. Seconds after Wolfmother was finished, he (Rafael Cohen, as it turns out is his name) was onstage, having shed his glasses and all restraint in his role as guitarist for Elephant Hive – an Israeli power duo who rocked as hard as anyone at the festival. Cohen and drummer Tom Bollig were spotted by chance by the festival director at a show in Tel Aviv, and will have won many new fans on their first Australian jaunt.

Elephant Hive Mojo Burning Brisbane 2018

That left Money For Rope (with two drummers in their four-piece setup) and Hobo Magic, switched from the psych room to the larger blues stage, to kill off any remaining eardrums and complete a festival the organisers can be proud of. Consider all mojos well and truly burnt.

Money For Rope Mojo Burning Brisbane 2018

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Live review: Fatboy Slim – Electric Gardens Festival, Brisbane – 25/1/18

It’s Australia Day Eve, it’s hot as hell, and thousands of thirsty Brisbanites are looking to cut loose.

Fatboy Slim Brisbane January 2018 Electric Gardens

Sunnyboys are at the Tivoli and Foo Fighters’ brand of bro-rock is across town at Suncorp Stadium, meaning Fatboy Slim, aka Norman Cook, has some big-hittin’ competition for the collective attention of Brisbane’s gig-goers at Electric Gardens Festival at the Showgrounds.

The question of whether Cook is able to top his triumphant performance at Riverstage exactly two years to the day is another uncertainty hanging over the gig – that was a hell of a show.

Needless to say, the night proves to be business as usual for the EDM renegade master – complete with a typical array of hits, mesmerising visuals, tantalising sonic snippets, air horns and high energy.

After sets by Tim Fuchs, Motez, MK and Gorgon City, panic sets in at the drinks line when ‘Eat, Sleep, Rave, Repeat’ kicks off a couple of minutes before the slated 8:30 start time. After ten minutes of high-quality Fatboy, however, the party is well-and-truly underway.

From here, the master is in control of his disciples.

Brief blasts of ‘Eye of the Tiger’, ‘Seven Nation Army’ and ‘Get Up (I Feel Like Being a) Sex Machine’ get huge responses, as do ‘Renegade Master’ and ‘Star 69’. Two years ago it was Bowie featuring in a brief minute-or-so tribute, and this time it’s Prince; the Purple One’s image on the big screen is a nice touch.

Fatboy Slim Brisbane January 2018 Electric Gardens Prince

Much like Foo Fighters were probably doing over at Suncorp, Fatboy drops some Queen into his set with a bit of ‘Radio Ga Ga’, as the audience claps when he demands it. It’s not quite Freddie at Live Aid (nothing is), but it’s a lot of fun.

By 9:50pm another hit is well overdue, and ‘Praise You’ does the job, evoking an atmosphere somewhere in the region of bedlam. It only takes ‘The Rockafeller Skank’ mixed with ‘(I Can’t Get No) Satisfaction’ to put the icing on this sweaty, leg-weary cake.

For Scenestr

Fatboy Slim: Stormin’ Norman Heads Down Under

Longevity in the entertainment business is an elusive concept. Slippery as an eel. Statistically pretty bloody unlikely.

fatboy slim 2018-1

Evidence shows that lengthy success requires an artist to either (a) regularly reinvent their showbiz persona and take a punt (see: Bowie, Madonna, Prince), or (b) find something they do particularly well and just keep hammering away (see: AC/DC, The Rolling Stones).

For every rule there are exceptions, however, and it could be argued that Fatboy Slim is pretty unique in that he has done a bit of both.

On one hand, the Englishman has spent over 20 years honing an instantly-recognisable DJ-ing style and hasn’t put out a studio album since 2004. On the other, he’s the guy with an armful of aliases, a continually-evolving method of effecting euphoria, and a back story as interesting and varied as most.

With appearances locked in at the third Electric Gardens festival in Sydney, Brisbane, Perth and Adelaide through January, the bonafide EDM legend is bringing his unique party-starting style (and trademark Hawaiian shirts) back to Australia just two years after his last shows here.

It’s safe to assume he’ll be bringing his A game, as always.

“Australian crowds, they’re not shy,” he told Red Bull last year.

“And that’s always my favourite kind of crowd. It’s also a beautiful country to visit.”

