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: TV on the Radio + Kirin J Callinan – the Tivoli, Brisbane – 10/6/15

tv on the radio brisbane

AHHH, the summer of 2008.

It was a bleak time for popular music. That ‘Electric Feel’ song was hanging around like a fart in a blanket, Kaiser Chiefs were still being taken seriously and Kings of Leon had begun the long journey up their own arses. All was not well, oh my brothers and sisters.

But just as the wave ebbs, again must it flow, and its warm and welcome embrace arrived in the form of TV on the Radio’s breakthrough third album Dear Science; a masterpiece of indie/art-rock that was as innovative as it was well-received. Nothing would be the same for the Brooklyn band again, and now, two albums later, they have become something of an institution, highly regarded internationally for both their recorded and live output. In the country to play Vivid Live and a handful of east coast headliners, the quartet are taking the opportunity to give material from their latest album, Seeds, an Australian airing for the first time and it’s Brisbane on a cold (read: not that warm) Wednesday evening that’s the setting.

Someone who cares little for the setting is Kirin J Callinan. “Look at all you Brisbanites together – isn’t it good? Well, it’s good for you, not me,” he laughs, most of the way through a set that chafes, charms and confuses. Top-drawer between-song banter is fast becoming a lost art, but Callinan is a master, although it’s his ability to deliver the unexpected – in this case the crushingly soulful ‘Apology Accepted’ followed by the camped-up-Iggy-on-acid ‘The Toddler’ – that makes him most exciting.

TV on the Radio’s performance, on the other hand, is anything but unexpected – they are tight, trim and untempered by genre, style or trend. Taking the start-with-a-humdinger-before-taking-it-up-a-notch approach with ‘Young Liars’ and ‘Lazerray’, it’s clear the band are up for it from the first few bars. Tunde Adebimpe is a rare breed; a singer who can roar and howl while remaining smooth and soulful, and he consistently proves this while flapping limbs with impressive fury.

‘Happy Idiot’ is an early highlight; it’s typical of the band’s best output in that it’s simple, catchy and urgent, while ‘Could You’ is its obvious twin and ‘Winter’ arouses Adebimpe’s suspicions concerning the lack of anything winter-like in Brisbane. ‘Wolf Like Me’ gets perhaps the biggest response of the evening before ‘Trouble’ and ‘Repetition’ provide a wigged-out close.

It’s now – during their encore – that TVOTR throw a curveball (simultaneously speaking to the nerd in us all) with an excellent reggae/dub version of the Game of Thrones theme. It’s an ace move that is well-received but leaves more than a few heads being scratched, while ‘Staring at the Sun’ provides a more familiar and fitting close to a solid and, at times, rousing performance.

Hats off to TV on the Radio; they made existing in 2008 a more tolerable affair and they’re still doing it seven years later. That ain’t no mean feat.

For Scenestr

Live review: Bob Dylan – The Tivoli, Brisbane – 27/8/14

Bob Dylan

TWO days spent listening to gushing reviews from the mouths of fans who had attended the Convention Centre show on Monday confirmed several things.

One: Dylan has still ‘got it’. Two: anyone expecting the ‘hits’ is going to be disappointed. Three: you’d better get there early if you want to get within a kilometre of the exalted one for a performance billed as a “once in a lifetime show”.

It was this last point that became particularly apparent as the line of people outside the Tivoli had already snaked so far around the block that it had almost arrived back at the front of the venue itself by the time the doors opened at 7pm. Anticipation was thick in the air inside the packed 1500-capacity venue, but when Dylan and his band sauntered on stage at exactly 8pm, the atmosphere was less rock show, more warm and cosy lounge gig.

It’s no secret that Dylan has spent much of his career trying to pop the bubble of high reverence in which he’s been placed by his adoring public, and this show served up yet more evidence of that. Partially hidden from the start behind his four microphones and under a simple four-light setup that can only be described as being darker than a coal miner’s depression, the man and his band were the epitome of non-showmanship throughout, save for a few grins and cheeky taps of the foot from time to time.

