Missy Higgins @ Sydney Coliseum Theatre, February 28 2020

WHAT MAKES A CONCERT SPECIAL?

What makes a concert special? A truly satisfying and memorable event? When you go to as many concerts as I do, simply going to a concert in general, is not necessarily special. So what does make one special?

Is it perhaps that this is the first concert in a brand-new state of the art venue since it’s official re-opening? Maybe the fact that Missy Higgins, a household name in the Australian contemporary pop scene is giving this new venue a whirl? Is it the staff and accessibility of the venue, or perhaps none of the above, and just simply the performance and sound and nothing else?

Now because this review is, well, special, I’m going to do things a bit differently. Because there’s a lot to cover, I’m going to pick and choose selecting things to treat you to, like a gourmet meal, so bon appetit! 

First, the staff and venue accessibility entrees. As soon as I enter the Eastern foyer, staff, namely Patricia, greeted me to assist with signing in and then gave very specific and helpful directions to my companion. When this venue was in it’s planning phase, it was described as “the West's answer to a second Opera House”. Quite a tall order! Now, we all know and love the iconic Opera House, but as far as accessibility goes, it isn’t without fault, seeing as the venue was built in a time before elevators I suspect, or at least before a great need for them. As a result, despite adaptation over the years, there is at least one instance in which stairs are unavoidable. This venue on the other hand, has been built in a time where elevators and OH&S regulations are required, so as a result, getting from the Eastern foyer to the theatre is not only easy thanks to constant support from staff along the way, but also because there are completely level walkways and elevators throughout the venue, regardless if you’re ticketed to sit at the back of the balcony. This has an effect much like a sweet and succulent entree to warm and invigorate the taste-buds before the main meal.

The main course, being the performance of course, is a complex one, so I’ll break it down into four parts. First we have the ingredients, which in this case are the songs Missy chooses to play and the talking and crowd interaction throughout the set. Second, there’s the quantity, so at the end of the show, are you feeling satisfied, or are you left still hungry for more, or are you bloated and feel the meal was too big. Third, you have the sauce and seasoning, which is the sound from the band, acoustics of the venue, and sound mixer. And finally, how well was everything cooked? If you can’t put that metaphor together yourself, pretty much, did Missy and her band perform each song well?

The songs and talking/crowd interaction; Normally from what I’ve experienced at concerts, the most effective way to open a show is to head straight into the first song, which should be an energy lift, to raise the energy and get the crowd excited, and then after the first or second song, then talk to the audience. But this is a, well, special show (if you’ve made a drinking game from everytime I say well, special, you’re probably getting quite smashed by now!), so when Missy, and if I’m correct, only Missy, first walks out onto the stage, she greets us, not a shy or simple “hey Sydney, thanks for coming! This first song is X and goes something like…”, no, Missy slices through everyone’s expectation and breaks out well-rehearsed and tasteful humour! Example being “wow, what a beautiful venue! Honestly this is all I know of Rooty Hill”, Before introducing her first song, a delicate and raw song that is only her exquisite voice and well garnished piano playing which brings a more relaxed casual essence to the atmosphere in the theatre. This humour is spotted throughout the set after most of Missy’s songs, interacting with her audience in instances such as when a woman yells out “can my girlfriend sing with you?!” which Missy replies “uhm, that’s not really in the set, how loud is your voice?” and the absolutely priceless instance in which Missy combines a personal anecdote of her life and how the song links to the moment, in which Missy tells us how she was given the opportunity to record a song for a TV show on Foxtel, and how she’s not up with the whole Foxtel-y world but “I figured out a loophole. Sign up for Foxtel on demand, do the ten day free trial, watch the series in ten days, then cancel the subscription! Bob’s your uncle!” which is followed by an eruption of laughter! and how before playing a particular song, she told us the story leading up to it in which she went through a phase of not knowing if she could continue with the demands of the music industry, keep writing music so she “as cliche as it is, had to go and find myself, I went to India, got diarrhea etc etc and eventually it lead me back to music”.

Now as far as the songs go, after the first delicacy of the piano and vocals solo, Missy then introduces the rest of her band, including drums, bass, keyboard, guitar and backing vocals. These musical ingredients give the set a wide range of textures to play with! The set flows from one song to the next according to the rise and fall of musical energy more so than the most popular songs being last. This is the equivalent of a multi-course meal tailored to introduce each flavour one after the other in the most complementive way. Another noteworthy technique is adding a couple of acoustic solo songs roughly in the middle of the set, giving the palate a cleansing break to emphasize the the burst of flavours in the second half. One of these acoustic songs by Missy features her on a Ukulele giving a funky flavour twist to the typical pop music elements.

As far as the sound goes, the sauce and seasoning, there’s a few points that need outlining. The first, is this theatre is one, fully carpeted and by the sounds of it, has lots of sound absorbing materials and well crafted shaping of the roof and walls to best manipulate sound, A.K.A, good acoustics. The problem with the Opera House is that the Concert Hall I’m fairly certain, was designed for non-amplified sounds, commonly well, opera singing. So the Concert Hall’s design is to best carry and resonate sound throughout the venue, which can be tricky to tame for contemporary music of today. This venue however, was perfectly tailored for optimal performance from the sound system which brings a whole new meaning to loud and clear! This of course, is nothing without the sound mixer doing a good or bad job of the performers’ sound, which in this case, is superb! All sounds on stage are perfectly complementive to one another, whilst highlighting Missy’s vocals, and the backing vocals just shy of power to Missy’s. It also elevates and highlights the guitar solo’s in a few songs’ bridge sections, likewise with the piano solo’s in others. So does that answer the point of the bands’ sound? If not, let me spell it out for you… S, c, r, u, m, p, t, i, o, u, s! There is so much musical colour and tantalizing elements as I mentioned before, to the blues vibes in popular tracks like ‘Scar’ and ‘Ten Days’, which the latter has a more enriched blues energy for this live rendition, which is uplifting and delighting despite the emotional content of the song. Not to mention the contrasting darker feel of ‘Cemetary’ which paradoxically has a potent dance aroma to it.

And to sum it all up, am I and the rest of the audience satisfied? Did the show not have enough? thus were we left wanting more? Or are we bloated? Well, a little bit of all the above I guess! I’m thoroughly satisfied on all counts, and it was the perfect amount/proportion, but because it was so delicious, and I consumed it as much as I possibly could, I am quite bloated, but it’s the same feeling like when you’ve eaten a whole bunch of your mum’s homemade Baileys, white chocolate and Maltesers cheesecake… 

More please! That’s what makes a concert well, special and memorable! 

