Catherine Parrish

Riding the success of their 10th studio album, Foo Fighters were forced to delay their late 2022 tour to Australia and New Zealand when drummer Taylor Hawkins suddenly passed earlier in the year. There was some speculation that the band might retire after 25 years, but after a year of grieving (particularly for frontman Dave Grohl, whose mother also died in 2022) Foo Fighters announced that step-in drummer Josh Freese (The Vandals, Devo) would permanently be joining the band.

In what was their first show of 2024, Foo Fighters return exclusively to New Zealand and delight fans with one of their most dynamic performances to date. Although the set was evenly paced, sprinkled with new songs from last year’s studio album Here We Are (2023) and old classics to get everyone out of their seats, an almost 3 hour set was bound to have more than just a couple of highlights.

“Who came out and saw us when we played at that old speedway? That show was so loud it caused a seismic event,” said Grohl, referring to the volcanic-like tremor caused by the stamping feet of thousands of fans at Western Springs in 2011. “When I think about New Zealand, I think about an audience that can trigger an earthquake.”

It wasn’t the only time Grohl expressed his fondness for New Zealand, noting that he always has a great time whenever the band tours. Whilst Grohl shared stories with the crowd, the band teased snippets of songs from multiple artists (Metallica, The Ramones, Beastie Boys, Nine Inch Nails) throughout the set, and even surprised everyone with a special appearance from actor and singer Jack Black for a cover of AC/DC’s Big Balls.

But in amongst the party, there were sombre moments too, like an acoustic stripped back version of My Hero and a tribute for Hawkins that the band perform every night. “This was the first song we wrote together and his favourite,” Grohl told the crowd before performing Aurora. A few times the lights were dimmed and the stadium lit up like stars as the audience held their torches to the sky, providing the perfect atmosphere for the warm summer’s evening soundtrack.

When the crowd weren't swinging their arms in unison over their heads, they were screaming and thrashing their heads at the peak of all the fan favourites, from The Pretender, to Monkey Wrench, to Best of You and their faithful encore Everlong. It's hard not to admire such a resilient act as this band who can seemingly overcome any obstacle thrown their way. Welcome back, legends.

City Beach Oval was positively picturesque for the return of live music festivals. It’s been touch-and-go in Western Australia since the beginning of the COVID-19 pandemic, with many rescheduled concerts unable to go ahead. By The C was lucky enough to be given the green light and they certainly delivered with the original line up that was promised. Around 8,000 people gathered for an afternoon of Australian rock and acoustic music with many eager fans setting up camp as soon as the gates opened. With sunny skies and a cool ocean breeze, conditions couldn’t have been better for this highly anticipated event.

Killing Heidi perform at By The C festival in Melbourne, 14/03/21. Photo by Darren Chan.

Perth locals Coterie opened the day and earned themselves some new fans as they warmed the crowd with their easy listening, indie beach vibes. When Killing Heidi took the stage many found themselves jamming in their seats to early 2000’s hits “I Am”, “Mascara” and “Weir”. Tex Perkins–who ages like fine wine–charmed everyone with a mixed set of songs made famous with Tex, Don and Charlie, Beasts of Bourbon and The Cruel Sea including “This Is Not The Way Home” and “The Honeymoon is Over”. Then it was You Am I’s turn and they made the biggest impact on the daytime crowd yet. From the melancholic sing-along during “Heavy Heart” to the indie anthem “Berlin Chair”, Tim Rogers had fans begging for an impossible encore.

You Am I at The Gov, October 2019. Photo by Kerrie Geier.

As the sun began to set and the crowd started to  cool off after You Am I’s explosive set, Pete Murray strolled on stage and offered a relaxing, hip swaying set with his warm familiar vocals and acoustic melodies. In between songs like “So Beautiful” and “Better Days”, Murray chatted with the crowd, taking the time to thank the promoter John Zaccaria and Zaccaria Touring for all their hard work for getting them across the country in these difficult times. At this point, a small group of dancers had congregated around the outskirts of the stage, abandoning their chairs for the night in the lead up to the headlining act: Icehouse.

Pete Murray sings acoustic songs at By The C in Melbourne, 14/03/21. Photo by Darren Chan.

With 40 years of touring under their belts, Icehouse are an iconic Aussie act. The stage was doused in a dark blue light as the band opened with the song from which they took their name. Following was “Electric Blue” which coaxed more people up on their feet than ever before. Their set was a showcase from their glittering back catalog which could have gone on all night. Davies then handed the microphone over to specialist vocalist Michael Paynter, who gave two emotional acoustic performances of “Street Cafe” and “Man of Colours” with guitarist Paul Gildea (Davies bringing out the oboe for the latter).

Icehouse at By The C in Melbourne, 14/03/21. Photo by Darren Chan.

There was plenty of banter between the band members and the audience. Davies affectionately chastised the crowd for staying in their seats, noting that “we have only travelled 2,500kms to be here tonight, but if you want to stay seated, that’s fine.” One of the stand out moments of the night then came with the sax solo in “I Don’t Believe Anymore”. It wasn’t until they started playing their instantly recognisable anthem “Great Southern Land” that the majority of the crowd finally stood up. Two awesome covers of David Bowie’s “The Jean Genie” and The Sex Pistols “Pretty Vacant” were a nod to their pub band cover version days. Finally, “I Can’t Help Myself” and “We Can Get Together” had the appreciative crowd making the most noise of the evening. For encore, rocky numbers “Fatman” and “Nothing Too Serious” were a great way to cap off an excellent day of quality home grown talent.

Icehouse in front of the crowd By The C in Melbourne, 14/03/21. Photo by Darren Chan.

