Photos and review by

@timkelly_photo

With over 300 million in record sales, it’s fitting the 'Farewell the Yellow Brick Road Tour' has some 300 dates and that’s not the only nod to a stellar 50+ year career. The stage has been transformed into a giant gilded portal, highlighting some of John’s most treasured memories and achievements; from working with the likes of John Lennon, musicals he’s written, album artwork and of course, the charity work he champions.

Elton emerges from the shadows and struts on stage with the confidence you would expect of a cultural icon. The crowd showers him with affection as he takes his seat and pounds out the unmistakable first keys for the opening number B-B-B- ”BENNIE AND THE JETS”.

The piano is akin to a rocket ship and John is at the controls. A huge floor to ceiling screen envelopes the band and provides a stunning visual narrative to accompany some of the songs, while live shots of Elton and the band fill the space between. Standouts of this are “Candle In The Wind” featuring David LaChappelle’s film, depicting Marilyn Monroe’s final photoshoot, “Burn Down The Mission” where the song closes out while the piano bursts into flames, a delightfully camp “The Bitch is Back”. “Someone Saved My Life Tonight” has what can only be best described as a fever-dream/acid trip cartoon featuring a 70’s era Elton doing a bunch of really trippy shit and getting stuck in a pinball machine. I get that it’s a metaphor on how his life has spiraled into chaos, but sign me up!

Undoubtedly one of the best moments of my life is being at this concert and screaming “HOLD ME CLOSER TONY DANZA”, but there were a few moments throughout this nearly 3 hour epic where I felt genuinely overwhelmed. The first came just after Ray Cooper went ham on the congas during a solo on “Indian Sunset”. His vigorous primal beating of the drums and roars of pure emotion were the perfect contrast to the cosmic dance that soared across the screen, while Elton wowed the crowd with the perennial favourite “Rocketman”. The feels kept coming with “I Want Love” and John speaking of his AIDS foundation and the devastation of the epidemic through the 80’s & 90’s. Then, of course, came the encore.

One thing a 72 year old performer brings is an equally aging crowd but those who could were up and shuffling as the main set wrapped up with “I’m Still Standing”, “Crocodile Rock” and "Saturday Night’s Alright for Fighting”. After briefly leaving the stage after what seemed like an endless stream of deep album cuts, classic hits and standing ovations, John reappeared with Golden Globe in hand to thank his long-time writing partner Bernie Taupin and deliver a heartfelt rendition of “Your Song”. Visibly emotional, Elton once again turned to the audience to express his love for Australia and its people, announcing a $1M donation towards bushfire relief. He said “To see this happening here breaks my heart… and I love Australia so much… and to those who have lost their homes, I want to say God bless, I hope your lives will be repaired soon”. Finally, with a lump in their collective throats, the adoring crowd remained on their feet for the “Yellow Brick Road” grand finale. Waving goodbye for the last time as he left his piano, Elton ascended up the portal and stepped through to the other side.

Pics: Lachie Townsend

Review: Gracie Peters

Middle Kids II The Metro Theatre 9/4/2019

Gearing up for their tour which will take them around Australia, New Zealand, North America, and the United Kingdom, Middle Kids played a stellar set to a crowded Metro Theatre. They were supported by Dominic Breen and Tyne James Organ, which were excellent choices as openers, and had the crowd amped for the show before Middle kids even stepped on stage.

Hot off their latest single release “Real Thing”, the Sydney trio Middle Kids’ first show of their tour was energetic and high-paced. Comprised of husband and wife, Tim Fitz and Hannah Joy on bass and lead vocals/guitar respectively, and completed by Harry Day on drums, they sonically filled the 1200 capacity theatre with ease for their relatively small number of members. Joy on lead vocals showcases her natural talent. The effect of her natural vibrato and clear pronunciation has the quality of evoking a hyper-emotional stripped-back tone, a voice equally full of pain and desperation as it is of a certain ‘so what’ attitude.

This aptly suits the attitude of the band. Evidently geared towards teenagers and young adults, their songs are indie rock anthems, both in terms of musical and lyrical composition.

They established their sound back in 2017 with the release of their self-titled EP, ‘Middle Kids’, which propelled them into fame, their fans range from teenage bedroom pop stars, all the way to Elton John.

Many of the songs possess the same quality- a well set pace for the duration of the song that towards the final hook drops a portion of its instruments to create tension, letting Joy’s voice echo out in a bare, vulnerable way. Clear pronunciation and incredible vocal range put Joy’s classical training on display, complemented by her faint Aussie accent and natural vibrato, making for holistically personal experience for what seemed to be band and audience alike. This was further established by the trio’s interaction with each other. Their familiarity and obvious communication with each other made for not only technically smooth show, but also pleasant for the audience- it was evident that they were having a great time performing.

The continuity and talent of the trio was evident from the very beginning of their show, when they opened with their rhapsodic track from their first EP ‘Middle Kids’, Never Start. It was the perfect choice for them to open with, the audience came together to belt out one of their most eminent tracks which instantly evoked feelings of warm unity, and the rest of the show that followed kept up the pace.

The highlights of the performance were their (unsurprisingly) best known tracks.

All around, there were gaggles of friends laughing and singing along to their most anthemic tracks such as Edge of Town, Never Start and Don’t be Hiding. Whilst these songs are technically well composed, their best qualities lie in their astutely relatable lyrics. This was reflected in the demographic of the audience, it being mostly teenagers (it was an all age concert) and young adults. The lyrics highlight some of the bigger (and what often seems like all-encompassing) issues of growing up - lost friends, lost loves, insecurities, and loneliness. Instantly, I was transported to cathartically singing along to alt- rock songs with friends during periods of emotional strife. This is what made their encore track Mistake the ideal closing song, and it would seem that the wildly cheering crowd agreed. Mistake is deeply emotional, and all too sing-a-long-able, and succinctly tied together the concert, making the best aspects of the show fresh in your mind.