Fire Fight Australia, February 16 2020

AUSTRALIA, WE ARE WITH YOU!

Ashes to ashes, dust to dust

A reason to celebrate, this is far from just

A nation in need, in devastations wake

We may be aching, but we will not break

World-class artists unite, and stand together

For one hell of a night we’ll remember forever!

Even as I arrive at the venue and check-in, wait no, even earlier when the organisers reached out to find out how best to accommodate me with my disability (lack of sight) at the event, I feel a warm, highly hospitable and sense of family from the event staff which emanates to all media guests, and I’m sure all disabled patrons alike, which I feel sets the organisers and promoters TEG Dainty and TEG Live, for today at the top of their class and worth recognition! Promising start indeed!

It’ll be very interesting to see how the flow of acts here today/tonight is, as I thought the positioning of artists on the scheduling was quite odd, for example, you’d think Queen would be on last right? Nope, not even close… (although I acknowledge the symbolism of having the mother and father of Australian singers, that is, John Farnham and Olivia Newton-John capping off the night) but wouldn’t most people just leave after Queen? And the sweet, bubbly indie-pop delight Amy Shark’s on straight after the good-ol’ creepy-crawlin’ theatrical-rock legend Alice Cooper, I mean, one extreme to the next! ...This shall be interesting indeed!

Up first is the country-rock swagger of Lee Kernaghan followed by the soulful serenity of Conrad Sewell and then the bouncin’ pimped-up beats of Baker Boy. For these three artists, although vastly different genres, each bring a similar and complementing energy. The country-rock swagger of Lee Kernaghan gets us all groovin’ despite the midday heat upon us, then the soulful vibes of Conrad Sewell cool us down whilst still lifting our spirits like a sweet frozen margarita! Baker Boy on the other hand, his catchy vocal flicks and fully loaded beats are more like a Jagabomb, you wanna down those beats as fast as you can and keep going, but if you’re not careful, they’ll knock you on yo’ ass!

Today it's already blatantly obvious that this is no ordinary event and yet there’s a paradox at play here. On the one hand, today brings the festival atmosphere, with over twenty performers over just shy of eleven hours. On the other hand, it’s made apparent to me as comedian, fund-raiser and presenter for today Celeste Barber and the other presenter talk to fans near the front of the stage and ask if anyone camped out, and yes, several people did camp out overnight to have prime positions at the barrier… like a normal concert… that happens to be broadcast live over several TV channels.

As Daryl Braithwaite performs the unofficial Australian anthem that gets 70,000 people all singing along to, ‘Horses’ and two other songs (yes, Daryl does actually have more than just that one song, shocking, I know right!) which is followed up by the heart-felt acoustic anthems of Pete Murray and the iconic rock-gritt of Grinspoon, no matter what music comes our way, the energy and mood in the stadium is the same, electric! And here’s why… Both Celeste with her cheeky humour and stunning costumes which change each time she emerges onto the stage, plus the other presenter,  remind people that although today is a happy occasion with world-class entertainment, the reason why we’re all here is to raise much needed funds for the recent devastation of the wide-spread bushfires, and although the recent deluge has doused most or all fires across the country (or at least in New South Wales), the damage is still there, lives have still been lost, infrastructure crumbled, wildlife depleted and crops, agriculture, businesses, all effected, and all needing help! And both presenters remind us to please buy a t-shirt which all profits go to bushfire relief and not just that, to simply just donate if you can! And the way they deliver these messages is sprinkled with humour and good-vibes which brings a buzzing air of comradery and sense of family, a family of 70,000! To add another special touch to the event, the male presenter brings out two volunteer firefighters to say a few words and have 70,000 appreciative fans applaud them for all their hard work! Plus what’s more, if all these incredible artists here today wasn’t heartwarming enough, several artists from around the world reached out to Australia via pre-recorded videos displayed here today, reminding us “Australia, you are not alone, we are here with you”.

Each performance throughout the night from Guy Sebastian (who dedicates ‘Battle Scars’ to all who've been affected by the fires), Jessica Mauboy, Ronan Keating (who steps off the stage and walks in front of the barrier high-fiving fans in his last song, all three songs in which take me back to the late 90’s), Peking Duk, 5 Seconds Of Summer, Delta Goodrum, Illy (the latter two who made especially crafty use of the full stage setup with catwalk), Amy Shark and Hilltop Hoods all bring a pure light to the event filled with an energy like none I’ve witnessed at any other concert event, you can feel how dedicated and strongly they’re committed to this worthy cause. Each artist/band connect with both the thousands of fans here at ANZ stadium, the probably millions watching on TV and those affected by the fires past and present in such a wholesome earnestness that can’t be faked!

As Australia's been devastated by recent bushfires, world-class artists and music fans alike came together for a massive concert for bushfire relief recently at ANZ Stadium Sydney, Fire Fight Australia! Brendan the blind guy was lucky enough to head along and had the opportunity to slip in a sneaky quick chat with iconic Aussie hip-hop pioneers, HILLTOP HOODS who donated their time to the worthy cause! Sign up to the Keen Eye 4 Concerts newsletter at www.keeneye4concerts.com

As amazing as it was to meet and do a quick interview with Hilltop Hoods, it did mean I missed Alice Cooper’s performance. Not to worry though, I have seen him live in the past and know it would’ve been incredible! 

Now for the main reason why a lot of people raced to get tickets and some camped out overnight, the legendary Queen + Adam Lambert! By this stage the energy isn’t quite as beaming as it was a few hours ago which is to be expected as things wrap-up but even with Queen and Adam being significantly later onto the stage than planned, the crowd go wild! Now of course experiencing Queen’s performance live is nothing short of special, but I have two minor let-downs personally (remember, I’m only one man’s opinion!) I was quite upset the band didn’t finish ‘Bohemian Rhapsody’ instead flowing it into ‘Radio Gaga’ at the songs build up that makes everyone sing like a complete lunatic, you know, “I see a little silhouette-oh of a man, scaramouche, scaramouche, will you do the Fandango?” COME ON! WHY?!!! The other is really just my personal opinion. I thought as suitable as Adam’s voice is for the higher and some mid-range notes and yes he did do well, I don’t think he quite lives up to the legend of Freddy Mercury.