While music-lovers now have a pretty good idea of what to expect from a Fatboy Slim show, it’s been a long journey for the 54 year-old to get to where he is today.

The man also known as Norman Cook has come a long way, baby, since being a skinny, pale Housemartin singing a cover of Isley-Jasper-Isley’s ‘Caravan of Love’ on Britain’s Top of the Pops in 1986 or reinventing The Clash’s basslines for Beats International’s smash ‘Dub Be Good to Me’ at the turn of the ’90s (and the coming of ecstasy).

In 1996, his world changed. The Fatboy Slim moniker was born (a name plucked from “thin air” he told NPR in 2001), he released the triple-platinum-selling You’ve Come a Long Way, Baby album a couple of years later, and a swag of awards and international recognition in the process.

A superstar DJ was born.

The transition required a new persona, meaning he became “like James Brown without the band,” he told The Guardian recently.

“I started cheerleading the crowd and showing off. Whenever I play, I kick off my shoes, put on my Hawaiian shirt and revert to being a 17-year-old who’s had one too many ciders.”

More hit records and a never-ending whirlwind of parties, festivals, gigs, travelling and even more festivals, gigs and parties lead to him not only becoming one of the biggest names in dance music worldwide, but also alcohol-dependent – a situation he didn’t address until 2009.

Sobriety called for further transition so the Fatboy Slim party didn’t suffer. He says a genuine love of the music and his audience keeps him as keen as ever.

“The people I play the music to … keep me inspired and amused,” he told Time Out this year.

“Last year was fun and I fully intend to deliver more of the same. I just try and makes sure there’s a little bit of everything for everyone.

“If you wanna party, age doesn’t matter!”

“It’s strange, especially when you travel around, [but] I always have a look at the crowd before I go on to see roughly how I’m going to approach it,” he told Noisey.

Naturally the transition to a sober life was a more serious affair than simply adjusting his approach to a show.

“I kind of lived the life of Fatboy Slim 24 hours a day for about a decade, and it nearly killed me,” he said in an interview with Digital DJ Tips.

“It’s untenable to try and live like that all the time, you’re not a responsible citizen, and you shouldn’t be left in control of children.

“So I kind of figured that the only way I’d do it was quit drinking, for starters, just to give me a bit more longevity, and also just to separate the onstage person from the offstage persona.”

Fans old and new are benefiting from the change too.

“[Sobriety has] prolonged my DJing life,” he told Noisey.

“And my actual life. It’s nice to be 54 and able to jump around at 5am. A lot of that is through being fit. But seriously, the whole thing is just vanity; self-preservation.”

Now a veteran of EDM and a stalwart of the music business, he’s in a good position to assess the scene – with the help of a clear head.

“A lot of the old school DJs are properly weird characters, whereas the new school are young, good-looking, but not hugely interesting,” he told Noisey.

“A lot of them are interchangeable.”

With fire still clearly in his belly and a desire for playing shows stronger than ever, Fatboy Slim is not in the mood to hang up his headphones just yet.

Retirement is an impossibility when he’s only just successfully learned how to separate his onstage and offstage personae, he recently told The Guardian.

“For me, Pete Tong, Carl Cox, we are the first wave of big DJs so there’s no precedent [to retirement],” he said.

“As I get older, Norman’s increasingly obsessed with fridge management and being a responsible dad and husband. He only lets Fatboy out of the box on stage now – Fatboy’s still a lunatic hedonist.”

For someone who has been there from the start to still be at the top of his game more than 20 years later is more than unlikely; it’s almost impossible, and Fatboy Slim’s long and eclectic contribution to music has arguably earned him the right to dictate his own future.

“I’ll step down when either the crowds or I stop enjoying it,” he told The Guardian.

“Neither of which has happened thus far.”

Fatboy Slim plays Electic Gardens Festival:

Friday 19th January
Red Hill Auditorium, Perth

Thursday 25th January
The Marquee, Brisbane

Friday 26th January
Centennial Parklands, Sydney

For Scenestr

Live review: London Grammar + Guests – Riverstage, Brisbane – 23/9/17

Billed as Brisbane Festival’s “marquee music event”, the five-act line-up of London Grammar, James Vincent McMorrow, The Kite String Tangle, Mansionair and Wafia provided perfect vibes for a chilled evening at Brisbane’s Riverstage on Saturday (23rd September).