Joy’s musical skill is not a force to be reckoned with, and she has cemented the trio as among the driving forces of female-fronted Australian Indie-Rock groups.

She is captivating to watch, composed and articulate, and a natural born performer commanding attention in the most understated way. Fun fact, Joy is left handed, but doesn't resolve to use a guitar suitable to the inclination of her handedness, instead prefers to use a right-handed guitar upside down. Her talent is multi-instrumental, not only does she captivate as lead vocals and upside-down guitar, she has backgrounds in classical piano and electronic music, elements of which were demonstrated in the show.

This conventional music training holds true with drummer Harry Day, who studied at the Sydney Conservatorium of Music with a background in jazz. This medley of influences permeates their music. They have spoken previously about their backgrounds and varying passions and how it has both affected and influenced their composition. This is aptly demonstrated in their latest release ‘Lost Friends’.

The album traverses a myriad of genres from quasi-country to powerhouse ballads to quintessentially Aussie rock anthems. Middle Kids’ first of two Sydney shows has positioned them perfectly to embark on their upcoming tour which will take them around Australia, New Zealand, North America, and the United Kingdom before concluding their tour on the 29th of June on home turf in Mackay, QLD. This tour follows quick on the heels of their tour at the end of last year which took them around Europe and the UK, promoting their then new debut album ‘Lost Friends’, as well as being part of the Laneway Tour after winning Triple J’s Australian Album of the Year Award.

Middle Kids’ next album is available for pre-order now- “New Songs for Old Problems” to be released May 24th.

PHOTOS & WORDS: Monique Cockram

Grow Your Own 2019 was more than just a music festival. It was a celebration of local talent, local produce suppliers, and local artists. Festival director Holly Rankin, AKA Jack River, explained how much the Growers section of the festival meant to her. By being able to showcase local responsible produce growers, she is reaching out to young people and enabling them to learn more about how they can get food straight from the source and support more responsible methods of food production. Punters could enjoy local food and snacks from the Growers’ Hall throughout the day, as well as listening to talks and films from various Growers about their sustainable methods of growing food. Throughout the festival grounds, instalments from Australian artists could be seen as well, with contributions from familiar names like Ruby Fields and Benny Reed, as well as local artists, with the entire event’s art design curated by Lee McConnell.

The music at Grow Your Own was the perfect mix of surf-grunge and alternative music that truly suited the beach side location of Forster-Tuncurry. Every single artist had great sound and an enthusiastic crowd, with those of bands like Totty and Goons of Doom really bringing out the fun in circle pits. Artist Belle Badi’s infectious smile spread to everyone, and the always lovely Mallrat put everyone in a good mood. As the day progressed the crowds increased, to when the leading lady herself, Jack River, graced the stage with her sweet tunes. When The Preatures came on, Izzi’s reputation of absolutely bouncing around the stage preceded her and she delivered, with a performance full of energy that had the crowd captivated. Hockey Dad performed to the backdrop of the beautiful sunset, and really brought the mood home. Finally, DMA’s closed off the night with a performance of emotion and as well as visual effects through the lights that truly captured the audience.

This festival was overall very well run, and with the help of a respectful crowd had no major incidents. There was plenty to eat and drink, and crowd care volunteers were always around making sure people were reapplying sunscreen and staying cool. All in all, Grow Your Own was an embodiment of the culture of Forster-Tuncurry and brought together many people from all across the state to enjoy an artistic day accompanied by the sweet coastal breeze.

PHOTOS & WORDS: Monique Cockram

Grow Your Own 2019 was more than just a music festival. It was a celebration of local talent, local produce suppliers, and local artists. Festival director Holly Rankin, AKA Jack River, explained how much the Growers section of the festival meant to her. By being able to showcase local responsible produce growers, she is reaching out to young people and enabling them to learn more about how they can get food straight from the source and support more responsible methods of food production. Punters could enjoy local food and snacks from the Growers’ Hall throughout the day, as well as listening to talks and films from various Growers about their sustainable methods of growing food. Throughout the festival grounds, instalments from Australian artists could be seen as well, with contributions from familiar names like Ruby Fields and Benny Reed, as well as local artists, with the entire event’s art design curated by Lee McConnell.

The music at Grow Your Own was the perfect mix of surf-grunge and alternative music that truly suited the beach side location of Forster-Tuncurry. Every single artist had great sound and an enthusiastic crowd, with those of bands like Totty and Goons of Doom really bringing out the fun in circle pits. Artist Belle Badi’s infectious smile spread to everyone, and the always lovely Mallrat put everyone in a good mood. As the day progressed the crowds increased, to when the leading lady herself, Jack River, graced the stage with her sweet tunes. When The Preatures came on, Izzi’s reputation of absolutely bouncing around the stage preceded her and she delivered, with a performance full of energy that had the crowd captivated. Hockey Dad performed to the backdrop of the beautiful sunset, and really brought the mood home. Finally, DMA’s closed off the night with a performance of emotion and as well as visual effects through the lights that truly captured the audience.

This festival was overall very well run, and with the help of a respectful crowd had no major incidents. There was plenty to eat and drink, and crowd care volunteers were always around making sure people were reapplying sunscreen and staying cool. All in all, Grow Your Own was an embodiment of the culture of Forster-Tuncurry and brought together many people from all across the state to enjoy an artistic day accompanied by the sweet coastal breeze.

PICS: Tim Kelly

Review: Coen Ayres

Sydney rockers, Polish Club, have always been known for their intuitive and often ‘why not?’ attitude. If it isn’t covers of Mariah Carey’s ‘All I Want For Christmas Is You’, or the printing of  limited edition World Cup Polish Club shirts, Polish Club are the perfect band that don’t do what you asked them to do, but you’re more than happy with what they do anyway.