From rock to pop, to country and soul,

A beautiful energy, was brought from them all

The love and support from fans artists and more

Made this, for me and others I’m sure

One hell of a show…

We’ll remember forevermore 

The Amity Affliction - UOW Unibar, Wollongong NSW AU, January 24 2020

FEELING ALL F****D UP?…

How do you feel? Are you okay? What happens when you’re not? When you feel all f****d up, you think to yourself “all I do is sink into my impending coffin”....

What do you do?...

Even those at the height of their euphoria, surely are affected too as the dramatic war/death-march bang of the drums and underlining bass to flickering lights, floats over the audience in a pent-up frustration-filled mist, as the band makes their grand entrance. This sets the perfect tone for what comes next.

Joel’s rapturous screams and the heavy minor tones in the first two songs (the second of which I’m fairly sure is new single ‘All My Friends Are Dead’ off the band’s upcoming album) build up the heat and aggression exponentially, which the crowd seem to consume as intended! Cleverly, the first two songs are powerhouse slaughters, screams of desperation, whereas the third song still keeps the energy at a red-hot fever-pitch, with constant movement of stage from the band, weaving through and around complementing lighting, which gives an emphasis to the frustration/desperation/angst feelings of the music. However, this song introduces Ahren’s clean more-melodic vocals as well as some free-falling piano droplets in the chorus after the wailing guitar riffs and aggressive scream vocals in the verses. This I feel puts more emphasis on the desperation. I have a feeling I’m on the money with the intent of the essence one feels in this song, as in the more pleading desperation of the chorus, both Joel and Ahren support each other perfectly in both sound and on-stage charisma, which makes one another stronger. So when Ahren reaches out to the audience to offer a hand in singing in the bridge section, it hits home hard!

The aggressive screaming vocals, rapid pounding drums seeming to emulate a rushing heartbeat, thick commanding bassline and razor-sharp guitar riffs that cut deep. Plus the acoustics of the venue don’t seem ideal, as I took note of the shiny wood flooring in which my cane slid across as I entered, and from what I can see, it’s a rather large venue. I can tell this as I can hear the sounds echoing off the walls and up the back… recipe for disaster. Just like a glimmer of hope, a slither of positivity, a lifeline if you will, in a terrible situation, these speakers are capable enough to hit us with the full-force of the bands punch (musically) AND keep perfect clarity, even at such high volume! But the real saving-grace is the sound mixer, who clearly knows this venue and/or the bands sound! Despite the reflective surfaces which the sound bounces to-and-fro in their own invisible moshpit, but the sound mixer prevails to my immense relief!

The mood is shifted slightly to a more uplifting hopeful essence with ‘Shine On’ and its anthemic easy to sing- along-to chorus. But when after ‘Shine On’ comes ‘Ivy (Doomsday)’ it maintains an anthemic power in the chorus, uplifting the energy in the crowd, whilst still delivering a serious, overwhelming potency in the songs core.

Now that this reckoning is in full effect, the crowd is hyped up to extreme levels, making me very thankful I chose to steer clear of the centre of the barrier! (two metres to my left is all hell breaking loose!) The security can’t keep up with the constant flow of crowd surfers, especially in crowd favourite songs like ‘Pittsburgh’, ‘I Take The Weather With Me’ new hit ‘Soak Me In Bleach’ and the grand finale of ‘All F****d Up’, seriously, as I watch the line of crowd surfers exiting/walking in front of the barrier, it seems as though half a dozen all came out simultaneously! No wonder the heat in here is extreme!

Instead of going on and on with how the band smash out all the songs to perfection, well, I do believe Ahren struggled a little in one of the choruses of the later songs, but I’ll turn a blind eye, but all you need to know is this…

Consistently throughout the set I, and I’m sure the rest of us here, are reminded of the power of music, friends, family and everyone around us to help guide us through dark times. The band display this perfectly with the way Joel and Ahren lean on each other and complement each other, as well as the band reaching out to their audience to help with singing key lines, letting the crowd sing lead whilst Ahren sings harmonies in the verse of one song drawing near the sets close, and melodies in strategic intervals, bringing an uplifting positive power to the heavy somber darkness of the songs’ meanings, in a perfect paradox!

How do you feel? Are you okay? What happens when you’re not? When you feel all f****d up, you think to yourself “all I do is sink into my impending coffin”....

What do you do? Reach out, ask for help and draw strength, courage and support from those around you like The Amity Affliction.

Music brings us together...

Elton John 'Farewell Yellow Brick Road' - First State Super Theatre Sydney, December 21 2019

“WE’RE OFF TO SEE THE WIZARD, THE WONDERFUL SIR ELTON JOHN!”

Can you feel the love tonight? And if not, are you ready for love? As we step into Christmas and 2019 comes to an end, so does an incredible 57-year adventure, but not before traversing through the spoils of this iconic path, before we say goodbye yellow brick road for the last time, and do the crocodile rock with the rocket man himself!

Slip on your tiny dancer shoes and click your heels together three times, “we’re off to see the wizard! The wonderful Sir Elton John!...”

As the lights go down, the mighty Elton John emerges onto the stage and we’re all thrust into a world of magic, filled with buzzing euphoria, the first stops on this adventure are the iconic ‘Bonnie And The Jets’, ‘All The Girls Love Alice’, ‘I Guess That’s Why They Call It The Blues’, ‘Border Song’ and ‘Tiny Dancer’.

I’m instantly mesmerized by the sound on all fronts! The sound mix supremely highlights Elton’s iconic vocals, which are so sharp and poised, in both the falsetto pitches and the grandeur baritone vocals, as if decades haven’t passed, and he’s still in his youth, only having written the songs yesterday! This with Elton’s dazzling star-spangled costumes, well-choreographed stage visual and lighting seems to sprinkle a mist of magic throughout the theatre, transporting us all back in time!