The number of hats and long-sleeved clothing has doubled, and the temperature is definitely a few degrees higher than yesterday. After some spectacular performances from PNAU, Peking Duk and Vampire Weekend the night before (read Falls Festival Fremantle Day One review here), the Sunday crowd are dragging their feet to Fremantle Oval today. But another huge line up awaits tonight, with lots of buzz stirring for Scottish soul singer-songwriter Lewis Capaldi, English electronic duo Disclosure and New Jersey emo pop princess Halsey, just to name a few.

Triple J Unearthed Perth artist Butter open Day 2 an hour earlier than yesterday (presumably for noise restrictions later tonight… This is Fremantle, after all.) They are shortly joined by Tassie rockers A. Swayze and the Ghosts before the ladies of Teen Jesus and the Jean Teasers rock both ends of the oval. The girl-power grunge continues with Amyl & The Sniffers and WAAX vibrating bass from prison to port. Marie DeVita of WAAX entices the crowd to mosh during her closing banger “FU”, earning the band the rowdiest crowd of the day… so far.

WAAX at Falls Festival Fremantle. Photo by Karen Lowe.

When G Flip takes the stage, she is instantaneously loveable. An all-rounder Aussie, she takes the time to introduce her band and brings her Dad out on stage, claiming that tomorrow they’ll be getting their first tattoos now that she has made it as a “serious musician.” Her vocals are pitch perfect when belting out popular tracks such as “Killing My Time”, “Drink Too Much” and standout “Lover” with incredible passion. She jumps on the drums for a mid-set medley, just for fun, and also proving again how talented she is, closes her set with a cover of Jet’s “Are You Gonna Be My Girl”, whom she shares her small hometown in Victoria with.

Jack McEwan of Psychedelic Porn Crumpets at Falls Festival Fremantle. Photo by Karen Lowe.

Across the oval, local favourites Psychedelic Porn Crumpets are stirring a crowd of their own. “I’m currently suffering from pneumonia,” singer/guitarist Jack McEwan admits, although you wouldn’t have known otherwise. “Apparently you don’t get sick days as a musician, that’s just the way it is.”After a dazzling set from PPC, Dope Lemon continue the feel-good vibes on the main stage, only much slower and a little less captivating. Having said that, singles “Marinade” and “Hey You” pulls the crowd in a casual subconscious sway, even for those at the very back seated in the shade.

Banks performs with dancers at Falls Festival Fremantle. Photo by Karen Lowe.

Complementing Dope Lemon’s performance are #1 Dads, who are regrettably quite forgettable next to Banks and YungBlud. Jillian Rose Banks from Orange County has the grace of Lana Del Rey and the attitude of Grimes, and her audience (mostly female) dancing along like they’re three drinks in at their favourite nightclub. When Dominic Harrison, or Yungblud from Yorkshire storms Stage 3, he attracts the biggest crowd the side stages have ever seen. He struts out in a Siouxsie and the the Banshees t-shirt tucked into a black skirt, which he lifts up and shows his boxer briefs to the crowd frequently. He picks up his microphone stand and throws it across the stage after “I Love You, Will You Marry Me?”, toppling an amp off to the side. He encourages the crowd to chant “Fuck ScoMo!” in his thick British accent, and asks everyone to embrace one another and “have a cuddle, for you never know when you might meet your next lover.” His manic energy is consistent for the entire set, making security nervous during “Anarchist”, “Loner” and “I Think I’m OKAY”, a song for which he collaborated with Machine Gun Kelly and Travis Barker.

YungBlud at Falls Festival Fremantle. Photo by Karen Lowe.

Back on the main stages and Lewis Capaldi is breaking fans hearts with his smooth serenades—and fighting off hecklers. “I’ve only got a few songs left, then I’ll fuck off back to Scotland for you,” he joked with them before popular hits “Hold Me While You Wait” and “Someone You Loved”. “I’ll have you know I’m a huge Matt Corby fan too,” Capaldi mentions, referring to Fremantle’s special guest up next for his only performance of the tour. By the time he came on stage, the sun was starting to set and the festival was positively swarming with party seekers, singing “Brother” so loudly it almost drowns Corby out completely.

Matt Corby at Falls Festival Fremantle. Photo by Karen Lowe.

When the day is done and the night comes out to play, so do Disclosure with their seamless set that whips up one gigantic (and kind of squishy) dance party. Young and veteran festival goers alike got down to hits such as “Latch”, “Talk” and “White Noise” accompanied by an impressive light show and plenty of smoke machines. Keeping the mood light with little to no small talk, brothers Howard and Guy Lawrence go out with a bang, treating the crowd to the hugely popular “You and Me” remix by everybody’s favourite home-grown DJ, Flume.

Disclosure draw a huge crowd at Falls Festival Fremantle. Photo by Karen Lowe.

While Thelma Plum and Sampa The Great show everyone the power of artists of colour left of field, Ashley Frangipane, also known as Halsey, bursts onto the mainstage with an empowering rock anthem about self-acceptance and sexual freedom, “Nightmare”. With one of the biggest songs of last year, Halsey turns heads dressed in a rainbow-coloured short bodice and matching pleated skirt, littered with glitter and butterflies and knee high boots. In the spotlight, she is completely fearless, jumping down off and climbing over the barrier separating stage and crowd during “Colors”. She’s open and sincere about her struggles with success and fame from the past decade, and talks about her gratitude for her all her fans here tonight who have helped her on her journey to becoming a headline act.

Halsey performs the final set of Falls Festival Fremantle 2020. Photo by Karen Lowe.