London Grammar Brisbane Riverstage September 2017

With the tunes kicking off at 4pm in scorching sunshine, and running for close to six hours, the atmosphere was not unlike a mini festival, with the comforting aroma of Dagwood dogs and mid-strength beer reinforcing the feeling.

Wafia is a rare talent whose vocal power is more than enough to fill the amphitheatre, while Mansionair play a slick set and get a big response with ‘Hold Me Down’.

Hometown boy Danny Harley of The Kite String Tangle is delighted to be playing Riverstage for the first time, as he tells us twice. The sun aptly drops over the horizon as he plays ‘Illuminate’, but it’s his final track ‘Arcadia’ which is the perfect ending to the best set of the day thus far.

But hold on, the best set of the day is immediately bested, as things get international-class with James Vincent McMorrow. The Irishman’s soulful delivery is just about perfect on ‘Get Low’ and ‘National’, while the towering ‘Cavalier’ provides a goosebump-y moment or four.

London Grammar are all darkness and mystique as they take to a sparsely-lit stage and singer Hannah Reid begins proceedings with ‘Rooting For You’. It’s a controlled start, but one that grabs the audience’s attention and ensures it stays firmly on the band for the rest of the night.

‘Rooting For You’ perfectly rolls into ‘Flickers’, and while the trio’s sound is somehow both delicate and huge simultaneously, it is, of course, Reid’s ethereal, choral tones that are the highlight of the set.

‘Wasting My Young Years’ precedes a cheery rendition of ‘Happy Birthday’ for guitarist Dan Rothman, who is turning 28. A cake appears from somewhere and Reid asks the audience to confirm how young and handsome he is before pointing out how cake is bad for her vocal cords, “just like everything else delicious”. Boo hoo.

‘Hey Now’ receives perhaps the biggest response of the evening. It fills the amphitheatre from the river to the hot-dog stand and back again, as a captivated audience sings along. Conclusion: London Grammar’s music is built for big spaces.

The gig/mini festival vibes are over by the Brisbane City Council-approved 10pm, leaving plenty of time for reflecting on what was a pretty damn good day of music.

For Scenestr

Q&A: Glitter Veils

The Brisbane duo going international with the help of one of America’s most well-regarded record labels.

Glitter Veils

Glitter Veils wasn’t always Glitter Veils. Most recently plugging away on the Brisbane dream-pop scene under the moniker YOU, it was in July last year that Luke Zahnleiter and Michael Whitney (also of The Rational Academy and Nite Fields, respectively) were presented with a persuasive argument to change their band name.

Terrible Records got in touch. It was co-founded by Grizzly Bear’s Chris Taylor and is home to Solange, Twin Shadow, Blood Orange, Moses Sumney and Australia’s Kirin J. Callinan, among many others. Terrible suggested the switch to the more memorable and SEO-friendly moniker. It then went on to release Glitter Veils’ album, Figures in Sight, on its Flexible imprint, which focuses on unique debut releases.

After listening to the album it’s easy to see why. Raw, abrasive, deep and mesmeric, the layers of sound play out like an experiment that may or may not reach a conclusion but will be a hell of a ride either way.

Zahnleiter and Whitney, champions of the album format, explain their processes and how they ended up on Terrible.

Was putting Figures in Sight together a complex process?

Michael Whitney: It started off as a bedroom project for me, and then I wanted to play it live. Then Luke came along and we became really good friends. I guess from that initial period it was about two years of writing, recording, restructuring and going back and forth to the studio.

Luke Zahnleiter: We were pretty fastidious and got a bit obsessive in parts of it, but, overall, we’re happy with how it came out and happy that the overall sound has been getting a good response. We’re kind of relieved in a way.

Was it important the album had an overall sound or feel?

LZ: Michael and I listen to similar music and we have quite a varied taste. I think it’s about the feeling and mood we can create in the music. We could attempt to make a style of music, but [the album is] essentially what came out at that period in time. Whatever was impacting our life was funnelled through that.

MW: Luke and I come from pretty different spectrums of how we play instruments, and I think that is reflected in certain ways. The guitar has a similar sound over the whole album. I tend to like a lot of older pop music and stuff like [American composer] Angelo Badalamenti [best known for his work scoring David Lynch’s films].

David Lynch is often mentioned in your reviews. How does that sit with you?