Opening with ‘Bonnie And The Jets’ followed by ‘All The Girls Love Alice’ perfectly introduces the musical characters and sets the scene/plot-line! ‘Bonnie And The Jets’ brings forth a cool, refreshing soulful, yet uplifting mid-tempo dance sway, to grab the attention straight away, but not charge at the energy like a bull to a red rag… oh hello, here’s the red rag!  ‘All The Girls Love Alice’ rockets the energy forward dramatically, as if introducing the big-bad-enemy in the story. But in all seriousness, very well executed, as both these songs display two separate, yet complementing essences. (cruisy sway-dance/upbeat and energetic foot tapping and head bobbing)

Elton now greets us all, like Dorothy introducing herself to all the characters along the way in The Wizard Of Oz, and Elton does it in a way that speaks to both the masses in the theatre, and everyone individually somehow! This sparks more feel-good magic in the crowd for the infectious blues of ‘I Guess That’s Why They Call It The Blues’ before Elton delights us with reminiscent stories of his career, before we encounter a ‘Tiny Dancer’ along the yellow brick road.

This may be a Tiny Dancer, but what’s not tiny is the number of people standing up to dance in this song! Although it can be quite annoying having everyone stand up right in front of you, being seated, I honestly can’t blame them! Just like it’s no wonder why The Wizard Of Oz has become a household name and an icon, it’s no wonder why the same applies for Elton! I’ve got goosebumps from how tantalisingly perfect his vocals are whilst playing the piano like... well, like Elton John. I’m a pianist myself and “great scott!” I wish I could play the piano like that, but to play like that at his age… of 21… while bopping away, pointing and waving his arms when possible AND singing like that? Yeah, I’m out!

I guess all of Elton John songs are iconic, so it’s hard to pick which one to really delve into without blabbering on ‘til the new year. So one, two, miss-a-few and, oh! Hello!...

After a grand blues-rock flurry of piano swishes and complementive lights and visual effects in the bridge section of ‘Indian Summer’, the continuity is kept perfectly, seamlessly flowing ‘Indian Summer’ into a theatrical suspense-building video, bringing forth quite possibly my personal favourite, ‘Rocket Man’. The smile on my face just widened immensely! It’s funny, Elton’s vocals seem more on the baritone end than the recording, but it honestly seems like it’s intended, not that Elton can’t hit the higher notes. As a result, it actually seems more quintessentially Elton… it’s hard to explain, but I feel like if he did do the really high notes in the verses of the song, it would just seem out of place now? And if you were thinking “well maybe he’s too old and can’t sing like he once did?” well, sorry, no. The way he sustains the note near the end of the song and controls the vibrato in both his falsetto and baritone vocals shoots that theory down hard! And just to add the cherry on the top, that extra dash of magic, Elton activates different sounds on his piano for the dazzling piano solo at the end… wait, is he on a rotating platform? I swear he was facing me when I last looked through my distance magnifier?!

As we head deeper into the forest of magical sounds, we encounter a ‘Candle In The Wind’ which is met with a sea of standing ovations, in which I join in on, holding up my sign “DRUM STICK 4 BLIND GUY PLZ?!” After ‘Funeral For A Friend/Love Lies Bleeding’, to my amazement, someone from Elton/the band’s entourage comes up to me and hands me two drum sticks, informing me they’re from Nigel himself! Now, the reason why I mention this, is because it proves that it’s not just an illusion with how Elton speaks to several thousand people as if he’s only speaking to twenty-odd people, Elton and clearly his band are actually connected with the audience!

We’re in the second half of the show, and you might think people might be shifting in their seats, going to the bar, checking their phones etc? Well I doubt it, seeing as for example, the interest is perfectly maintained with honest, personal anecdotes from Elton, including talking about his own struggles with depression which he implores people to seek help when depressed, shattering the spell-woven illusion that Elton is some kind of God and not a human being like the rest of us. It’s also a little hard to drift off when theatrical dark, evil “wicked witch of the west” vibe wind and booming thunder claps (which I’m glad neither myself or my guide dog, with his heavy-duty dog ear-muffs on, have full bladders), along with call-and-response musical battles between Elton on the piano and Nigel on drums/percussion is peppered in the set!

But even the magical yellow brick road has an end. Finishing up (after profusely thanking us all and introducing/thanking his band of course) with the defiant power-punching whopper ‘I’m Still Standing’, followed by the infectious dance like nobody’s watching, sing-along crazily like the drunk-lady who’s pulled me up to join her in ‘Crocodile Rock’ and finally the final punch that vanquishes the evil witch in The Wizard Of Oz, ‘Saturday Night’s Alright (For Fighting)’ which is capped off with a burst of confetti! BAM!!!

But just like in a movie, or book, there’s also the epilogue/wrap-up after the climax right? Even Elton John dishes out an encore which consists of ‘Your Song and finally, poetically, ‘Goodbye Yellow Brick Road’ as we too say goodbye yellow brick road!

The next day…

I may have 48 hours to publish this review, but I honestly can’t wait to tell the world of my thrilling adventures on the yellow brick road! I feel so incredibly honoured to have witnessed such a momentous occasion, and sitting here writing this review, I’m still awash in euphoric goosebumps!

Goodbye yellow brick road...

Walking On Cars 'Colours Australian Tour' - Factory Theatre Sydney, November 29 2019

“LIKE A KINDERGARTENER WITH A DULUX COLOUR CHART”

Imagine, if you will, a canvas of vast emptiness and thus possibility. Then just like the big-bang, bringing light, life and colour to the once blank canvas that is our universe. This is poetically fitting for this show tonight, because Irish alternative-rock band Walking On Cars are here in Sydney for the first time ever, to fill this blank canvas with their musical colour, in celebration of their second studio album, ‘Colours’.

And if for no other reason, this show will be memorable surely, seeing as lead singer Patrick told me in a recent interview (interview here) the band walked onto the stage at first, completely naked.

So well, “lads, let’s walk on cars!”...

I’m right up against the stage, there’s no barrier between the crowd and the band, so this could be very awkward if they do walk out naked. I feel rather conflicted that no, they are not, even I can see that thanks to Patrick coming right up to the edge of the stage, nearly standing on my hands, before launching into the first two songs, ‘Too Emotional’ and ‘Don’t Mind Me’.

I had expected the opening song to be the typical choice being the opening song off the touring album, in this case being the darkly wicked rebellion of ‘Monster’, but opening with ‘Too Emotional’ to a backdrop of dazzling lights brings a very suitable uplifting vibrant essence. Although I feel the bass is slightly too potent in the sound mix (only because I’m picking all the pieces apart analytically like Lego), Patrick’s brilliantly controlled falsetto vocals, even while he dances around the stage is the main focal point of colour. This song with it’s bright musical colour mixed with the visual colour in the stage lighting is like a kindergartener taking to a Dulux colour chart sample kit to my Synesthesia!