Sexy and charismatic, Halsey steals the show with her show-girl antics. She covers Post Malone’s “Die for Me”, brings out a chair for an acoustic guitar for “Finally // beautiful stranger”, and licks the lenses of a camera on the big screen during a glass-shattering performance of “Gasoline”. New single “Graveyard” ignites lighters and phone flashlights into the sky, and The Chainsmokers “Closer” has security sweating when she invites everyone to sit up on each other shoulders. As a parting word of wisdom, she tells the crowd to “leave your shitty ex in 2019!” before jumping into “Without Me” as the final song of the festival. 

After a troubling run of the festival this season (organisers cancelled on the third day in Lorne due to fire risk), many artists had the Australian bush fires on their minds. Both YungBlud and Halsey took the time to offer their support during this tragedy, performing separate charity gigs in Melbourne to benefit the Australian Fire Services with other bands for the cause. Even Ezra Koenig of Vampire Weekend, who spoke very little between songs on Saturday night, expressed his condolences. A small gesture from artists, but well received from a conscious crowd. It was just one of the many ways that made Falls Festival Fremantle special this summer, with excellent organisation that made the event go off without a hitch. There is little doubt that those in attendance this year will be looking forward, as will I, to next year.

Huge international acts such as Halsey, Disclosure and Vampire Weekend joined an array of Australian artists over two days in what has become one of the most popular annual music festivals in Western Australia. From power pop to psychedelic rock, Sampa The Great to John Farnham, Falls Festival Fremantle brings something to the table for everybody to enjoy.

Clear skies and a cool ocean breeze make Day 1 the perfect Saturday for a festival. Glitter and sparkles speckle the crowd like confetti, with high fashion in full swing for today’s mixed bag of performances. Bubbles float across the gathering crowd around Stage 1 and 2 and the air is thick with the aroma of market food and cigarette smoke. Early punters are able to catch Triple J’s Unearthed competition winners Death by Denim and ex-Unearthed artist Sly Withers, but it’s not until Adelaide rockers Bad//Dreems take the stage when things really start to heat up. A small circle pit breaks out during popular single “Dumb Ideas”, proving that Aussie fans aren’t really phased about breaking a sweat at the hottest time of day if you’re willing to play some good ole fashioned pub rock and roll.

Baker Boy at Falls Festival Fremantle. Photo by Karen Lowe.

Shortly after comes Young Australian of the Year Danzal Baker and his troupe of dancers and percussionist for Baker Boy. Full of smiles and gratitude, Baker’s set is high energy and well-choreographed, with loud whistles and cheering every time somebody drops to break-dance on stage. Tracks such as “Cool As Hell”, “Cloud 9” and “Marryuna” (a Yolŋu Matha word meaning to dance for fun) have heads bopping left right and centre. Following Baker Boy, Vera Blue takes the stage, her long ginger hair flowing in the wind as she sweeps backwards and forwards in a gorgeous orange mesh two piece. Her angelic voice ripples across Fremantle Oval, overpowering any other noise around her. She pauses during “All the Pretty Girls”, allowing the audience to echo the chorus back to her clear as day, and again during “Lady Powers”, which she dedicates to all the women in attendance today.

Vera Blue dances at Falls Festival Fremantle. Photo by Karen Lowe.

Meanwhile on Stages 3 and 4, Adrian Eagle opens his set with a rendition of Ocean Alley’s “Confidence” that is incredibly, even more relaxing and chill than the original. Jessica Cerro also known as Montaigne follows, a tiny but mighty powerhouse who can easily throw her voice out to the wind. She experiences a bit of audio feedback but doesn’t let it throw her off her game, belting out song after song to a smaller crowd than she deserves. Cerro wraps up her underrated set with a staggering performance of her new single “READY”.

Back to the main stage and John Farnham has drawn the older crowd out to dance. Even before setting a foot on stage, a backdrop of the Whispering Jack cover art already has people buzzing with excitement. Farnham begins with a hype anthem “We Will Rock You” by Queen and ends with AC/DC, appeasing his audience with all the favourites including “That’s Freedom”, “Age of Reason” and “The Voice”, complete with bagpipes and deafening “woah-ohs”. Farnham even indulged a little with a rare rendition of “Sadie the Cleaning Lady”, asking fans to “sing along or I’ll come around to your house.” He has recently received a bit of negative feedback for swearing like a sailor at previous shows, but the crowd seem to lap it up here in Freo, even when he tells everyone they can “piss off, you bastards!”

John Farnham at Falls Festival Fremantle. Photo by Karen Lowe.

All the way from Iceland, indie folk band Of Monsters and Men take things down a notch for their sunset time slot. In spite of Nanna Hilmarsdóttir and Raggi Þórhallsson’s perfectly harmonised vocals, much of the crowd seems to make their way to the side stages where rock duo Holy Holy were captivating festival goers. Montaigne joins them for a surprise Like a Version performance of Lorde’s “Green Light” before homegrown Crooked Colours bounce out in matching white jumpsuits, ready to party. A timely set with bright, multicoloured visuals as their backdrop was the perfect burst of energy that was needed just in time for the best performance of the night from brothers Nick and Sam Littlemore of PNAU.

Bursting onto the stage with “Are you ready Perth?” so loud it makes people jump, live performance vocalists Marques Toliver and Kira Divine ooze confidence as they take the main stage by the reins with “Solid Gold”, draped in reflective gold jackets and fluorescent pink tassels. While Toliver and Divine take centre stage, the Littlemores refrain from speaking and hang towards the back, showcasing a unique stage presence that is unlike most artists. Kicking off with the strongest start of all the performances today, the vibe remained consistent throughout the entire set, with punters with tired feet at the back of the venue standing up for hits such as “Go Bang”, “Changa” and “Chameleon”.

Kira Divine and Marques Toliver perform with PNAU at Falls Festival Fremantle. Photo by Karen Lowe.