Following the return of their first US tour, the announcement of a two-show special from the boys didn’t come as a shock…the shock came from the news that they would be supported on stage with a five-piece, brass-horn selection because as they quoted, “Why the fuck not?”
The show opened with two support bands including Triple J Unearthed favourites Sweater Curse, who provided a beautiful opening to the night with garage rock songs such as ‘Can’t See You Anymore’ and fan favourite ‘Don’t Call Me’, and following, ARIA-winning, folk-pop ensemble All Our Exes Live In Texas, who lived up to their notoriety of hard-hitting songs on feminist politics and often hilarious on-stage banter.

Polish Club were introduced to the stage with a ‘true hero’s’ entrance, with the back-up horns crew, including the trombone player from Winston Surfshirt playing an eerie sound. Once Novak and John were positioned, the entire band broke out into an electrifying cover of KC & The Sunshine Band’s ‘Give It Up’. It was at this moment that myself and fans alike were able to grasp the type of show we were going to get for the rest of the night.
One of Polish Club’s oldest songs ‘Don’t Fuck Me Over’ brought the often rowdy dance crazed crowd to a stand still as punters who were clashing bodies in a mosh earlier were now holding hands as they sung (or attempted to sing) in harmony with Novak. This song in particular was heavily horns-based with a bulk on the introduction featuring only the brass and Novak on vocals.

Rapid-fire song ‘Beat Up’ lit the mosh into a sweaty mess as the heavy rock filled track paved way to some lyrical support from the back up brass crew.
They even pulled out a live rarity from their catalogue in ‘Major’ from their Okie Dokie EP, which opened with Pharoahe Monchs ‘Simon Says’. Something which Novak and John noted as “the only reason why they spent all the money on the horns collection”.
Disaster struck after a mention of one of Polish Clubs favourites bands, Powderfinger, and coincidently the power went off on the instruments on stage. This didn’t stop the band from breaking out into one of the Queensland rockers most popular songs, ‘(Baby I’ve Got You) On My Mind’, which the crowd conveniently helped provide their singing prowess to the soundless stage.   

The night concluded with the return of the support band All Our Exes Live In Texas as they helped the stage band with the (often forgotten) lyrics and choreographed dance moves of Spice Girls hit song ‘Stop’.  

Overall the set that the Polish Club boys showed to the audience proved the potential the two have with the addition of a brass section. The mosh-inducing songs were elevated to another level and the slower musical numbers felt as if they were stripped right back, as the drums and guitar were often replaced with only the voice of Novak and the horns. In conclusion, Polish Club has yet again proved that they excel in creativity and talent in the music industry.

Review by Matt Jenkin

After a sleepless forty hour university and work filled binge, seeing DMA’s live was honestly the perfect remedy, a remedy which sustained me through an arguably unnecessary but marvellous post-gig session at the Irish pub up the road; no need for the extra ‘M’ when you’ve just seen DMA’s. From the moment DMA’s struck the first chord a euphoric wave was cast over the audience which maintained its energy and hold until the moment they departed the stage, it truly was a hypnotic set which moved through ballad to banger at pace and with suave.

Front man, Tommy O’Dell, put on a stellar vocal performance, not once dropping a note nor wearing out his voice. His voice really comes alive live, it’s captivating, articulate and perfect for a sing-along. Of which the crowd most definitely indulged in, at times – like in the chorus of ‘Delete’, ‘Lay Down’ and ‘Dawning’ – they were so rowdy they drowned out his vocals, it was a powerful atmosphere. Voice aside, it’s worth seeing DMA’s just for Tommy’s distinct dance moves, if you could call them that, and tambourine playing. They are subtle but effective at getting the crowd going and add a neat visual and energetic touch to the brilliant shoegazy instrumental sections the live band tear through like a proper alt-rock band should.

The highlights of the set were most definitely getting to hear their matured and masterfully crafted new songs live, most notably ‘Dawning’, ‘In The Air’, and ‘For Now’.  Don’t get me wrong, their first album is one of my favourites, arguably one of the defining albums of my transition into quasi-adulthood (that letting go of home and amassing unsolicited responsibilities yet trying to hold on to the last strands of teenagerhood) and I was lucky enough to see it performed live at Falls Festival in 2015. However, just as I have matured since 2014 (my few friends may argue strongly against this), so has the DMA’s sound and it was such a fulfilling experience to hear it live, I felt as if I’d come full circle.

Although the biggest highlight of the set was ‘Delete’, both on a deeply personal and communal level. For me ‘Delete’ is immensely nostalgic, fond memories of south coast parties and friends gathered, four long-necks deep, shouting every lyric. However, as the song in itself builds you up only to deliver a sobering reality, the sobering reality that those days are over hit me when I hear it, still the sweeter side of bittersweet. The energy in the Enmore Theatre when Tommy and Johnny Took (rhythm guitar) played the distinct B major chord that commences ‘Delete’ was ecstatic. Everyone erupted in song and sang every single word with conviction and confidence as if they were fronting the band and by the time lead guitarist, Matt Mason, came in with the outro lyrics the voices of the audience pretty much drowned out the band, in a good way. This has to be one of the most unique songs I’ve seen performed live, it has its own characteristics, the way it’s structured, builds layer by layer and the way the audience interacts with it. It’s a real 2006 ‘Seaside’ (The Kooks) moment. That one song everyone in the audience sings every word to perfectly for the whole song and usually, overwhelmingly in key (everyone can sing in group, science says).

Only one, well two, minor things could’ve improved the show; a touch of glitter and a touch of Cher. I would have loved to of heard them perform their elegant and revered cover of Cher’s 1998 hit ‘Believe’ because I honestly believe they do it better, sorry not sorry. All in all, go and see DMA’s live, they’re a truly talented bunch of songwriters who draw influence from the golden era of brit-rock and shoegaze whilst still embodying a uniquely Australian vibe, and most crucially, they tear through a live set with the passion, musicianship, and fervour of the great rock bands of the past.