The first half of the set, comprising the first nine songs, was identical to that of the Convention Centre gig, with ‘Things Have Changed’ opening, followed by ‘She Belongs To Me’ and ‘Beyond Here Lies Nothin”. Unusually for a gig at the Tivoli (or anywhere) the standing audience, to a man, politely took their spots without pushing or jostling for a better position – this crowd knew it was lucky to be here at all, slightly-obscured view or not.

‘Duquesne Whistle’ was a stomping early highlight, as was ‘Tangled Up In Blue’ a little before the interval, which got the biggest cheer of the night up to then. Standing with his legs wide apart like a quarterback calling all the plays, the 73 year-old controlled every moment of every song, seemingly without even trying.

The second set kicked into life with the country twang of ‘High Water (For Charley Patton)’, followed by ‘Girl From The North Country’ and ‘Cry A While’, before late highlights ‘Trying To Get To Heaven’ and an extended bluesy jam on ‘Thunder On The Mountain’, before the set-closing epic, ‘Ballad Of A Thin Man’.

Only then were the ‘hits’ yielded to, with a two-song encore of ‘All Along The Watchtower’ (Jimi still owns this one) and a laid-back, cosy campfire version of ‘Blowin’ In The Wind’; the latter sounding like anything but the archetypal protest song it is often considered to be. After a controlled finish and quick wave, the stage is empty, and the unmistakeable realisation that something pretty special just happened is firmly splashed across the faces of the majority of the audience as the house lights flick on.

Much has been said about his so-called raspy or sub-par vocals, but Dylan’s are the types of tunes that don’t need belting out. The beauty is in the words, not the delivery, but if there’s one thing Dylan and his band did tonight, it’s deliver. What did 1500 Brisbanites do to deserve this?

Live review: The Jezabels + Gang of Youths – The Tivoli, Brisbane – 6/5/14

the Jezabels Brisbane

SYDNEY’S The Jezabels have been making headlines in the music press recently for two reasons: getting involved in a somewhat exaggerated spat with music critics on the subject of their work credentials and putting on great live shows. So, given that singer Hayley Mary was recently quoted as saying music writers need to “fucking get a real job”, it’s with mixed expectations that I pass through the doors of The Tivoli to catch their show.

Let’s get this straight from the off: this critic remains a big fan of the band and its music, despite the fact this would make me diabolically uncool in certain circles. The Jezabels continue to shrug off their detractors and make simple and great pop music, and they seem to be comfortable with the fact they’re pretty uncool at the same time. Which kind of makes them cool.

Tonight’s gig begins with the excellent Gang of Youths, who are much-improved performance-wise and song-wise since the last time they played this venue supporting Cloud Control in August. ‘Evangelists’ is a stand-out, and the only thing lacking for the band is more time to jam; these guys deserve to be big, and probably will be.

Nick Kaloper, Sam Lockwood and Heather Shannon take to the dimly lit stage of a now-packed house and receive a monumental cheer, before Mary herself strides on dressed in glittery black top and black pants and ups the volume several fold. The band begin in measured fashion with the title track and opening number of new album The Brink. Mary’s voice is what makes The Jezabels better than most similar pop bands; it soars, chills and soothes at different points and at the drop of a hat, while the rest of the band are clinically precise.

‘Endless Summer’ is next, and the audience is in Mary’s hands at this point, followed shortly after by ‘Time To Dance’, which a Jezabels audience doesn’t really do; it’s more of a stand-gawping kind of deal. Mary spins, shuffles and raises her left hand to the roof during the more majestic moments, and while the rest of the band stay fairly static, there’s enough to keep things interesting throughout ‘Look of Love’ and early track ‘Hurt Me’.