LZ: I’m happy with that. When people say “David Lynch”, I think they mean the Twin Peaks [theme] song [Falling]. I think it’s more of a mood thing.

MW: That kind of tragic beauty.

Describe the moment you heard Terrible was interested.

LZ: When we finished the album we had no idea what we were going to do from that stage. It’s not like we had been playing live. We just got so involved in making the record that we didn’t have a plan of attack afterwards. We just sent it to a bunch of labels – mainly international labels – and kind of hoped for the best. I emailed quite a few with some early mixes. Then Ethan [Silverman] from Terrible emailed. It was very vague – I think it was a one-line response, something like: “This is cool, I’ll sit on this …”. Then three months later we heard from them again, and he got back to us with another vague message saying they wanted to put out two songs on the Flexible imprint, then we figured out a way to put everything out. We wanted to bypass plugging away at the local scene and getting on a local label.

Why bypass the local route?

LZ: We wanted as many people as possible to hear the album – that’s my main goal.

MW: We were sending it to labels that were probably above our heads, but we tried anyway. I just want to make really great albums. The live thing has almost been an afterthought with this last record.

LZ: We’ve both played in bands before and done local gigs and touring, and it’s exhausting to do that, and you’re not really getting much exposure. It’s usually the same people who come to shows locally, and we just wanted to get a broader audience.

How does it feel to have Solange, Twin Shadow and Blood Orange as labelmates?

MW: It’s a great roster and I love Blood Orange and Solange’s album. It’s something to aspire to – to make albums in a certain way and to push us even further.

LZ: We’re definitely in good company and it’s a great label. I remember that Twin Shadow album from 2010 or 2011 – their first full-length. I used to love that album. To think we’re now with the same company is a really good feeling. There are some great artists on Flexible, too.

Any international touring plans?

LZ: We’ve got a few Melbourne shows coming up, but internationally, we’ll see how it pans out. It’s definitely something we’d both like to do, especially in America. Having Terrible on our side to help is a good position to be in.

For Broadsheet

Live review: Nick Cave and the Bad Seeds – Riverstage, Brisbane – 25/1/17

nick cave brisbane riverstage 25/1/17

“It’s always so f**king hot in Brisbane,” says Nick Cave, four songs into the set. “How do you even tolerate it?”

The answer to that question probably includes tonight’s audience being willing to endure the heat and a whole lot more for the chance to spend the night before a public holiday in the company of one of Australia’s finest artists (somehow the words ‘musician’, ‘singer’ or ‘songwriter’ fall pathetically short when applied to Cave).

It may be hot, hot, hot at Brisbane’s Riverstage, but such trivialities melt into the background when faced with the all-conquering qualities of Nick Cave and the Bad Seeds; whose latest album ‘Skeleton Tree’ is getting its first airing in these parts. For that reason, themes of loss and death are particularly heavy in the set, but nothing exists in a single dimension with Cave. Despite the darkness, frustration, and anger in much of his music, the show is a remarkably humorous affair. Cave urges the audience to write to the City Council over the “fucking absurd” 10pm curfew, playfully shouts “Sexual harassment!” when a female audience member gets a bit too hands-on, makes a subtle dig at that Trump guy, and gloriously messes up his vocal timing at a couple of points: all adding to the enjoyment of the spectacle.

nick cave brisbane riverstage 25/1/17

An opening trio of ‘Anthrocene’, ‘Jesus Alone’ and ‘Magneto’ confirm it is going to be a special night, before a slithering and emphatic ‘Higgs Boson Blues’ provides an early highlight, followed by the towering ‘From Her to Eternity’. Cave dominates the stage as he slides left and right, arms gesticulating wildly and face contorted with intensity. At almost 60 he is still as magnetic and charismatic a frontman as you are likely to encounter, adding to the near-ritualistic nature of the show.

‘Tupelo’, ‘Jubilee Street’, ‘The Ship Song’ and ‘Into My Arms’ are up next, with Cave describing the latter as the best version they have done in 15 years, and, with a cheeky smirk, asks the audience to “leave it to the professionals” when song requests are hollered. ‘Red Right Hand’ brings perhaps the biggest highlight of the second half of the show, and sees Cave once again getting among his worshippers at front-and-centre.