PICS by ZACH JANUS PHOTOGRAPHY & THE UNDERGROUND STAGE

REVIEW by LUKA FLANAGAN || FILTHY CREW

Each year Sydney is put on display as Vivid takes over the city. Huge lighting displays, magnificent art pieces and amazing shows put on all over town. This year the Lansdowne chimed in with the multi-stage mini-festival, appropriately titled “Lansdowne Palooza”. They pieced together an all-star lineup from all across Australia with bands and artists who have played the Lansdowne before but some also making their Lansdowne debut. I was very excited for this show and keen to check heaps of bands I hadn’t seen yet along with some old favourites. I’m happy to report no one disappointed and overall it made one of the best gigs I’ve been to in a while.

I arrived just as Totty were setting up for their set upstairs. Quickly they got into their loud dog inspired “shed rock” anthems. They played all the songs off of their debut ep (Cut The Poppies) as well as the singles they released last year, an unreleased song and a brand new song. This was just a typical Totty set, loud instruments, powerful and punchy lyrics, a healthy dose of feedback and a great time overall. Every Time I’ve seen Totty play they prove why they’re one of the best bands that not only Wollongong has to offer but Australia has to offer. As always I can’t wait to see them play again.  As soon as Totty finished I rushed downstairs for the start of Los Tones. I made it about halfway through their opening track “Battery Acid”, which I was a little upset about missing the first half of but that was okay as I had a full half an hour of garage psych rock goodness awaiting me. Los Tones ripped through a lot of the best songs from their most recent record “What Happened”, some classics from their first record “Psychotropic” and a few new ones. Aside from a few guitar mishaps it was another time I’d seen Los Tones and was reminded why they’re one of the best bands Australia has at the moment.

After that, I watched some great bands like Nick Nuisance and The Delinquents and Dumb Punts (up the punts) but the next act that really blew me away was Spod. I’d listened to “Boys Night” a fair few times in preparation for his set, but I wasn’t versed in the rest of his discography. He opened with a very ominous and dirty track titled “Deadshits” in which Spod simply said “Fucking Deadshits” for the duration of the song. After hearing this I knew I was in for a treat. Armed with just backing tracks played off of his laptop and his own vocals over the top, Spod treated the crowd to a 40 minute set of humorous synthy anthems about such topics as eating dinner by yourself, cats, going out on the town with your boys and the suburb of Ashfield just to name a few. Spod was one of most fun acts I’ve seen in recent memory and I can’t wait for him to come back to NSW.

Next up on the agenda for acts to watch was Spike Fuck. I had heard great things about Spike Fuck but I hadn’t properly listened to her up until seeing her at the Lansdowne, I’m glad I went about it this way because I was utterly blown away. Melodic instrumentals with country and pop influences to her deep powerful voice delivering some of the most moving and heartfelt lyrics I’ve ever heard made for an experience like no other. The entire time I watched Spike Fuck I had a huge smile on my face but I wouldn’t have been surprised if I started bawling my eyes out at the same time. Spike Fuck is an absolute must see and I would wholeheartedly recommend seeing her next time she is in town.

Although it was a great experience there was no time to feel sad as Clowns were up next. The room was packed in anticipation for Clowns’ debut at the Lansdowne. They came out to roaring cheers and applause from the very eager crowd at the Lansdowne. Clowns front-man Stevie Williams thanked the crowd and expressed how appreciative they were to finally be playing at the Lansdowne. After a few short words, they quickly ripped into their set. They played all the hits from their 3 previous records, even busting out a new one from their upcoming record. The crowd was incredibly into the loud roaring guitar riffs, shrieking vocals and incredible stage presence, as evidence from the non-stop mosh pits, crowd surfing and floor rumbling. I’m not over exaggerating when I say that Clowns at Lansdowne Palooza is possibly one of the loudest things I’ve ever heard and I wouldn’t have it any other way. It was a very successful Lansdowne debut for Clowns and I can’t wait to see them return to the venue in future.

After for being there for the better part of the day, people were tired and drunk but thank god there was one last amazing band to send the night out with a bang. Last up was Perth psychedelic rock kings Psychedelic Porn Crumpets. They may have the most fun name in music and their live show certainly lives up to it. This was my first experience with Psychedelic Porn Crumpets. I’d heard them here and there but never delved too deep into their discography. I’m happy to report that Psychedelic Porn Crumpets is one of the best things I’ve seen and heard in a long time. Huge psych and grunge infused anthems for their whole set sent the crowd of Lansdowne Palooza into a sweaty, floor rumbling mosh pit to close out Lansdowne Palooza.

Upon reflection, Lansdowne Palooza was one of the best gigs I’d been to not just this year but perhaps ever. Every artist and band on the lineup performed amazingly, showcasing some of the best talent Australia has to offer at the moment. The Lansdowne has set the bar high and shown why they’re one of the best venues Sydney has to offer. I for one can’t wait to see how they outdo themselves next year and I’ll definitely be going for round 2.

Pics & Review IVAN SOURIYAVONG

Arriving ten minutes before the doors opened a line of dedicated fans were already waiting. This line stretched from the bottom of the Factory Theatre stairs to the box office. From supporting acts over the last few years to now playing their biggest headlining show ever, this is a massive milestone for Polaris. Having previously seen the band crush their supporting role for In Hearts Wake last year at the Enmore Theatre, my expectations were quite high. Upon entering the venue, the first thing I noticed was the abnormal barrier setup to separate the over 18s area with the general ages. I feel like this wasted a lot of the standing space for the audience.

Lining up along the front barrier there were already dedicated fans eagerly waiting. Walking onto stage Darwin based Tapestry started off the soon to be rowdy night. Warming up the crowd, you could tell that the band were definitely enjoying themselves on stage. Vocalist Tom Devine-Harrison set the bar up high with his amazing crowd interaction, from letting enthusiastic fans mic grab, to performing in the midst of the crowd. Not to my surprise, the band crushed it with their exceptional musical talent, stage presence and crowd interaction. Definitely, check out Tapestry’s recent album Ghost Of Me (2018) because they have a bright future ahead of them.