A hard act to follow, Peking Duk don’t quite reach the mark in the same way that their predecessors did. Taking to the stage first with “Stranger”, Canberra producers Adam Hyde and Reuben Styles are highly acclaimed with a huge audience and welcomed with open arms. While the excess use of smoke cannons, laser beams and streamers gets the crowd going, a much more grounded performance is happening on the other side of the venue with electropop Aussies based in Europe, Parcels. This gives weary fans the choice to opt out for a groovier, less intense vibe. Closing the side stages for the day to a small but appreciative audience is Sydney trio Wave Racer, bubbling in their own unique style of electro-synth house music.

Vampire Weekend at Falls Festival Fremantle. Photo by Karen Lowe.

Last but not least, New York Indie rockers Vampire Weekend take the main stage and serenade Fremantle with a mix of new and old tracks spanning more than a decade. Opening with “Sympathy” from their 2019 album Father of the Bride, lead vocalist Ezra Koenig, dressed in light blue denim cotton threads and a matching jacket seems cheerful and relaxed despite the mass exodus from the crowd following Peking Duk. Crowd favourites like “Cape Cod Kwassa Kwassa”, “Horchata”, “Diane Young”, “Cousins”, “A-Punk” and “Oxford Comma” have fans clapping and slow dancing on the side lines. An unexpected cover of SBTRKT’s “New Dorp. New York” is a treat for all.

Ultimately the band’s set favours new music over their older, more recognisable hits. Noticeably missing were from 2010’s album Contra is “White Sky”, “Holiday” and “Giving Up the Gun”, however new popular tracks such as “This Life”, “Harmony Hall” and ending the night with a catchy rendition of “Sunflower” feels like the first breath of fresh air since the band’s last visit down under. As a part of the finale, two giant inflatable globes are tossed into the crowd, bouncing across the top of the crowd as Day 1 at Falls Festival Fremantle comes to an end just before midnight. A wonderful day for all, and a huge hype for those returning tomorrow. 5/5 Stars.

Fans hold up their mobile phones during Peking Duk at Falls Festival Fremantle. Photo by Karen Lowe.

What is described by the band in SMH as a “sonic journey … that is representative of each member’s experience over the past two years”, this album is the perfect follow-up to debut Internal in 2016. It is ethereal sounding, almost inter-galactic. It has themes of love, longing and ambition, but also an underlining darkness, delivered in a way that can be danced or relaxed to.

Vocalist Ben Woolner admits struggling with writer’s block and anxiety while writing this album, but is now celebrated in a headline “Starlight” tour across the country. Accompanied by two Unearthed artists Boo Seeka (a dynamic duo from Newcastle) and Eilish Gilligan (a solo indie-pop queen from Melbourne), it’s the perfect homage to SAFIA’s triple J roots which have blossomed the dreamy, psychedelic hypnotic journey that is Story’s Start or End.

So, the record is great. But are they any good live? Absolutely.

It’s hard to fathom the levels of SAFIA’s music when there are only three people on stage. Each are forced to carry their own; there is nothing to hide behind, not even smoke and lasers and a mesmerising animated backdrop (it does add to the show) can mask the talent that each musician must have to deliver such quality. Woolner is completely in his element in front of a crowd, whether he’s dancing with the front row or singing to the roof through a megaphone. His angelic range is showcased without flaw, only drowned out by the crowd twice during Listen to Soul, Listen to Blues and Embracing Me. He humbly thanked the audience at every interval.

A mini cover of Britney Spears Oops… I Did it Again with the piano and 95 minutes of seamless, flowing melodies and strange, eerie undertones gives fans both old and new a taste of what is currently Australia’s most original and underrated three-piece. With almost every song from the new album appears on the setlist, SAFIA are keeping their shows fresh with their same unique one-of-a-kind genre that captivates anyone who is exposed to it.

Combining orchestra and song, guest vocalists Laura Mvula (UK) and José James (USA) bring depth and soul to Gershwin’s timeless music,‘reimagined’ with a classical edge and brought to life with WASO, embarking the audience on a dazzling multi-genre musical journey.

At near capacity, Perth Concert Hall is both cozy and inviting; a welcoming round of applause for Miller as he enters stage right sets the tone. WASO are comfortable here, and the venue compliments all 75 musicians that make up the orchestra well. Catfish Row, the racy first movement from Gershwin’s famous opera Porgy and Bess, introduces the night, and continues with the remaining four movements in order, span across the performance like classical intervals between the jazz fusion Mvula and James bring to the stage. Although the set is consistently interchangeable, it still comes together and flows; a credit to Miller’s arrangement and conduction.

Gracing the stage first in a strapless white, side split dress and hair pulled back in a high bun, Laura Mvula provides Broadway glam vibes for Fascinating Rhythm, Someone to Watch Over Me and I Got Rhythm. Following in a dashing blue tuxedo, José James projects But Not For Me and prolific Embraceable You with a honeyed jazz glaze that generated some warmth throughout the concert hall on this cold, rainy night in the west coast capital.

“We seem to have brought the weather with us,” Miller joked before intermission, then asked the audience to “imagine A Foggy Day in London” before launching into the melancholic song under the same title. Post interval brought Mvula back to the stage in a metallic gold gown for Kiss My Feet and Show Me Love, while James donned a white tuxedo jacket, treating the audience to a special number exclusively with Miller on drums and percussion for ‘S Wonderful.

Individually, both vocalists boast extraordinary singing talent, but are superior together for one final duet They Can’t Take That Away From Me. Mvula fumbles only once, ironically over the lyric “I love it when you sing off-key”, earning a slight chuckle throughout the hall. James is simply superb, his powerful soulful voice deep enough to carry out onto the street. A stunning duet for the encore Summertime is a fan favourite and highlight for the evening, leaving another lasting impression from WASO at the grand Perth Concert Hall. 4/5 Stars

While many bands who make the long journey often boast their efforts to include Perth on tour, Foo Fighters have shone some light as to why the west coast was the first to see the Concrete and Gold World Tour in Australia.