‘Beat to Beat’ is a mid-set highlight as Mary stretches her vocal range and gets out into the audience to high-five some fans at front-and-centre, with further big responses for ‘The End’ and ‘Disco Biscuit Love’.

So, what’s the somewhat confused lesson this critic learned from tonight’s gig? It’s this: fuck the critics. Nice work, Jezabels.

Live review: Richie Sambora – The Tivoli, Brisbane – 20/2/14

Richie Sambora

IF YOU BELIEVE EVERYTHING that you’ve read in the majority of music press, it would seem that the past week has been a turbulent one for Soundwave. Bands pulling out of the festival, a multitude of timetable changes and a flurry of what promoter AJ Maddah has referred to as “pissing contests” between bands have all contributed to an impression of a festival in trouble. If you look past the melodrama, however, you’ll realise that there remains a festival of almost a hundred bands of such impressive diversity and talent to make any such trivialities irrelevant, and with more rock credentials than any music fan could spend a day shaking several sticks at.

A pleasant bonus to having Soundwave roll through town is of course sideshows, and tonight’s gig from ex-Bon Jovi member Richie Sambora would be a more than pleasant addition to that roster.

With a set beginning at the early time of 8pm and with no support bands on a stiflingly humid Brisbane evening, it could be suggested that Sambora might have his work cut out to make the gig work, but this is one rock stalwart who has played more stadium gigs than some of the fans here tonight have had hot dinners, so it’s no surprise that the old master works the audience into a frenzy with a series of classic rock tracks and plenty of between-song banter. The only question remains is how much Bon Jovi material will he play, and will he mention his old song-writing (and latter day sparring) partner?

At around 8:30 the lights dim and AC/DC’s ‘Thunderstruck’ comes over the PA, announcing the arrival of the healthy looking Sambora and Australian guitarist Orianthi among a six-piece setup. Starting off with the first two tracks from his most recent album Aftermath Of The Lowdown, ‘Burn The Candle Down’ and ‘Every Road Leads Home To You’, he directs his audience to “wave your hands motherfuckers,” and said motherfuckers respond in the appropriate fashion. Explaining that his last album was a cathartic one for him to write and record, and receiving an amiable ribbing from a few people in the crowd for drinking water instead of alcohol, the 54 year-old says that “there’s too much shit around music now; people just want to hear people communicate music and jam out,” in reference to over-production and adding too many electronic elements.

Working through ‘Taking A Chance On The Wind’ followed by an excerpt from ‘Bridge Over Troubled Water’, Sambora leads the first huge sing-along of the evening for Bon Jovi number ‘I’ll Be There For You’, although there’s no mention of Jon as yet. Platinum-blonde guitarist Orianthi is a hard-rocking delight throughout; trading riffs and owning large sections of songs, while not stealing the limelight at any point. Its easy to see why she has been voted one of the top female guitarists in the world by several guitar magazines.

A cover of INXS’s ‘Don’t Change’ is wedged appropriately into the show at this point, before ‘Sugar Daddy’ and ‘Weathering The Storm’ provide rocking riffs and a spot of cheese-rock balladry respectively.

“I wrote this song about my fucking ex-wife,” says Sambora, to ridiculous levels of cheering, before playing the opening chords of ‘Learning How To Fly With A Broken Wing’ and finally the first reference to Jon Bon Jovi comes as he introduces ‘These Days’. “This is the title track of our 1995 album,” he says. “I know which songs are mine, and which were his.” Cue more cheering. “When he coughs up some dough I’ll probably go back.”

By now, everyone can feel that a big number is coming, and as Sambora dons a hat that looks like it was picked due its resemblance to that of Crocodile Dundee, the band kick into ‘Beds Are Burning’ by Midnight Oil, which after a couple of verses becomes ‘Living On A Prayer’. Like a time-bomb going off, the release of energy is inescapable, and for three or four minutes it feels like a stadium gig circa 1987, or every bad birthday party you’ve ever been to.