Next up is Adelaide five piece Ambleside who with heavy DIY roots and punk hardcore elements filled up half of the front section of the room. Before smashing into ‘Forgive Me’ from the Shape Me EP (2016) vocalist Daniel Stevens commanded the crowd into a whirling circle pit. The heavy riff of the guitars, blast beats of the drums and screaming vocals energised the crowd even further. The audience happily and enthusiastically joined in circling the floor with many tripping over on the steps, however helping each other up. If I didn’t have my camera I would have definitely joined in on the chaos. ‘Wash Away’ the rowdiest song of the set and also the crowd favourite had much of the audience screaming along, mic grabbing and finger pointing along to “Bottle up the pain let it rain and wash away”. I would say that if you were a part of the audience and had never listened to Ambleside then you would have been converted to a fan instantly.

The venue is now nearly jammed packed with punters and now it’s time for The Plot in You to grace the stage. All is dark except for the dimly lit stage, there is a subtle and but ever growing drum beat. Vocalist Landon Tewers gracefully walks onto the stage wearing sunglasses and opens the set with the lyrics to ‘Rigged’ from the DISPOSE (2018) album. Soon after the rest of The Plot in You emerge from the darkness and begin hyping up the audience with their onstage energy. As the performance progresses it drops into a heavy beat and vocalist Landon Tewers demonstrates his phenomenal vocal range. Despite doing both the clean and harsh vocals, Landon somehow manages to excel in both which is absolutely mental.

The most memorable moment for me would definitely have to be during ‘Time Changes Everything’ from the Happiness in Self Destruction (2016) album when the lights were dimmed and Landon asks for phones and lighters to be raised up. The combination of the audience singing along warm heartedly word by word to “Cause I never felt so alive, No I never felt so alive”, the mood set by the lighters and the melodies of the song made it surreal. Taking things up a notch the band belted out ‘Fiction Religion’ from the Could You Watch Your Children Burn (2013) album, which would be the rowdiest and heavy song of their set. As you can predict the crowd went wild where push pits and moshing entailed. If I had to compare their live performances to recorded tracks, you wouldn’t be able to easily tell difference. Each member did an exceptional job performing on stage and involving the audience. Overall The Plot In You exceeded my expectations I will definitely be going to more of their upcoming shows.

Finally, it was time for the long-awaited Sydney based Polaris to take the stage, looking back at the crowd to no surprise the entire venue was filled to the brim with punters. Considering the entire Mortal Coil tour sold out this was to be expected. The stage lights were dimmed and the crowd cheered excitedly as the members of Polaris gradually emerged from behind the curtains. ‘Lucid’ was the first song to start off the rowdy set which in my opinion was an excellent choice. Especially with the drumming of Daniel Furnari in the introduction, which signalled to the already excited crowd that it was the start of the chaotically entertaining performance. As soon as vocalist Jamie Hails screams pierced through the speakers the punters go into a frenzy.

During ‘The Slow Decay’ surges of punters started crowd surfing which at first the security team had issues keeping up with, however, additional assistance arrived to catch the fellow punters. To give you an idea of how energetic the audience were, while taking photos in the photo pit I had a crowd surfer launch off the barrier and nearly land on stage crushing my camera.

As the recognisable guitar riff of ‘The Remedy’ is played by guitarist Rick Schneider this will be one of the rowdiest songs into the night. The audience finger point and scream alongside Jamie Hails incredible screaming vocals “Heavy hangs the air, heavy lies the beating heart” which I could have easily mistaken for the recorded track. While Jamie is performing it is noticeable that he is blown away by the reception the band is receiving and can’t help smiling. The addition of backing vocalist/bassist Jake Steinhauser vocals provided an excellent contrast to the vocals. Seamlessly shredding along to each song in extreme confidence and not to my surprise, Ryan Siew is hitting every note with precision.

Now I feel like the usual encore routine is pretty corny but it’s nice to hear the crowd chanting in unison for the band to play some more songs. ‘Regress’ being the crowd favourite of the night would end up being the rowdiest with Jamie standing on the barriers with the crowd in hand singing in unison.

Overall the show tonight has blown away my expectations and Polaris somehow went above and beyond what I had expected. The additional backlighting and on stage fans blowing into guitarists and bassists already swaying hair also added that extra touch to the performance. The time and energy they have dedicated to improving their art is very noticeable and they deserve all the success. If you somehow don’t have your tickets to one of their shows this tour, then you are really missing out!

Pics by ZACH JANUS - BLUNT FORCE MEDIA

Review by ROBBIE TANNOUS  - VOLUME MEDIA

((7th of April // Metro Theatre, Sydney // Evan Klar & Alice Ivy Supports))

Fresh from Falls Festival main stage shows across Australia and a fantastic Triple J Hottest 100 result, The Jungle Giants kicked off their Sydney leg of the ‘Used to Be In Love’ Australian tour at the Metro Theatre on the 7th of April. It was the first of four shows in Sydney, and the performance was one guaranteed to please fans of all ages from all over The Jungle Giants’ home country in the following dates.

Kicking off the night of indie-pop, Evan Klar and his backing band brought out their element of alternative rock to the stage. The five-piece, consisting of a cellist, two percussionists, a bassist and the guitarist/frontman, brought out energy to get the crowd kicked off, getting a few of the audience members dancing and a few singing along. Evan Klar would have seemed to be more suitable to play second, rather than the next support, Alice Ivy. Alice's solo set was more of a DJ set, but with a guitar and drum board being played for a few minutes over her own music. Although it felt more like being in a club, rather than a concert, the indie-pop artist showcased her best work, warming up hundreds of fans, and was a good fit to support The Jungle Giants.