“Last time we [closed] were here in Perth, I was so sick,” vocalist and guitarist Dave Grohl explains to a full house at Perth Oval. “I had to go home and when I returned, I got sick from the plane… I got the shits. So, if you thought we weren’t so good that night, now you know why.”

Seven years later and Grohl is determined to redeem himself. And it’s not difficult to be impressed with the effortless composure only a long-standing rock band could pull off. Together, the Foo Fighters projected enough chemistry that they might as well been jamming amongst themselves in one of their basements, let alone before of an entire stadium.

Perth fans were first in the country to hear Run, the first single off the new album Concrete and Gold (2017). Bursting onto stage with his long hair astray, Rock and Roll Jesus and his faithful disciples (”We’ve been a band for 22 years!”)  treated fans to some extended versions of old favourites, such as The Pretender, Learn to Fly, Best of You and Monkey Wrench.

Grohl’s frontman hilarity was constant. He bounced off drummer Taylor Hawkins and bassist Nate Mendel commentary like they’re family, maintaining his Mr Nice Guy reputation while the jokes kept coming. At one point, Hawkins and Grohl causally traded drums and microphone to perform a high energy cover of Under Pressure, much to the crowd’s delight. “If Freddie Mercury had a surfboard, he’d be the drummer for Foo Fighters.”

Charisma aside, the stability and professionalism of this band is astounding. Foo Fighters don’t need to encourage their audience to have fun; they simply just have fun themselves and all the rest follows. The natural progression of the show makes it easy to get swept up in the high intensity drum solos and friendly banter, and after almost 3 hours of hit after hit, Foo Fighters showed no sign of slowing as the crowd continued to rage.

During the encore, Grohl took to the very end of the stage’s runway and performed a song dedicated to the Beaconsfield miners, showcasing a mind-blowing level of virtuosity with just an acoustic guitar. “Damn, that song is hard to play,” he admitted after the applause. Maybe so, but you sir made it look easy.

Sending off the night with Everlong, it’s obvious that Foo Fighters are a band who genuinely love their fans. When a rogue member of the crowd found himself gate-crashing the final moments of the set, Grohl was exceptionally cool about it, preventing security from kicking him out. “Nice to meet you Jevin with a J. Now get the fuck off my stage!”

Foo Fighters and Weezer continue to make their way around the country with Weezer throughout January and February. 

Warming the crowd with their folky, acoustic vibes were The Ahern Brothers; two singer-songwriters embarking on their first ever national tour as a roots artist. After releasing their debut album only last year, the Melbourne duo (who aren’t actually related) won a US writing competition that gave them the opportunity to write music together. With blissful melodies that imitate an aura of summer, Steve Grady and Josh Rennie-Hynes compliment each other’s soft, harmonising vocals. Songs like “Call, My Lover” and “Comb That River” tell stories about love and loss, innocence and longing over sombre and lingering strums. Despite most of the early birds keeping their distance from the stage, The Ahern Bros were well received by this middle-aged crowd.

When it was time for the main event, a doubled crowd welcomed Tex, Don and Charlie to a lantern-lit stage, kicking the introductory show off with “Redheads” and the first single off the new album “A Man in Conflict with Nature”. The brash lyrics and brooding undertones of the single earned itself a few laughs, however the audience remained stiff for a majority of the performance. “Love you Charlie!” the shy voice of an elderly woman calls across at a quiet moment, soon followed by a chant for the esteemed guitarist/pianist. Perkins received no such attention, unlike Walker who heard a few fans mentioned him. It might have been a blow for the lead vocalist’s ego, quickly swept under stage banter, but didn’t go unnoticed by some fans who wondered out loud if the heckling had bothered him during intermission.

It’s clear that each musician in this project shares the stage in mutual admiration of one another, which is exactly why TDC works so well after 12 years of side projects and other distractions. The setlist works around vocal and instrumental rotation, allowing Perkins the opportunity to relax on his swivel bar stool while Owen took control of the microphone, or Walker swapping out his keyboard for an acoustic guitar. The combined experience and talented shared across each artist is legendary, explaining the decent turnout on a cold night in the middle of the working week. Together they are poets performing anthems for the working class, reflecting on a wild youth that yearned the life experience inspiring a new album, all the while showcasing material that is relatable to an older, faithful audience.

An encore made way for three final songs, including finale “Postcard From Elvis” from 1993 album Sad But True; a crowd pleaser and undoubted TDC favourite judging from the band’s cheerful expressions. A relaxing evening of soothing country and blues, and a trip down memory lane for the fans that have been following Perkins, Walker and Owen since the beginning. A little less enjoyable for younger generations who missed out on faster, louder heyday of these iconic national treasures.

Setlist

Redheads A Man in Conflict with Nature Danielle What I Am Just Your Luck Paychecks Here’s as Good as Anywhere One Step Ahead of the Blues Louise Whenever it Snows The Hitcher Harry was a Bad Bugger Dead Dog Boogie Fake That Emotion Sitting in a Bar

What I Done to Her Plan B Postcard From Elvis

The turn out is significant; many people here tonight have been fans since that first celebrated LP. Together they are ready to relive their younger post-hardcore years featuring a double set with all the old favourites and a few cheeky newer songs from their 2015 album Dark Horses. “We’re a band that was around before Facebook. We’re used to printing flyers and leaving them at cafés… I sent you all a friend request on MySpace,” Elora Danan vocalist George Green jokes before reminiscing on two artist’s history. “We used to do a lot of shows together back in the day, and then one day we got a message from [The Getaway Plan] asking us to do this show with them, so thanks very much for coming down.” For an artist that have only just started performing again for the first time in eight years, Elora Danan certainly have a loyal fan base. Lost songs such as “Check Your Smile,” “Door, Up, Elevator“ and closing track “Drink Together, Die Alone“ were sung back at them with fists pumps and a minuscule circle pit. Green took advantage of the new stage setup and leaped across the barricade, sharing his microphone with the crowd, undoubtedly making the most out of the revival of a lost local legend.