‘Skeleton Tree’ is the obvious closer, and with one eye on a clock showing 9:50pm, the band reappear quickly to run through ‘Mermaids’ and an apocalyptic ‘Stagger Lee’. There’s a lingering question over whether the “fucking absurd” curfew has robbed us of at least one or two more tracks, but if the feeling in the chests of several thousand people leaving the Riverstage isn’t 100% gig-going satisfaction, I don’t know what is.

For Scenestr

Record review: Emma Louise – Supercry (2016, LP)

emma louise supercry

It’s been three years coming, but Emma Louise’s second album is finally here and there are questions to be answered. What has changed in the singer-songwriter’s world since her first EP in 2011 and debut album two years later? Is the Brisbane-based artist still comfortable laying her soul bare in her songs? And what exactly is a Supercry?

Given the amount of time Australian and international audiences have been appreciating her considerable talents since she won a state-wide songwriter’s prize at just 16, Emma Louise already feels like a veteran of Australian music. Perhaps it’s the timelessness of her indie-pop tracks, again apparent on Supercry, that make her feel like an old-timer in these parts, despite being barely 25. Perhaps it’s the quality and depth of her lyrics, which yet again sound like they’ve been written by someone with decades behind them in the singer-songwriter business.

What’s changed between releases is simultaneously not much and just about everything: her voice is as delicate and engrossing as ever, but the drama is ratcheted up several notches from past releases; no doubt a result of a few more years of life experience.

‘West End Kids’, with a tip of the hat to Brisbane’s left-leaning community south of the river, is sparse and nostalgic, ‘Talk Baby Talk’ is an emotion-charged last roll of the relationship dice, ‘Everything Will Be Fine’ sees the singer in self-assurance mode, as does ‘Illuminate’, which sees her declare “I know I’m braver than this”. The mood is grand and graceful throughout, even if it walks a fine line between triumphant and troubled along the way.

Now, Supercry isn’t Saturday night listening; it won’t get you pumped up for a big night. It will, however, soothe your tortured soul and ease you into a state of transcendence within no time at all. By the end of a first listen it’s still not clear exactly what a Supercry is, but with this collection of songs, Emma Louise has cemented her place as one of Australia’s finest young songwriters.

Supercry is out Friday, 15th July

For Music Feeds

Richie Ramone: 1, 2, 3, 4…

richie ramone

THE Ramones kickstarted punk, inspired a generation of kids to pick up guitars, and shook the rock establishment to its core.

Now, forty years after the New York band sang about beating on the brat with a baseball bat, drummer Richie Ramone is keeping their spirit alive with his own blistering punk-rock shows. Ramone touches down in Australia in late April for a run of east coast gigs with promises to play rock ‘n’ roll as loud as it should be.

“I’ll play some of the material from my last record and the one coming out.” Richie says. “Also songs I played with the Ramones back in the day, then I’ll play some Ramones classics. It’s a really good set, you know? It’s a complete Ramones set. In 2013 I played ANZ Stadium with Aerosmith. I had a good time and it’s beautiful over there. I’m really looking forward to this trip.”

In 1983, the then-unknown 26 year-old joined the legendary band just after the release of ‘Subterranean Jungle’, the quartet’s seventh studio album.

“I just happened to be in the right place at the right time,” Richie says. “Somebody told me they were auditioning drummers, they gave them my name and that’s how it worked. I didn’t know them beforehand, and they called me and I just did the audition like any other audition. It was an amazing thing that I ended up in one of the greatest bands of all time. Right away we hit it off. Joey took me under his wing.”

His song-writing and vocals provided a much-needed new dimension to the band, and Richie went on to appear in over 500 shows. Singer Joey Ramone is quoted as saying Richie “saved the band” when he joined.

“The last two or three records, the last two especially, before ‘Too Tough to Die’ were probably not great records,” Richie says. “When you get a new person in the band, it changes the blood and energises the band. ‘Too Tough to Die’ came out in 1983 and did that. They accepted [my songs]. A good song is a good song, you know? Johnny didn’t want me to have more than one or two songs if he didn’t make the numbers, but they accepted it.”

Dysfunction was allegedly rife within the Ramones, including constant tension between guitarist Johnny and singer Joey, mental illness, drug abuse, and betrayal.

“All of it was exaggerated,” Richie says. “They were one of the most professional bands. We worked, you know? But it’s also like a family that’s together a lot; there’s weird shit going on. But when it came time to play a show, we were all together; we made sure of that. But they wanted to break up many times, I think, but I don’t know what caused them to stop [in the end].”