Although the tone deepens to a solemn deep blue in ‘Don’t Mind Me’, Patrick’s on stage charisma with him taking to a single electric drum pad to accompany the sharp, precise drum strikes keeps the energy in the crowd elevated nicely! This added with the increased urgency-filled cry of emotion in the last chorus caps this song off superbly!

Next we have splashes of colour, ‘Waitin On The Corner’, ‘Always With You’ and ‘Ship Goes Down’. In all three songs, Patrick maintains a high energy to his on-stage charisma, being the common thread that links each musical story to the next. For ‘Waitin On The Corner’, I’m filled with a rich pastel red glow emanating a dance provoking vibe, with all voices in the crowd singing in unison constantly throughout the song. The icing to the feel-good energy cake is Patrick taking to playing a guitar while captivating the audience with his voice. In ‘Always With You’, once my ears become acquainted with what song it is, I’m wondering where the piano intro is? Then I realise it’s there, just not prominent enough which is a bit disappointing. But again, Lego pieces. In ‘Ship Goes Down’ a refreshing cool ice-blue soulful mist settles on the aural palate, and with Patricks full-hearted honesty, the dancing melodies and Patricks on-stage charisma, I feel the atmosphere is quite reminiscent of The Script.

As the set progresses, I’m seeing a lot of blue as far as my Synesthesia is concerned, which is usually a pretty good indication of the songs key being in C, which I mean, come on, that’s pretty normal in mainstream music. However, this show is far from bland and typical! The way the band move from song to song, Patrick swapping guitars, taking to the single drum pad and dancing around the stage whilst perfectly controlling his vocals added with the general musical vibe, is of performance calibre of that of The Script, Imagine Dragons and OneRepublic!

For me personally, the highlights are how well Patrick moves up and down his vocal range, stretching his vocal chords like and accordian, whilst keeping perfect control especially in ‘Love Backs Down’, along with the burst of euphoric energy in ‘Two Stones’ which Patrick perfectly conducts the crowds energy and vocal hook sing alongs. Another crafty element to this song, is the nifty little vocal lick at the end of the songs chorus, being set to be triggered/played at the drum strike of Patrick on the electric drum pad. As well as the addition of female vocals from keyboardist Sorcha in ‘One Last Dance’ with it’s love-struck warmth and Imagine Dragons flavour!

As the show draws close to its end, dishing out deep emotional greens, pleasant bright yellows and pop-typical blues (musical colour I mean), blending a perfect brew of contrasting colours and thus emotions, with both solemn, heavy-hearted minor tones and bubbly, happy uplifting major tones peppered throughout, I’m feeling so glad I came out to witness this memorable show, because before too long, you’ll be paying big-bucks to see them in much, much larger venues, that, I have no doubt!

But all things must come to an end at some point, and the anthemic, rebellion of ‘Monster’ with its chorus hooks that demand full attention and singing along to, is a pretty damn good finish to a bloody good show!

But just like a painter never being fully satisfied with their work and constantly adding final touches, yep, there’s an encore, which is good seeing as we haven't yet witnessed the band’s greatest hit ‘Catch Me If You Can’ yet!

This encore starting off with ‘Catch Me If You Can’ which sprays beaming energy that gets the whole crowd singing along to, also features ‘Coming My Way’, ‘When We Were Kids’ and finally, to my delight, ‘Speeding Cars’. Although ‘Speeding Cars’ is a temptingly pleading song, the vocal hooks and the grand rock-out at the songs close is simply ace, and the perfect final touch to step back from the masterpiece that is this show, and admire with full satisfaction, even with the band not playing ‘At Gunpoint’ as I’d hoped!

Scene & Heard Festival Newcastle - Review & Interviews, November 10 2019

YOU ONLY THINK YOU’VE SEEN AND HEARD IT ALL!

Sometimes in life, you come across those times when you realise you’ve seen and heard it all before, but really, when a quaint little festival on a beautiful sunny, but not smolderingly hot day boasts a line-up featuring national rock legends such as Wolfmother, Eskimo Joe, Jebediah and Magic Dirt, plus international rock legends The Dandy Warhols, well… what’s the harm in a little bit of familiarity right? But that’s the thing, although I’ve seen most of these bands perform live before, will this festival bring a sense of familiarity?...

What better way to start the day, than by chatting to some Aussie rock veterans before catching the rest of opening band Even on the main stage!

I’m definitely feeling pumped and ready for the day ahead after that awesome interview, and keen to get up on stage and do the chicken dance with Magic Dirt! But for now, Even’s 90’s psychedelic/indie-rock tunes are rather refreshing and aromatic, like the scent of flowers that takes you back to your childhood home, which is quite a nice way to kick off the day!

I know it’s still early in the day, but so far the vibe is not that of most festivals I’m familiar with. Everyone, staff, artists and general festival goers are all relaxed, in high-spirits and the atmosphere is just generally pleasant! I mean even backstage, instead of people rushing around like headless chooks trying to keep to the schedule down to the second, stressing out and what not, everyone back here is calm, happy and relaxed, and yet everything is still professional and without incident! (what you don’t see behind closed doors right?!)

Now for Magic Turd, I mean Magic Dirt, this should be good! Adelita told me at the start of the day, how in the absence of Dean, who tragically passed away in the early 2000’s, which resulted in the bands hiatus, that getting back on stage now, they’re driven by Dean’s memory and although he’s not with them on stage, he’s like Ben Kenobi, he’s always with them, guiding them and make them stronger in the way of the musical force. And their performance today? Well, strong in the force, this one is! Even though I can’t see their body language and what have you, I can feel the raw honesty feeling they’re putting into their performance, and Adelita sounds like Ben Kenobi and the crowd’s positivity is filling her up, driving her. She’s belting out all the notes perfectly, as if she’d just written them yesterday, she really sounds like she’s having a ball! When she invites me plus a few others up to dance around in ‘Dirty Jeans’, then I can see Adelita’s and the rest of the bands positivity up close, and believe me, it’s radioactive!