Selling out the Metro Theatre would most probably be a goal for a lot of Aussie bands, but selling out the Metro four times in one tour would definitely be something worth celebrating. The lighting intro began and the crowd knew exactly what was going to happen. Individually all four members came to the stage, each getting a bigger applause than the last, until the bass intro to ‘On Your Way Down’ began, that's when the screaming started. For someone not too familiar with alternative shows, it is definitely an amazing experience to hear almost every single person in a sold-out Metro singing their hearts out along to a song. Fans of older Jungle Giants must have been joyful when ‘She’s a Riot’, ‘Anywhere Else’, ‘I Am What You Want Me To Be’ and ‘You’ve Got Something’ were performed, but out of the 14 songs performed, nine of them were from their latest album ‘Quiet Ferocity’.

Songs such as ‘Waiting for a Sign’ and ‘Quiet Ferocity’ got the crowd jumping, dancing and yelling along, fogging up the entire Metro Theatre from the stage to the back of the room. A live debut of the song ‘Blinded’, and a debut of ‘People Always Say’ were both performed, delighting the members of the crowd who enjoy the latest album. ‘Bad Dream’, one of the band's most popular tracks, got a push mosh pit started, a sight that wouldn't be imagined when thinking about the type of track. A long encore hit the brakes on the set and ‘Feel The Way I Do’ finished it off for fans who kept wanting more. A spray of champagne filled the rows of mostly underage men and women, adding the final touch to a magnificent night of music.

by Matt Jenkin

by DOM SVEJKAR

Wiley – Manning Bar – 1/2/18

Photos & Words by Lars Roy

One of East London’s originals of Grime, Wiley, a.k.a “Eski Boy” has made the long journey down under and absolutely tore up Manning Bar last Thursday.

From commercial anthems such as ‘Wearing My Rolex’ to the raw lyricism and deep beats of ‘Numbers In Action’, Wiley has defined English rap and hip-hop for over a decade now, continuing to evolve it and pass on to the next generation.

At doors open, committed punters flocked through Sydney Uni’s Manning Bar and were treated to Brisbane up-and-comer, Carmouflage Rose.

His hit, “Late Nights”, has been doing the rounds on Triple J and has received massive praise both locally and overseas.

While closing with “Late Nights”, Carmouflage Rose gave the crowd a taste of what’s to come in 2018, and as a fan myself this made me very excited.

After a strong supporting set, the locals got well into the grime vibe when resident DJ began spinning the likes of Skepta, Stormzy and JME – I swear one track might have even featured Wiley.

After constant banging on the photography barrier, just after 10:15pm Wiley burst out of the shadows sporting a backpack and snapback and opening with none other than, “Back With A Banger”.

Punters went mental as Wiley paced from one side of the stage to the other, some mouthing every single word of the song.

After wrapping up an electric start to the set, the backpack came off and Wiley began to tell the story of how his DJ couldn’t come along due to an expired passport. He continued by saying the show was saved at the last minute by a local on the decks. Wiley began to press on with the rest of the show, favouring more of his older, underground tracks.

Midway through the set, Wiley gave the stage to Sydney rapper Kwame along with his posse, who continued to bring the heat.

After showcasing some of the local talent that continues to be constantly growing, Kwame left by reinforcing that what they do is “for the culture”, thanking Wiley for giving them that opportunity to spread that message.

Wiley returned, very dimly lit by a deep purple floodlight and continued to put his energy and soul into the music - very rarely opening his eyes to see the packed out room.

The rest of the show was pure sweat and grime with every single person on the floor jumping, causing one of the stronger mosh pits I have seen at a gig.

With pure energy, Wiley hasn’t skipped a beat. Approaching 40 now, it seems like the king of grime can go on for another 20 years and we’ll all be there, still listening.

ENDS. Lars Roy.

Visuals - Lars Roy

Words - Zach Janus

The pouring rain could not dampen the spirits of the twenty-odd punters huddled together with me at the front of The Metro Theatre an hour before doors. Only the second of December and they were already consumed by Christmas cheer. Either that or they were just super keen to witness the Polish Club play their largest gig to date. From what I could gather it was the latter. Entering the venue, the excitement ensued like it was Christmas Eve, those who showed up early roared as David Novak appeared briefly prior to the first support act taking the stage.

Keeping with the theme of Christmas in December, when the duo took the stage themselves, Novak was feeling particularly festive as he adorned a novelty Santa top and performed a special rendition of Mariah Carey’s “All I Want for Christmas Is You”. Aptly dubbed the sweatiest band in Sydney the Polish Club certainly lived up to their title, as Novak had to lose the top after only one song.

They followed the cover with the opening track “Gimme Money” off their most recent EP Okie Dokie. After a spirited performance, the crowd was more than willing to meet the band’s demand by showering the act in cash. In typical Polish Club fashion, the two-piece fitted their set list out with tracks that were raw and hard hitting with a trim of the blues. Riding off the energy created by the West Thebarton, the duo kept the crowd alive with high-octane tunes from their arsenal such as “Where U Been” and a cover of the Foo Fighters classic “Monkey Wrench” before getting to slow jams like the crowd favourite “Divided”.

The Sydney crowd showed up to support the local home-grown heroes in force. The Metro was buzzing and filled to the brim by the time Novak and his counterpart John-Henry Palak were nearing the conclusion of the set. All of the duo’s iconic tracks, new and old, were met with sing-alongs which only further animated the already vigorously high-spirited pair who were practically bouncing off each other.

What can I say? Equipped with just a drumkit, a guitar and a crap ton of enthusiasm the Polish Club deliver a live experience that is unparalleled.   

GANG OF YOUTHS secret gig at THE LANSDOWN by TIMBOSS

As far as secrets go, it was pretty shit. By that I mean, someone let the cat outta the bag on socials and every man, woman and their dog headed to THE LANSDOWNE to see some of their favourite sons come home.