Elora Danan took their role as support artist to the next level and were spotted hanging around near side of stage in anticipation to welcome The Getaway Plan back to the Rosemount. Without any spoken introduction, the four-piece from Melbourne ripped into their opening track “The Reckoning“ with a familiar energy that rounds up the crowd to the front of the stage. Front-man Matt Wright is reserved, hiding behind his signature long and light hair, murmuring somewhat shyly to his audience between tracks. Stealing the show with their enthusiasm; long time guitarist Clint Ellis and drummer of recent years Dan Maioboth put on impressive performances. While Wright preferred to appear calm and cool, every rippling guitar solo and enigmatic drum break was accompanied by huge ear-to-ear smiles.

Collectively the band stood out the most during their second set, highlighting tracks from Other Rooms, Other Voices in a sing-along that echoed across the entire venue. “Sick dicks!” says Wright after witnessing someone launch themselves off the stage barrier and carried off into the crowd. While fast paced, heavy guitar tracks like “Streetlight“, “Sleep Spindles“ and “Shadows“ kept the crowd moving, slower paced and vocal based tracks such as “New Medicine“ were diminished under an overpowering bass. Finishing on a high, “When The City Meets The Sea“ had most of the crowd nodding their heads and shouting for more, while final track “Transmission“ acted perfectly as a fond farewell. Despite the times, these two artists are the best value for money across the Australian alternative music scene. A very happy reunion on all accounts.

Fans of Meshuggah might already know the kind of influence the band has leveraged in the extreme underground music genre, as they are credited as one the first bands to introduce “djent” as a sub-genre of progressive metal based on the particular style used by guitarist Fredrik Thordendal. This influence has been further established by other metal artists such as Misha Mansoor (Periphery) and British band Monuments, whom incorporate similar rhythmic complexities at the hands of Meshuggah from the early 2000s. The band since have continued to pave the way for progressive metal, inspiring newer artists with a carefully articulated style and consequently influencing music of their own genre into the sound that it is today.

For others who are unfamiliar, Meshuggah might sound more or less like a droning wall of sound. But beneath the “noise” lies a structure of clever tempos and precision time signatures that are used to break the mould of typical metal music, and insinuates a progressive modulation that is both self-assured and unpredictable. The type of sound that rallies the masses into constant disorganised trashing and frequent outbreaks in circle pits. It’s okay to not quite understand the niche music Meshuggah pioneered, but it cannot be discredited. How could anybody not be impressed by Thordendal‘s 8-string guitar wielding or the systematic double-kicks from drummer Tomas Haake? It’s a wonder either of them remember how to play songs with such intense structure.

Perth fans missed out on national support Thy Art Is Murder and were instead acquainted with locals Make Way For Man, whom warmed the crowd adequately before the headliner began their set ahead of schedule. Announcing themselves with a long-winded and eerie introduction, Meshuggah appeared on stage before a gigantic backdrop featuring artwork from The Violent Sleep Of Reason (2016) before launching into the first track off the same album; Clockworks.

For 90 minutes fans were treated to an extensive collection of songs cataloguing from the past three decades, including “Do Not Look Down”, “Dancers” to a “Discordant System” and fan-favourite “Bleed”, prompting a chant of the band’s name at the conclusion of the song. The set was accompanied by an erratic (but fitting) light show, featuring bold, epileptic flashes and bright green laser beams, and many punters were marvelled at the polyrhythmic abilities of each musician that gave an overall sound crushing performance.

“Thank you for having us back,” vocalist Jens Kidman called out with his thick Swede accent. Asides this one gesture, the artist to audience engagement was limited. Often front barrier fanatics would stretch their arms across the gap, hoping to grasp Kidman‘s hand while he edged around the foot of the stage. But no such thing happened, and fans were left with a strictly musical performance with no small talk and no encore. A lack of stage diving and relaxed security were a little disappointing for a gig of this calibre, but an older crowd is likely to explain this. In general the concert was an interesting insight into the heavy metal scene, but perhaps one this reviewer will steer clear from in the future now that metal masterminds Meshuggah have been crossed off the list.

With both Brisbane and Melbourne shows already sold out, the reception welcoming Flume back to the west coast was unsurprisingly huge. Those who missed him at Laneway Festival earlier in the year now had the chance to see him in his first headline show since 2013.

Earlier in the day organisers from Perth Arena issued a Facebook statement warning that intoxicated persons would be refused entry. However that did very little to stop the dozens of sticky, alcoholic puddles that littered the standing floor and general boisterous behaviour of an overwhelmingly young crowd. There were many stumbles and rumbles, and little patience for associated acts Vince Staples and SOPHIE, despite their similar techno dance-pop sound. When Streten did eventually take the stage — dressed in white shorts and a long sleeve button up shirt — a deafening roar announcing his arrival was sure to capture everybody’s attention.

Perth Arena is no small stage and Flume is just one guy. Being an electronic artist, it’s understandable that Streten has no room to flex outside behind his deck, meaning anybody who wanted to catch a good glimpse at him would have to strain their neck and look at the live screens on either side of the stage. Hearing him speak was a rarity too; the occasional “Hey Perth!” throughout the entire 90 minute set with little more said in between. The lack of charisma was made up for in a spectacular light show. Three neon cubes stacked high above the stage lit up individually at different intervals, and the transparent cubes that made up Streten’s deck were shimmery and festive.