I feel kind of famous now, with everyone passing me saying good on ya mate, I saw your daggy dance moves up on stage! Well, I mean they didn’t say daggy, but I’m sure they were thinking it! But no time to bask in the glory, ‘cause Sneaky Sound System is up next. I thought it was rather odd, that Sneaky Sound System, an electronic duo (singer and DJ) are on the main stage, amidst all these rock legends… this should be interesting! Somehow, Sneaky Sound System’s dance anthems may seem starkly out of place on the main stage, I mean you’d expect them to be headlining the smaller stage with some electronic acts for those who feel like boogying right? On paper, yes, but it somehow fits perfectly on the main stage to help lift the atmosphere even higher!

I must say, even as the afternoon crawls on, and the big-guns on the line-up start to emerge, Wickham Park is still spacious and rather easy to navigate, even if you’re blind-drunk or like me, simply just blind! On top of that, the vibe is still laid-back, easy-going and not obnoxious which is a much-welcomed contrast to a lot of festivals!, oh, it’s time to go chat to Even, then catch the last bit of Jebediah and first few songs of Alex Lloyd, before an impromptu unrehearsed chat with The Dandy Warhols… what could possibly go wrong? B.R.B.

...Ok, in my defense, 1; Alex Lloyd was playing on the main stage like, right behind the tent me Courtney and Brent were in. 2; I’m terrible with names and 3; I didn’t know who I was interviewing until I entered the tent.

After grabbing the biggest burger I’ve ever enjoyed at a festival for the normal festival price, if not slightly less, I get to just sit back, shake off the embarrassment from the interview with The Dandy Warhols and enjoy the last few bands!

As you could probably tell in the interview with Courtney and Brent, Courtney seemed a bit… uhm, well… spaced out? After fixing the technical faults at the start of The Dandy Warhols set, the band put on a really great set! Although, it did sound as though Courtney may not have been at his best. But still, the rest of the band kicked-ass! Some might say that the band’s two biggest hits 'Bohemian Like You’ and ‘We Used To Be Friends’ are a vast contrast to the rest of their hits, but live on stage today, the way the band flow seamlessly from one song to the next, and mix up the live rendition of ‘We Used To Be Friends’, brings nice continuity in the flow throughout the set!

Honestly, all the acts on the line-up kicked-ass and took everyone here, in the still spacious, easy to navigate, pleasant atmospheric park back in time, rediscovering their youth and giving you the nostalgic tingles! For me personally, hearing Eskimo Joe and Wolfmother live always take me back to my early teens, and hearing them today, it’s like being reunited with old class-mates from high-school in a way, and both these bands never disappoint in their live shows that’s for sure! Plus even though The Dandy Warhols are arguably the most established/successful band on the line-up and in that case, fitting to be put last on the schedule, putting Wolfmother last really blows the energy out of the park! But even with the spike in energy in the park, the vibe is still surprisingly laid-back and all-round ace!

At the end of the night, you may have seen and heard festivals like this, which too boast killer line-ups, but have you seen and heard a festival so enjoyable as a whole as this? I tell you, that’s a tall order!

Ali Barter - 'Hello, I'm Doing My Best' album tour, Sydney, November 1 2019

BREAKING NEWS OUT OF SYDNEY

THIS GIRL MAY SURPRISE YOU!

Put out your Cigarette and Please Stay focused. I Won’t Lie, This Girl Ali Barter has Big Ones of music (not talking about any Girlie Bits here, get your mind out of the gutter) instore for the Oxford Art Factory Sydney, on her ‘Hello, I’m Doing My Best’ album tour. This album and likely performance too, is full of Hypercolour, filled with exotic pop/rock flavours resembling that of which you would find at a Far Away Cocktail Bar in Tokyo.

As soon as Ali puts One Foot In the venue’s she plays at, the crowds are treated to a spectacular experience. Brendan the blind guy is at the Oxford Art Factory with the full scoop…

Brendan; “Thanks… I guess, me in the future? The atmosphere here at the Oxford Art Factory is well, electric, there’s no other way to describe it!”                     

Brendan; “When Ali walks out onto the stage to very enthusiastic applause, you’d expect the opening song to be the opening song off the album in which the tour is set around. When I interviewed Ali recently (interview here.) she told me that her performances have grown not just in fact that she’s gone from being a three-piece band, to now being a four-piece, but also in the sense that this being her second studio album, she now has a lot more songs to play around with in her set. You can tell Ali’s really put this into consideration with how she shapes the flow of energy in the set with what songs go where. Coming back to expecting the first song of the night to be the opening track off her latest album, that would be the soft, raw, delicate ‘Lester’, which flows straight into the edgy attitude-driven ‘Ur A Piece Of S**t’. But instead, Ali chooses not to even start off with anything delicate in the slightest, and instead hits the energy hard with ‘Backseat’ off her latest album, which really lands the energy at a running pace!”

“How does the crowd respond to this?”

Brendan; “The crowd absorbs this energy just as Ali would likely have intended, with maximum positivity. There’s no shortage of fans singing and dancing to this still quite fresh track, and when Ali follows up with ‘Cigarette’, the opening song off her debut studio album, then ‘Please Stay’ also off her debut album, the energy around me in the crowds seems to lift just that one step higher.”

“Sounds like it’s going rather well so far. So how is Ali’s performance?”

Brendan; “I can’t fault it to be honest! I’m finding her bass guitar is a little too heavy in the sound mix, but that’s not Ali’s fault, and it doesn’t smudge Ali’s vocal attack thankfully. Ali’s vocals from what I can tell are sharp and precise, a sign she’s poised, well-rehearsed and in her element. What’s more, she’s confident in her vocals as well as when she embraces her audience and shares personal anecdotes about her life that influenced particular songs. You know those times when you can hear the smile on someone's face when they speak? Tonight is one of those examples.”

(Ali informed Brendan after the show that she was indeed smiling all throughout the show).

"Are there any particular moments that stand out in the set to you Brendan?”

Brendan; “As a matter of fact yes there is. After the set is in full swing energy-wise and we’ve been riding the hype up to the rollercoasters peak, what goes up must come down right? Ali’s band take a break and now it’s only Ali and an acoustic guitar for ‘January’. Not only is this strategically well placed in the set to give a change in dynamics, but this song being stripped-back to being just vocals and guitar really highlights the sustained high notes Ali belts out near the songs close.”

“How does Ali bring the energy back up to the hype she commandeered at the start of the night?”