Dave and Joji played a beautifully stripped back set. Mixing it up with tracks we fell in love with long ago, and some new ones we've been hanging out for. At times, Dave gave heartfelt insights into the visceral and intelligent lyrics behind some of the songs. For seasoned GOY gig goers, this is nothing new. This time, however, as Dave explains, the circumstances have changed and the weight of such songs likely sit heavier in the hearts of fans more than they once did. 

Along side this dark, the light shone through with the virtuoso gushing about how good it is to be back home. Yet, no matter where they played a gig in the world, there would always be a few drunk Aussies at the front yelling out "FUCKING PLAY MAGNOLIA!" We even had a little John Williamson sing along.

To everyone's pleasure, they eventually played MAGNOLIA.

QOTSA DJ SET at FRANKIE'S by TIMBOSS

It's the classic joke. A Priest, a Rabbi and a Minister walk into a bar, but this time it's  Three Queens, a Wiggle and the spawn of a legend walk into a bar.

Troy, Mikey & Dean of Queens of the Stone Age hit up Frankie's Pizza on Tuesday night and as far as DJ sets go, it was pretty good.

There wasn't a lot of room left to stand inside Frankie's band room once the boys came out to play a selection of their favourite tunes. It was shoulder to shoulder when the air con decided to pack it in. Thankfully, no one took advantage of the situation to crop dust because, with the low ceilings, there is no escape.

There is something I always find odd about the DJ set. The band members just sort of stand there like zoo animals being ogled by kids on a school excursion. Occasionally throwing down a drink, slapping some high 5's or posing for selfies. No one really knows what to do. At the end of the day, it doesn't matter if you're in one of the biggest bands on the planet or an up and comer. If people are there just to watch you punch keys on a laptop and find out what music you like, you're winning!

After the DJ set was Frankie's famous Tuesday night live band Karaoke (Dave Eastgate And Boner Contention). JEEEEEEEEESUS CHRIST! This is not your typical Karaoke bar so sit back down if you're thinking about going and giving your best rendition of Chumbawamba's 'Tub Thumping'.  No joke, B2B System of Down tracks, followed by some AC/DC; sung by none other than Malcolm Young's fucking son! OH SHIT! AND A BLOODY WIGGLE PUMPED OUT A TUNE TOO! 

* ROSS MALCOLM YOUNG - PIC 26

* WIGGLE, SAM MORAN - PICS 22, 23, 25

*Soz to the chick I took the ultra shitty photo of with Troy

Melbs post-punk outfit, CABLE TIES, hit the Factory Floor in Sydney as part of their self-titled debut album release national tour.

In true CT fashion, the gig is jammed full of gut-bubbling bass, fierce vocals and thumping drums. Right from the start, it's clear to see the punters are not only on board with the A+ tunes they have come to love from this trio but they are listening to the message.

Jenny opens the show with a Welcome to Country that is accompanied by cheers and applause from the masses. The crowd is a little older than I expected but no less enthusiastic. There's plenty of bodies being moved by the ominous driving bass and frenzied guitar. Well, all bar one. Shauna on drums looks to be in Zen state; she's effortless.

This gig feels good, as it should but not all of them do. You often come across one, two or more bros and drunk lads that don't give a fuck about anyone or anything other than their next can. This gig is not like that. Well, not from my perspective as a white, 30 something male. Cable Ties are a kind of champion for the downtrodden. Women, queer, LGBTQI, non-gender conforming, or if you're just perceived as weak. The songs are powerful, honest and above all, there is something to connect to. In 'Cut Me Down' I am the "good bloke & the king of reason". In "Fish Bowl" I recognise where I began to see from another perspective. In "Same For Me" I see my friends and family, and what they have done for me in my darkest days. In a way, I not only had a connection to the music, I felt connected to the people in the room. Both on the floor and the three up on stage. And for me, that is what Cable Ties is really all about.  

ELECTRIC LADY REVIEW by RITA B

Women! Who doesn’t love ‘em? (Hypothetical, don’t hurt yourself over-thinking). We all have our talents but women in music just takes the cake for me. What a dream! I am forever in awe of the female talent that is imminently out there. 

If the generously filled space inside Sydney’s iconic music venue, The Metro Theatre, didn’t already validate the support Electric Lady received from Sydney-siders enough, then the mutual vibe emanating from the eclectic variety of bodies within the space did.  

The electricity started strong with all female 4-piece RACKETT burning holes through the stage with their boisterous experimental pop-punk. As they were bringing their set to a close, lead singer and guitarist, Bec, sang 2 songs whilst getting her long and luscious locks COMPLETELY SHAVED OFF! A bald moment of liberation, I’m sure of it. These chicks are pretty damn epic. 

From an attic to The Metro stage, it’s happening to these D.I.Y. ladies. Keeping that all female 4-piece power, through their perfectly unkempt sounds, Bodytype didn’t hold back any details to their story. It’s dark, it’s dirty and it’s a delicate experience.

I remember a sea of smiles coming from the audience and reflecting onto Gretta Ray’s gorgeousness as she hit the stage. She is charming, she is confident and the crowd adored her. As with gender, age should also not be a defining factor of what makes one talented, but as I’m writing this post-performance, it’s just so hard to avoid the mention!  

As soon as Bec Sandridge arrives on stage, it’s almost like you’ve been pleasantly electrocuted. A true quirk and not shy of it. She’ll make you move with her, smile with her, trip over her guitar stand with her, rock out with her, break strings with her - she has the voice and she doesn’t care if you understand it.   

Jack River totally Babed it. The balls/the ovaries, or if you prefer euphemisms and want to bypass the human reproductive system - the brains - behind Electric Lady sparkled with them genuine feels towards and appreciation for the audience. It was mutual. A delight when she performs with her band, but an absolute goddess when she offers herself solo for a song, immersing herself fully in the spirit of the electric lady.   