Since departing the band in 1987, Richie has had an eclectic career in music, including composing classical suites and releasing his debut solo album, ‘Entitled’, in 2013. A follow-up is in the works and is set for release this year.

“I’m my own artist now,” he says. “I have the last name and the Ramones taught me a lot. They gave me direction and taught me about how to respect the fans, and I carry that with me, but I’m my own artist, not the Ramones. I can’t be the Ramones. [The new album] is a fucking really great record and I’m really excited about it. I’ve got a Depeche Mode song [‘Enjoy the Silence’] on there, which I really like. I’ll be playing one or two songs from it when I get out there. I don’t like playing a lot of new songs when I’m on tour, so it’ll be only one or two.”

The death of drummer Tommy Ramone in 2014 meant that no founding members of the Ramones are still around, but the spirit of the band is as strong as ever, helped by the ubiquitous Ramones T-shirt and logo.

“There are a lot of new fans,” Richie says. “The thing I see is parents bringing their kids. There’s a fourth generation Ramones thing happening now. Parents want to introduce their kids to good rock ‘n’ roll. There’s tons of fans all over; we’ve got people coming to shows from 65 to 16. But it works. And they’re all wearing the T-shirt [laughs].”

Richie Ramone plays:

Thursday 28th April 2016
Great Northern Hotel – Byron Bay NSW

Friday 29th April 2016
Wooly Mammoth – Brisbane QLD

Saturday 30th April 2016
Social Club – Sydney NSW

Sunday 1st May 2016
Cherry Rock, Melbourne VIC

For Scenestr

Record review: Violent Soho – Waco (2016, LP)

violent soho waco

Possible reactions to the news Violent Soho have called their new album after a Texan town famous for a religious cult siege include (a) Oh FFS, they’re going for the American market, it’s going to be too polished, (b) Please don’t let them be turning into U2, or simply (c) Hell fuck yeah, a new Violent Soho album. Thankfully a first listen reveals the band to be the same Mansfield scruffs they have always been, and most certainly not prepared to switch from XXXX to Budweiser just yet. After the all-conquering success of 2013’s Hungry Ghost, the quartet must have wondered whether sticking with the tried-and-trusted alt-rock formula or trying something different was the right move, and it’s the former policy that has won out here. Shout-along anthems (‘Viceroy’, ‘Like Soda’, ‘Holy Cave’), drug references (‘How to Taste’) and huge grunge-y riffs (just about everything else) are the ingredients long-term fans know and love, while there are changes of pace in slow-burning closer ‘Low’ and Foos-esque ‘Evergreen’. It took eight months for singer-guitarist Luke Boerdam to write the 11 tracks here, and he has kept his subject matter as close-to-home as always: boredom, drinking and smoking with friends, and the expectations of modern life are tackled with honesty and heart. It’s been a long, hard road for Violent Soho to get where they are today, but if Hungry Ghost was their breakthrough, Waco will be the album that cements their place as one of Australia’s best rock bands.


For The Brag

Live review: Sufjan Stevens + Ngaiire – QPAC Concert Hall, Brisbane – 4/3/16

sufjan stevens brisbane

QPAC Concert Hall – seemingly as tall as it is long and with 1800 seats – is a bloody big venue and needs some big noises to make it feel full.

It’s clear within seconds that Sydney’s Ngaiire, supporting Sufjan Stevens on this tour, is a singer who is more than up to the task. Diminutive in size, but certainly not in vocal ability, the Papua New Guinea-born artist will surely have won many new fans with this over-too-soon 30-minute set. ‘Fall Into My Arms’ is an early highlight, while single ‘Once’ and ‘I Can’t Hear God Anymore’ are moments of unbridled joy. What a bright future she surely has.

The Sufjan Stevens Show in 2016 is essentially a two-part drama: an intense trip of 14 tracks from across the 40 year-old’s career with all the electronic trimmings, followed by a stripped-down, semi-encore of a further handful of songs that brings it all home with intimacy and charm.

The opening trio of ‘Redford (For Yia-Yia and Pappou)’, ‘Death With Dignity’ and ‘Should Have Known Better’ have the audience in raptures as a searingly-vivid light show evokes the feeling of being in a particularly garish (and particularly loud) church or cult meeting. The five-piece band go about their task with a near-telepathic sense of communication, as the mood of a piece can lift or drop depending on a look or the slightest gesture.