Brendan; “After Cooling-off with the acoustic rendition of ‘January’, not only does Ali raise the energy back up to it’s initial heights but exceeds it. To end the set on a high after more charming anecdotes from Ali, she charges into new single ‘Big Ones’ which is high velocity in itself, but given the huge contrast from the rawness of ‘January’, the energy level seems even more accentuated. After ‘Big Ones’, Ali then finishes up with the way I expected the night to start, with the folkish, raw, delicate ‘Lester’ which flows into the edgy fire-cracker ‘Ur A Piece Of S**t’, which really is the definition of going out with a bang!... figuratively, not literally of course.”

“It does seem like an excellent way to finish the set, but she hasn’t played her biggest hit ‘Girlie Bits’ yet, has she?”

Brendan; “That’s right, no she most certainly has not, and the crowd all know it and won’t let her leave without playing it. So of course there’s an encore which consists of a solo acoustic rendition of ‘It’s Not Real’ and last but definitely not least, ‘Girlie Bits’. The energy in the crowd for ‘Girlie Bits is quite extraordinary! I mean this isn’t the kind of show to push and go wild and act like complete buffoons, instead it’s a show that you simply sing and dance your heart out to, and that’s exactly what everyone’s doing.”

“Any last notes on the show?”

Brendan; “Yes, me personally, I think it may have been more appropriate to either replace ‘It’s Not Real’ or add after ‘It’s Not Real’, ‘Light Them On Fire’. The dynamics in ‘Light Them On Fire’ with the anthemic chorus and fiery yet intimate and relatable lyrics would’ve been a brilliant incline in energy to then be met with ‘Girlie Bits’ to take it even higher. But apart from that, Ali’s come such a long way in her career and all the effort and heart and soul she puts into her music and performance is definitely evident. I strongly recommend people to head along to one of Ali’s performances and support this Aussie talent!”

“One last thing, what inspires you to write your reviews in all these different and thematic ways? I mean you’re practically talking to yourself here”

Brendan; “Come on, if I don’t mix things up I get bored! And I mean hello, I’m doing my best here!”

Grinspoon - 'Chemical Heart Tour', Sydney November 2 2019

WELCOME TO CHEMISTRY 101!

Welcome to Chemistry 101 with your Champion teachers, Grinspoon. Seriously, I sucked at chemistry in school, like, to the point I honestly can’t remember doing it… wait, chemistry is what gives Black Rabbits their colour, and what makes Dogs Run right? Yet somehow, here I am, a somewhat teachers-aid, helping Grinspoon take you through all the Thrills, Kills & Sunday Pills on their ‘Chemical Heart’ tour Tonight, which is sure to be Just Ace and a sure Hard Act To Follow!

Right Now, I have No Reason to keep on like this, so Ready 1, 2, 3 class is commencing now!...

For a change in perspective, and to rest my aching twenty-five year-old bones, I’ve opted to see what it’s like witnessing a Grinspoon gig from a seat near the mixing tower, via high-power binoculars. Especially too, as if you read my review of Grinspoon’s Newcastle gig in 2017, well, the crowd was brutal and got me a tad riled up, (come on, who tries snatching the drumstick that one of the band members hands to me out of my grasp?!), and that was a small venue… the Hordern Pavilion is not!

What I love about the Hordern, is the lighting and stage effects are always a real treat! What, a blind person can’t enjoy the aesthetics too? Well, a rush of electrifying lights and stage effects propels the energy sky-high for the band to catch, squeeze and thrash around in ‘DC X 3’ which is seamlessly flowed into ‘Lost Control’ and after barely enough time for the crowd to lose control with applause, straight into ‘Sickfest’ and then still no rest for the wicked, straight into ‘Just Ace’.

What does over twenty years of experience as Aussie rock ‘n’ roll professors (the band) provide one with? Well for starters, the band sure know how to conduct the energy and toy with it perfectly, manipulating the mood in the venue like a science experiment gone oh-so right! Honestly, I’m not a fan of ‘DC X 3’ much, simply because I’m a crazy cat guy, but that aside, Phil’s voice capturing both punk rebellion and gruff agro bite to call on, mixed with edgy guitar riffs and driving drum strikes lands the crowd right in the palm of their hands by the looks of things. (A sea of fists, and sporadic energy from the crowd, in response to the mass-movement on stage to a backdrop of fiery lighting). This aggression-filled rebellious track sends a chemical rush of savage pent-up aggression, met with excitement throughout the venue, it’s like a steroid/ecstacy hybrid! ...Please don’t try that at home… or anywhere for that matter!

‘Lost Control’ is a perfect follow-up to ‘DC X 3’ because, literally, the crowd have already lost control like they’ve submitted to a potent chemical… actually for all I know that could be the case? But seriously, this song keeps the hard-hitting rock brutality at 11, whilst presenting a more anthemic chorus to chew on and regurgitate simultaneously, with a fist pumping like the pumping motion will push it out of you! (that image? You’re welcome!).

‘Sickfest’ keeps the energy elevated, while giving a morphing beat drive like the most epic acid-trip ever, (that is what we learnt in chemistry right?), transforming from a whip-lash intro beat, to a dance-provoking strut in the verses and finally a sexy swagger in the chorus to Phil’s rough vocal bite. 

‘Just Ace’ is a rush of contrasting intense energy, it’s brighter, more uplifting, more up-beat. This is one of those short, sweet bangers that you’re glad doesn’t go for longer, or you’d probably faint from busting out the energy it invokes, well, that is if your fitness level resembles that of mine anyway. It’s a smart move putting this song after the previous three slammers, to keep the energy nice and high, but acknowledging the aggression in the previous songs’ energy, it gives a refreshing cool positive breeze, so not to start a full-blown brawl/riot!

Honestly, I could keep going on and on like this, but we’d still be here reading tomorrow evening. But the reason I went into a comprehensive assessment of these first four songs is that it perfectly paints the picture for the show! 

The energy is high all the way through the set, however the band conduct the precise reactions intended perfectly, dropping anthemic hook sing-alongs like my personal favourite ‘Hard Act To Follow’, plus instigating melodic sing-alongs with the crowd, all amidst a smokescreen of white-hot intensity. Then later in the set after everyone’s drenched in sweat, a refreshing solemn-hearted self-reflective track like ‘Better Off Alone’ which poetically is like that moment when you stop and really take stock of your thoughts and feelings. Plus to reel back in any drifting attention that may have gone astray, Phil pops-up at a small secondary stage behind the mosh pit for an acoustic solo track, which helps remind people other than in the thick of the mosh, that they’re a part of this moment too. 