Alex Lahey kicked us on with her infectious vibes and nonchalant demeanour towards the somewhat heartbreaking content of her lyrics. Alex comes with an attitude that is truly inspiring to see in a young and extremely talented Australian female musician. Do what you wanna, when you wanna and don’t be burdened by expectations. 

Ali Barter got that crowd moving! She quite literally lit them on fire. Finally, some bodies on shoulders and heavier grooving, which I craved more of from the get go. The audience sang along and fully embraced all the girlie bits that Ali offers to the world. 

The Electric Lady line up was superwoman itself, however, my only criticism is that it would have been nice to see more females in the back. By that I mean: a few more gals on guitars, drums and bass supporting the female fronted acts that succeeded RACKETT and Bodytype; in the sound production and; in other aspects of venue/event operation in a broader attempt to keep the women in music electric, alive and unrestricted.

All in all, it’s pretty bloody essential that events like these consistently happen everywhere they can, and not just concerning gender, but other social, political, economic, environmental and cultural streams of our being. It makes me extremely happy that they are successfully happening and bringing people together in positive and supportive environments in Sydney. 

  -     -     -     -     -     -     -

Catch Rita B  and her side project Dande and the Lion playing around Sydney.

A spontaneous act of civil disobedience and a heart warming rendition of TWISTED SITSTER's "WE'RE NOT GONNA TAKE IT" was the last thing I expected when I went to The View to catch SKEGGS, DUMB PUNTS, WOD, THE GOOCH PALMS, BAXTER and PIST IDIOTS. 

So, my plan was to catch the start of BEC SANDRIDGE at The Botany View, run up to WARWARDS for POLISH CLUB, run back to TBV for SKEGGS and the rest. By the time I got back to TBV, management had security stop the show and the crowd was gettn' antsy.

The story thus far: TOBY TWO STRING was on drums for DUMB PUNTS and may or may not have tried to crowd surf. Seems harmless enough until security decide this isn't on and want to put a stop to it. An alleged assault against security (this has been denied by other band members and crowd members) led to the show being stopped with management eventually calling the rest of the night off, and the cops in.

The crowd, on a high from getting a good 10 min or so of heavy duty moshing they thought had been lost forever did not want the night to end. As police arrived and started a what seemed to be impossible task of clearing the venue, everyone sat down and started singing TWISTED SISTER's "WE'RE NOT GONNA TAKE IT" with two fingers raised to the establishment.

While missing out on some ACE bands sucks and the nanny state of Sydney continues, moments like these are priceless. As long as we keep sinning "WE'RE NOT GONNA TAKE IT, ANYMOOOOOORE" eventually, we will be heard.

I just want someone to look at me the way that guy looks at that orange traffic cone. You'll know it when you see it.

#keepsydneyopen 

Normally I would try to research the artist I'm going to see before shooting the gig. But, with NSC closing down and shooting or editing pics and clips almost every night for the last 20+ days, I just didn't get a chance. I mean, I've heard some songs on Triple J but that's it.

I knew I was going to hear some quality songs but enough to fill a whole set? 

Meeting Gretta Ray for the first time I was a little taken aback. Like I said, I'd done no research and that included just seeing a pic of her. Yeah, yeah, yeah, I know. 2016 she won Unearthed High so what did I expect? Well, nothing really. I just didn't think about it. Keep in mind I'm pushing on in years, I just couldn't believe how young she is. It kinda just punched me in the face. Come show time, there are smiles and laughs at the bottom of the stair case leading to the stage. A sold out crowd waits, the band tunes up and Gretta bounces up stairs and glides on stage. The seeming nerves at the bottom of the stairs have dissipated and Gretta immediately looks at home.

Gretta says a few times through her set "there are a lot of words" and she's not wrong. The lyrics are not what you might expect from a teenager. There's a clarity and understanding in her writing that is brought to life through her music. It feels like you're reading a diary you found at bus stop and each page is a new song. You want to know what's on the next page. The thing is, most of the crowd already know what's written on the next page. Including new single "Towers" and Gretta is very happy and humbled by this. 

Forgetting the obvious, what impresses me the most about this Melbournian is how she seems to be handling all of this. Through all the confidence and talent appear moments where it looks like she's thinking 'is this really happening right now?' Yes Gretta. It most definitely is.  

It was back in February 2016 when I heard this song come over the radio "panda, panda, panda panda panda panda panda bbbrrrraaddtt!" and I thought, "what the fuck is this dude sayn'?"

By the end of the tune I didn't care. I was on board. All I needed to get through was "broads in Atlanta, credit cards and scammers and of course Panda.

In less than a year DESIIGNER had gone from a Brooklyn rapper that pretty much nobody in Australia had heard of to being the Special Guest at this great lands newest touring festival: FOMO. There was really only one thing I expected from DESIIGNER  -  Energy and mountains of it. From all reports I wasn't going to be disappointed and when I found out IVAN OOZE was the support for his Sydney side show, I knew shit was about to get wet.

I'd never shot an all ages gig before and after taking 3 crowd pics I definitely felt everyone of my 33 years and decided to focus on the music.

What you're looking at is a pretty good representation of one of the most high energy, non stop, crowd pleasing gigs I've had the luck to attend. If the rest of 2017's gigs can be this fun, I'll be a happy snapper.   

- TIMBOSS

After 6000 years stuck in a Hyperlock chamber (Melbourne), Ivan Ooze came out swinging, HARD! With non-stop rhymes and beats designed to make you run the equivalent of a marathon, Ooze collectively liquefied the crowds faces into a gooey puddle on Newtown Social Clubs floor. Good luck cleaning that up.

To be fair, some faces had been pre chewed. NOM NOM

Wild Honey, a Sydney 5 piece that really knows how make you feel like you're floating away on a shag pile rug with the sun beaming down on your face. Listen to Wild Honey or use hallucinogenic drugs.

No judgement on what you choose but i'll just leave this here.

 https://www.facebook.com/ReachWildHoney/