‘Drawn to the Blood’, ‘Eugene’, ‘Carrie & Lowell’ and ‘Blue Bucket of Gold’ from 2015’s all-conquering Carrie & Lowell make appearances before the band disappear and reappear after deafening calls for more.

sufjan stevens ngaiire brisbane

Now, dressed in fairly ridiculous orange t-shirt and cargo pants, Stevens is more laidback and chats to the audience, including labelling his banjo a “strange instrument”. The closing section of the show is, in many ways, more rewarding for the gig-goer, as it provides a chance to see the musicians’ true skills at work in a stripped-down and more measured setting.

Songs including ‘The Dress Looks Nice on You’ and ‘John Wayne Gacy, Jr.’ are worked through, before obvious closer ‘Chicago’ sees Ngaiire return to the stage for a grand finish.

For The AU Review

Record review: Big Bad Echo – It Takes A Big Dog To Weigh A Tonne (2016, EP)

big bad echo it takes a big dog to weigh a tonne

Convention, what is it good for? Absolutely nothing, if the excellent seven-track debut EP from Brisbane-via-Rockhampton quintet Big Bad Echo is anything to go by. It’s for this reason it’s such a refreshingly-eclectic release: fuzz-rock, cacophonous drones, spoken-word monologues, off-kilter psychedelia, and a catchy lead single combine to make a record that throws up one high-quality surprise after another. ‘Cannon Fire’ and ‘Half Polyester Sheets’ provide an opening 11 minutes of pounding layers of noise fit for any late-night road trip, while vocalist Mick Reddy recalls Jim Morrison at his most shamanistic. ‘Ice Breaker’ is the obvious single, although its repetitive rumblings and ruminations are far from radio-friendly and all the better for it. “All I ever wanted is to fall at your feet” Reddy sings, amid an outpouring of angst, urgency and reverb. ‘Two Crows Flying’ takes a turn for the weird, as a dismal vocal fights for space with searing guitars and a sinister synth, and closer ‘Blink Your Eyes’ mashes all the aforementioned elements into the type of six-minute, Herculean beast of a track that leaves instruments and musicians alike bruised and broken. Witnessing a band marching triumphantly to the sound of their own – somewhat peculiar – drum makes you hope they can make an album, as all the evidence Big Bad Echo have offered thus far points to something big, and certainly not bad.

For The Brag

Live review: Fatboy Slim + Erick Morillo + Nick Galea – Brisbane Riverstage – 25/1/16

fatboy slim brisbane riverstage 2016

A near sell-out crowd witnessed a bonafide EDM legend’s triumphant return to Brisbane on a balmy Australia Day Eve, as the man sometimes known as Norman Cook proved he’s still the master of his craft.

An opening run-out for local talent Nick Galea was followed by a two-hour set from Erick Morillo as dusk closed around the natural amphitheatre of the Riverstage. “If you’re having a good time, make some motherfucking noise,” the Colombian-American demanded, to massive cheers. “If you’re having a good time and you’re gonna have sex tonight, make some motherfucking noise,” came next, to a much less confident response.

After only a few minutes turnaround, Cook appeared on stage at 8:30pm, and attacked his audience with a non-stop assault of sound for 90 minutes. Such is the length and breadth of appeal of Cook’s career that it could almost be divided into eras, and elements of every one of them got a run out and were met with a similar positive response.

‘Eat, Sleep, Rave, Repeat’ and ‘Renegade Master’ kicked off proceedings, and as Cook moved through a relentless run of his many tracks and remixes, he also found plenty of time to pay homage to his musical heroes, with excerpts of Iggy Pop, Marvin Gaye, the White Stripes, Talking Heads and of course, the Chemical Brothers thrown in for good measure. A couple of well-appreciated Bowie tributes were nice touches, including mashing ‘Rebel Rebel’ into the mix, and the light show would have worried every epilepsy sufferer from Southbank to the Valley.

The only way to finish was, of course, his signature tune, ‘The Rockafeller Skank’. As the vast, happy audience poured out of the Riverstage, Fatboy Slim had to be given major credit for raising a valid question: when was the last time so many happy Brisbanites came together and danced their socks off on a Monday night?

For Scenestr