An unaltered setlist since the release of Skin earlier this year left no room for older tracks. Mega single Drop The Game featuring Chet Faker was dropped from the bill, and only Holdin’ On from the self titled debut album was included. Glitter confetti showered the dance floor during Say It before You & Me (Disclosure cover remixed), Pika and Tiny Cities as the encore.

For a man of his calibre, Flume satisfied the majority of his audience. The audience that came to dance their Friday night away on a sticky floor to some hot tunes. He understands this because his tour works around weekends, but his show doesn’t give much for fans to walk away with. Flume has excellent, award winning music but an average live performance to accompany it.

Whilst there were no noticeable flaws in the production, there was a lack of individuality with the sound compared to any other DJ set in a really big nightclub. At almost $100 a ticket, it’s doubtful to think that anyone who doesn’t appreciate new age electronica would pay so much for no instruments and a whole lot of smoke and lasers. Nonetheless, you cannot argue with sold out stadiums.

Unfortunately, these last few shows have been without support artist Clint Boge (The Butterfly Effect) but were accompanied by Melbourne’s Rival Fire and self-proclaimed “brutal pop” musicians Osaka Punch from Brisbane.

Osaka Punch kicked off the night so loudly they could be heard half way down South Terrace. Upon arriving it was clear that anyone without earplugs (including myself) was purposely keeping distance between themselves and the deafening speakers. Aside from the slightly excessive volume, it was hard not give Osaka your attention, particularly during their last track Electric Jam On Boogie; an all-inclusive rock-out instrumental finale that had everybody’s head nodding.

Around 8:30pm Rival Fire took the stage with lots of grins and good vibes to share. The course of the tour has obviously sparked a fond friendship between the lads as their set was full of little pranks set by DLC. For one, the backdrop during their set displayed a convincing band logo that read Robbie Barnes and the Farnsy Three, poking fun at vocalist Rob and his relation to famous vocalist John Farnham. “Last night he (Kim Benzie) gave me a literal baggie of dicks,” laughs Farnham during another prank that heard the sound effect of a woman moaning over the speakers. Jokes aside, Rival Fire performed tracks mostly off their new EP Riot, and took the time to thank the tour’s credentials and the fans for supporting Australian alternative rock music at the end of their set.

When the lights dimmed anyone could have expected Farnsy’s The Voice to introduce DLC to the stage, prompting a short in-crowd singalong right before jumping straight into the first track from 2010 album This Is The Warning. Following Here We Divide was fan favourite of the night, In Plain Sight which stirred the modest crowd into a small mosh. As a five-man show, it’s easy to imagine a lot of noise coming from the Brisbanites, and there was. So much so that vocalist Benzie was often drowned out over the soaring guitars and predominant drum kick. However, Benzie’s sweet soprano vocals endured, belting out title track The Burning Number mid-set and oldie-but-goodie Disconnect And Apply from the self-titled EP; the musical debut that’s now almost a decade old.

“Who saw us back then, at the Rosemount gig?” Benzie’s reminisces back to 2007 when the band first toured Perth. “You were there? You weren’t there?” he converses with the most engaged fans near the front of the stage. “Well fuck you then!” he jokes with one guy shaking his head, proceeding then to talk about the band’s progress and the gratitude they have for their long-time fans. One highlight of the evening was Luke William’s minute-long drum solo not long before the encore, showcasing a real drumming talent while the rest of the band recuperated. Closing with popular tracks Tremors and The Mile from the EP that paved their musical careers, Dead Letter Circus are genuine performers dedicated to keeping the flame of alternative rock alive and well in Australia today.

Friday night gigs usually draw in an electric crowd into venues and the Astor was no exception. Dozens of teenagers, adults and parents littered the theatre (a significantly smaller crowd than previous nights performance, Mayday Parade), eager for the heavy guitars and head thrashing they were about to endure. Young Melbourne hardcore act Drown This City opened the night, introducing themselves with a long-winded drum solo with female vocalist Alex Reade killing it, presenting a refreshing new sound to the genre so over-populated with men. Drown This City likely need to support a couple more international artists and release an album with more than five songs before they start turning heads, but regardless well suited for tonight’s post-hardcore theme.

Also supporting FIR on their first headline tour down-under are Brisbanites The Brave. A five-piece metal band, The Brave lacked a certain confidence in their performance that previous act DTC so easily displayed. It’s possible this might be drawn down to nerves, having never played in front of a Perth crowd before. Or maybe the lack of enthusiasm from the young crowd, unfamiliar with their music, that put the damper on their performance. Despite a lazy audience, credit to vocalist Nathan Toussaint for keeping his focus, determined to belt out each lyric passionately with a clear admiration for the music their band have created.

Before long, FIR were taking the stage with a rumble of excitement that tore through the theatre. Beginning with “God, If You’re Above”, “Rolling Stone” and “Raised by Wolves”, the previously suppressed crowd come to life and modest mosh appears. Radke, the driving force behind the band assembled from inside prison, is one of the most animated vocalists I’ve had the pleasure of watching. He performs with a stage presence that mimics the rhythm of each song in a display of excellent showmanship. He is loud, outrageous and often crude in a way that make teenage girls squeal. Whether you have reservations about him or not, he is undeniably destined to be a front-man in an emo, black-clad scene band.