An obligatory encore including ‘Wanted Dead or Alive’ is enough to finish off this audience, and if tonight’s gig reinforced anything, it’s that Soundwave is going to be special. Oh, and Richie Sambora doesn’t need the help of any old ‘friends’ to put on a kick-ass rock show.


Live review: Bernard Fanning + Big Scary + Vance Joy – The Tivoli, Brisbane – 18/7/13

There’s something about a sold-out show that will partly make you happy that artists can still sell out venues on a cold Thursday night in Brisbane in these uncertain times for live music, and partly apprehensive about the fact you’ll be spending the next three hours crammed shoulder-to-shoulder with a plethora of potential idiots after enduring a two-day wait to get to the bar. I guess some of us are never happy.

Big Scary

Big Scary

Young Melburnian folkie Vance Joy is first to step into the rich blue lightning of The Tivoli’s stage; and his amiable and charming patter entertains a quickly swelling crowd, between songs from his new EP God Loves You When You’re Dancing, including ‘From Afar’ and the excellent ‘Riptide’. A cover of ‘Dancing In The Dark’ fits in nicely mid-set after Joy explains he saw The Boss recently and didn’t expect such a lengthy set.

Next up is Melbourne duo (or in live form, a trio) Big Scary who also have a new album out in Not Art. Beginning with the slow and ominous new song ‘Phil Collins’, the band are instantly engaging and almost hypnotic, as all eyes turn to drummer Joanna Syme for the second track – the outstandingly grand ‘Belgian Blues’ – as she displays her enviable skills all over the kit, before asking the audience to engage in a joint “drool over Vance Joy”. The edgy ‘Twin Rivers’, ‘Luck Now’, and older track ‘Falling Away’ see singer Tom Iansek switch between guitar and keys with ease, and the only way this set could have been any better would be with the inclusion of ‘Mix Tape’. Like I said: some of us are never happy.

*** Allow me to now take a moment to congratulate whoever decides on what music plays between bands at The Tivoli; it’s never anything but top-notch tuneage. The boring lull waiting for gear to be set up is transformed into a collective musical erection with the likes of The Faces’ ‘You’re So Rude’ and Ike & Tina Turner’s ‘River Deep – Mountain High’. Keep up the good work, you fine, faceless people. ***

And now: Bernard Fanning. Where I grew up Powderfinger were never big, so tonight’s show isn’t fuelled by nostalgia or a sense of musical loyalty for me, as it seems to be for a lot of the audience in front of The Tivoli’s stage. Fanning and his five band members take to the stage to massive cheers and begin to rip through songs from new album Departures, as he announces his first gig in Brisbane since 2007 by saying “this is already markedly different to Toowoomba,” to the sound of even more resounding cheers.

Bernard Fanning

Bernard Fanning

‘Tell Me How It Ends’ is up first, followed by the big rock number ‘Inside Track’, and ‘Limbo Stick’, which all get great responses considering the record has been out barely six weeks. Introducing songs from his 2005 Tea & Sympathy album, including ‘Believe’, and then giving a shout out to his sister, mother, wife, and mother-in-law in the audience (“four firey ladies – don’t fuck with them”), Fanning seems entirely at ease throughout his hometown show, and appears to be enjoying the fervent adulation reverberating around the venue, which peaks during the best of his new songs, ‘Battleships’.

The title track from Departures is one that Fanning introduces as being about where he grew up, and gives a shout out to “anyone from Toowong”, before a massive sing-along erupts during encore highlight ‘Wish You Well’, and a happy audience pours onto Costin Street and makes for home.

Bernard Fanning has put together another fine album in Departures, and has a kick-ass touring band, and while we just enjoyed a solid set of quality Aussie rock, it’s Big Scary who fill my thoughts as I head for home; reinforcing the argument that gig-goers should NEVER avoid the support act, lest they miss their new favourite band.