But acoustic tracks and deep self analytical tracks are no way to end a rock show right? Despite this being the ‘Chemical Heart’ tour and said song being arguably the band’s greatest hit, it’s not a suitable grand finale, it’s an amazing track yes, but it lacks that spark to finish a set with. So ‘Chemical Heart’ is in the encore yes, but only before the band thank us from the bottom of their hearts and finish with ‘Champion’ and ‘More Than You Are’. Both these two last tracks restore any and all energy the show once had, with the psych-up egging-on fire in ‘Champion’ which is like a red flag to a bull, and the extreme thrashing brutality with Phil belting out raspy edge in both tracks! 

After all this, being seated I’m rather thankful I dodged the onslaught of crowd-surfers and just insane energy emanating from the mosh, it really let me enjoy the sound mixers handy-work with the set to its fullest, I mean it was just ace!

Right, time for grading;

Flow of songs/energy. A+

Interaction with crowd. B

Sound mix. A+ 

Band performance (solo’s, instrumentation, accuracy etc). A

All in all. One bloody good show!!!

The Cat Empire 'Stolen Diamonds' National Tour, Sydney, October 3 2019

ANYBODY UP FOR SOMETHING TROPICAL?

Hello ladies and gentlemen, and welcome aboard The Chariot for The Cat Empire tropical island cruise featuring your host Oscar Wilde! Anybody not ready now better hold on tight, ‘cause the rhythm of this voyage is expected to be well, moving, to say the least! Onboard with us tonight, we have ‘Stolen Diamonds’ the latest gem from Melbourne’s favourite jazz kitties The Cat Empire, an album brighter than gold!

Ladies and gentlemen, wolves, fishies, bulls and everyone/thing else, please grab a cocktail and have your boarding pass ready, it’s time to party!…

As we stand at the precipice of the performance, the band walking out onto the stage and taking to the helm that are their respective instruments, the already densely packed theatre is filled with a wave of static excitement!

The first stop on this tropical venture, we’re met with a delectable serving of tropical jazz, fun and rasta in ‘Anybody’, featured on the band’s latest album, followed by the fruity cocktail of ‘Sleep Won’t Sleep’, I swear I can almost see the palm trees, coconuts and hammocks on the beach!

‘Anybody’ is like the “complementary” cocktail upon entry (that is included in the entry fee), that offers something new and different to the cocktails we all are used to and have enjoyed, in moderation of course… *cough-cough*. Whereas,  ‘Sleep Won’t Sleep’ is that passionfruit/white-chocolate Martini you know and love! Like a well-blended cocktail, the sound tonight is mixed to perfection! I can hear all sounds sitting comfortably among one another, whilst not overpowering Felix’s vocals at the forefront, and there’s a lot of layers to account for too! (vocals, guitar, bass, keys, drums, DJ/decks, horns and percussion). 

As I find myself becoming pleasantly intoxicated by the tasty mix of sound, the addition of Felix on the bongo’s tapping away swiftly in a “call and response” jam-off with the DJ in the bridge section of ‘Wolves’, and the all-out jam between all band members in the bridge section of ‘Sleep Won’t Sleep’ is nothing short of mesmerizing. That, plus the smooth horns (I honestly have no idea if it’s in-fact trombone, saxophone, trumpet or what?) and the chorus of voices singing the hook lyrics “all night long” in the chorus is rather potent!

Thus far, Felix has been like an entertaining host on an island tour “on the left we have Felix holding the microphone out to the crowd, to sing the hook melody in the bridge section of ‘Call Me Home’. On the right we have the highly fun jazz improv jamming featuring the admittedly sexiest piano solo in the bridge section ‘Fishies’, followed by some incredible high notes ( which shouldn’t be possible for a male over the age of twelve) performed in perfect clarity by Felix in ‘Darkness’, with it’s deeper feeling portraying the mixed feeling of awe, captivation and excitement as one witnesses the historic events of Pompei” This is all while Felix races around the stage, dancing and waving to the crowd when possible like a tour guide who’s way too jolly for the suspiciously sudden vacancy of alcohol onboard the ship… hmmm. Still, Felix’s energy and the way he coordinates his actions with his musical performance is far too well executed for someone intoxicated to pull off… well, smoothly at least!

Despite the fun, tropical fiesta that is this show, the crowd are rather calm? It’s not until Felix revs us up with a clap-along to the building-up beats in the bridge section of ‘Two Shoes’ that people actually dance and jump in the sequential chorus after the build-up! Me on the other hand, I’ve been shamelessly grooving the entire time… ok, maybe slightly shameful. The insane drum solo in the bridge section of ‘Darkness’ probably helped energize the crowd!

We all have a favourite destination on these kinds of tours, and mine is definitely ‘The Chariot’ with it’s rasta grooves in the verses with Felix’s quick rolling vocals that build up to the insanely infectious, lively jazz salsa dance of a chorus! I was already musically quite intoxicated by these tropical fuels, but now? The horn melodies in the chorus with keyboard rhythms bouncing around them and driving beat elevates my slightly shameful dance moves to straight out shameful, no slightness about it. Still, I’m not the only one, and seeing as I can’t see people looking at me, eh!

No but seriously, as Felix told me in our interview before the show, (watch here) music brings us together which I couldn’t agree more! Tonight is a prime example, we’re all here regardless of any language barriers, differences in culture, beliefs or status, all brought together by a mutual love! And when it’s a show like this filled with passion, energy, improvisations, crowd interaction and tantalising tropical aural flavours, you can’t help but let your hair down, forget the stress of normal everyday life and dance without a shred of remorse, ‘cause we’re all doing the same, so it’d be a real shame not to!

I could go on and on, taking you through every single song on this journey, but really, after nineteen songs (sixteen plus a three song encore) I think everyone would agree that like a truly euphoric and memorable holiday, I don’t want it to end and wish it could continue! And even with the absence of the band’s greatest hit ‘Hello’ and the anthemic and kind of sexy swagger of ‘Prophets In The Sky’ which I was hoping to be played, I am far from disappointed! In summary, this is one of the most fun “let your hair down” concerts you could attend whether you’re a jazz fan typically or not!

Thank you for choosing to travel with Keen Eye 4 Concerts, I hope you’ve enjoyed your trip as much as I have and I hope to have you aboard again soon!