“Don’t you just hate it when your friends steal from you?” Radke said at one point, earning a few laughs from fans who understood what he meant. “Oh, I’m just joking, those guys are still my friends,” he eluded, stirring the crowd with more vague ideas of his relationship with ex-band Escape The Fate. Although comical in theory, his vocal performance of early ETF songs were actually below the mark. After personally seeing Craig Mabbitt (current ETF vocalist) sing the same songs with less breaths, louder volume and a much stronger consistency, Radke can joke all he likes but Mabbitt is still the better vocalist live. Still, the crowd echoes through covers of Guillotine IV and Situations, almost crowning them favourites of the night next to pop-infused singles Bad Girls Club and Fashionably Late.

As the set came close to ending, the band revealed a banner on the back-drop that read “You Are All Assh*les”, for crowd-finishing Just Like You (First line: “I am aware that I am an asshole / I don’t really care about all of that though”). FIR might like to brag about being assh*les, but three fans that bore a sign asking ‘Can we meet Falling In Reverse?’ earned themselves a free pass backstage when one of the band’s techs came out and escorted them. It just goes to show: ask and you shall receive! Very cool on the band’s behalf.

Setlist

God, If You’re Above Rolling Stone Raised By Wolves Sexy Drug Tragic Magic Guillotine IV (The Final Chapter) I’m Not a Vampire Bad Girls Club Not Good Enough for Truth In Cliché (Escape The Fate cover) Fashionably Late Chemical Prisoner Situations (Escape The Fate cover) The Drug In Me Is You Alone Just Like You

Ten months later, five capital cities have the opportunity to see Iero return, featuring live band FRANK IERO and the PATIENCE on a world tour anticipating the release of new album Parachutes. Accompanying them from New York, singer songwriter Walter Schreifels kicks off the tour at the Astor Theatre with his solo set, but his cool, Beck-esque appeal is lost to a crowd of mostly teenagers who sat dotted around the lounge, waiting for the headline. Soon all were standing for Iero, Nestor, bassist Alex Grippo and drummer Matt Olsson with a surge of girlish screams and whistles. “Oh my god Evan, you look so cute tonight!” one young girl cries, prompting a wave and hello from the bass guitarist. “Thank you so much to everyone for coming out, I’ve been wanting to get this band out for a long time,” Iero introduces the set looking sleek in a black leather jacket and a white guitar with “EVOL” written on it slung over his shoulder. Almost instantly the vibe changed, buzzing excited as the band ripped into Tragician first, followed by All I Want Is Nothing, Blood Infections and the entirety of the 2014 debut album Stomachaches in mixed track order.

No fan of punk music could walk away from this performance disappointed. There was value from every angle; the exceptional drumming from Olsson that was impossible to ignore, Grippo’s gripping bass-line that overpowered in some songs, the charming sex appeal from Iero whom often stood at his microphone stand smiling coyly as fans shouted words of adoration. “Remember, the only thing you need to be afraid of is indifference,” his words of advice coming right after the slow jam with a great name, She’s the Prettiest Girl at the Party, and She Can Prove it With a Solid Right Hook. At times the frontman’s vocals fell short, sometimes shouting unnecessarily and repetitively, but was made up for with genuine stage presence and a real sense of appreciation for long-time fans following him in this new musical pursuit. Highlights include the childish but sweet lyrics of Best Friends Forever (But Not Now) written by Iero’s young daughter and Ramones cover Rockaway Beach, which fired up the crowd one last time during their closing number. Judging by the general excited chatter in the foyer post-show, FRANK IERO and the PATIENCE have impressed fans with a lengthy set for the second time this year. Parachutes is set for release Oct 28.

Setlist for 07/10/16:

Tragician All I Want Is Nothing Blood Infections Neverenders Weighted She’s the Prettiest Girl at the Party, and She Can Prove it With a Solid Right Hook Guilttripping This Song Is A Curse Best Friends Forever (But Not Now) Remedy Smoke Rings Stitches Stage 4 Fear of Trying I’m a Mess Joyriding Where Do We Belong? Anywhere But Here Rockaway Beach (Ramones Cover)

Aside from performing at Vans Warped Tour in 2014, Cute have largely been inactive in most recent years. “This is our first time playing together in two years, we didn’t know if anyone would show,” a nervous but excited vocalist Shaant Hacikyan announces after opening the stage with Newport Living. It’s also the first time the band have performed in Perth, but with 300-strong in attendance, the band seemed happily impressed.

Hacikyan, who once hid his face behind a long side-swept fringe, holds a confident and charismatic stage presence. He engages aptly with the crowd; reaching out to fans to hold their hands, standing lean and tall the foot of his microphone and tells jokes, earning himself a few laughs. While other members Jeff Czum, Tom Falcone and new bassist Seth Van Dusen left Hacikyan to do the talking, their smiles spoke for themselves. As musicians, they are well rehearsed and comfortable with themselves on stage, which is pleasantly surprisingly considering their absence. Everybody might be a few years older now, but their sound and delivery rocks just as well as it did ten years ago.

From beginning to end Cute performed the entire track listing off their first album in order, including singles There’s A Class For This, Curse of Curves and fan-favourite Moan. There were some minor technicalities early on in the set, which is reasonable considering the circumstances, but overall they showcased their bouncy pop-punk image better than they’d carried themselves at the time of their initial record release.

Finishing their set with popular encores The Lock Down Denial and Practice Makes Perfect, the show wrapped on a high but not before taking the time to meet fans for photographs and autographs beside the bar some minutes later. The sincerity alone from this band is enough to make anybody’s night an enjoyable blast of the emo past.

Setlist for 18/08/16:

Newport Living There’s A Class For This Finger Twist & Split Risque Sweat The Battle Before The Battle Sweats You The Fourth Drink Instinct Sweet Talk 101 The Curse of Curves I Put The ‘Metro’ in Metronome Lyrical Lies Moan Teasing To Please

The Lock Down Denial Practice Makes Perfect