Browse 73033 Reviews & Comments (Page 3033)

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 Andy J Ryan Peabody – Spectrum, 7 October 2007 The new four-pronged Peabody takes to the Spectrum stage to launch their new EP ‘The Devil For Sympathy’. The Golden Age were the last minute lead-in replacements for this evening after The Instant were a last minute scratching. They, along with the headliners, have also gone through somewhat of a recent rebirth and line-up change of their own. They play a sneering, swirling mix of heady guitars and attain some masterfully noisy moments of pure rawk. For those after a ready reference point think Sonic (in their) Youth with the same intricate and intensive guitar work and the similarly shared lad/lass vocals. Peabody has gradually settled into their new quartet incarnation. The pub-rock frivolity has been replaced with a new fierceness. In simple terms they’ve evolved from the Friday night punchy good-time band to develop a new level of simmering seriousness – you now need your ears as well as your beers. The music and songs are denser, deeper and delivered straight from the devil too if the new single is to be believed. They have also delved a bit deeper into ’epic’ territory with a number of songs and have a lash at some harmonies to sweeten the deal too. Previously synonyms with the blaring jukebox and beery bluster of the top floor of the legendary Newtown late-night dive the Townie, they now reflect some of the more adult, poignant and meaningful conversations held there later in the piece. Everybody has to grow up at some stage and Peabody has seemed to have reached a musical maturity. The stupid boys and their abundance of alcohol still rear their head and there are still the cheeky oblique references and smart-arse lyrics. Bruno is still the effusive focal point but on a whole Peabody come across have struck a new grandness and could be posed for bigger things with their impending album Prospero. Peabody / The Golden Age Apr 06, 2023
 Andy J Ryan Stereo Total - York Theatre 12 September 2007 The setting for this special performance in a lecture theatre gave it a somewhat restrained educational sheen. However it was partially fitting considering the two members of Stereo Total are so exceedingly well versed in the ways of love, life and linguistics – so much so we were often given the choice of four or five languages in which they could sing particular songs. The way the audience were seated in particularly civil, brightly-lit auditorium seating didn’t really reconcile with the fact that Stereo Total’s music is endlessly danceable. The lack of a proper stage and a large empty gap of floor also created a bit of an audience/artist stand off and chair dancing was the order of the day til some brave souls finally breached the dance floor void. Basically the band is one of great contrasting clashes. The French Francoise is almost comically rigid and curt while Berliner Brezel is an effervescently manic eternal-teen. Their music - concocted largely from a hot-pink keyboard/sampler, drums and a most quirky box-guitar- is broadly-speaking, joyous and bounding Euro-tinged Electro-pop. Despite the dreadful image that may evoke, even those that are lactose intolerant could enjoy it as it is not at all cheesy. The pair share a mutual and deep-seated respect and fondness for pop music ranging from a sassy cover of Salt N Pepper’s ‘Push It’ to your more classical Serge Gainsbourgh-esque romantic balladeering. They have some immensely silly moments including the dubiously saucy offering of “Let’s go to a Holiday Inn/and I will show you something” or the simply dinky ‘I love you, Ono’ but the fact they are delivered with such lashings of good spirit and infectious fun make it easily forgivable. Stereo Total manage to safely tread the fine line between catchy and disposable pop music, while their lyrics would never really be considered heavy or deep, the songs sure ain’t no throwaway forgettable flavour of the week numbers either. Ironically the bounding finale of (I Hate) Everyone in the discotech signalled the unleashing of the pent-up crowd into a heaving heap on the dance floor surrounding the duo for a smiling satiated send off. Stereo Total Apr 06, 2023
 Andy J Ryan The Buzzcocks Century Theatre - September 9th 2007 Initially the crowd were respectfully distant and reserved in their appreciation, understandable really; it had been thirty years since the band first blazed onto the scene. Here standing before us was one of the major driving forces of punk music and the instigators of the do-it yourself ethos, they were worthy of some dues. But the strength of the band and the reason for their deserved legacy are the songs. While the snarling ferocity in their delivery may have been toned down over time, the themes within the songs still ring true. Nearly everyone present, whether barely legal or the wrong side of 50, would have surely fallen in love with someone (they shouldn’t have), questioned at some point what on earth they were going to do with their life, and well I’m sure they’ve had an orgasm or two too (and I suspect, quite liked it). The Buzzcocks have not at all been merely trading on past glories; they come brandishing their latest album Flat Pack Philosophy, their fifth since reforming in 1989. The band are still questioning the way of the world, but instead of kicking against a world they are yet to, or not wanting to, be a part of, they are more objective and reflective. The regretted love is still present with Wish I Never Loved You, the stomping Sell You Everything and the album’s title track question the money and product focussed world we now occupy. The crowd soon loosened both their voices and inhibitions, many people who were probably old enough to know better venturing to the front of stage to join a spirited, if not overly physical mosh-pit. The true timelessness of the Buzzcocks’ most notable moments were proved, with the songs both delivered and sung along to with the same passion and relevance some three decades after they were written. The band’s second ever gig would shape the minds and next musical generation of their home town of Manchester. While I’m not holding much hope for the emergence of a world-changing music scene in Sydney in 2010, with all its protagonists similarly in attendance at the Century Theatre on September the 9th, I sure know there would have been some great old records pulled out across homes in Sydney that night, some dusty guitars may have been strummed in rudimentary chords, and perhaps a leather jacket or two were dug out from a space bag. And hopefully there was a harmony in one or two heads. The Buzzcocks Apr 06, 2023
 Andy J Ryan Powderfinger & Silverchair – Acer Arena, 9 September 2007 The Across the Great Divide tour rolls into Sydney as two of Australia’s biggest bands combine for a slew of stadium shows. The entree for this evening was Youth Group providing an almost medley-esque burl through some of their larger sounding songs. They are no strangers to the big stage these days and even had the crowd swaying along to their breakthrough cover of ‘Forever Young’. Just because you have a stadium full of fans at your disposal doesn’t mean you have to use them at every given opportunity Mr Johns. We – as in the city of Sydney – were thanked about fifty odd-times, asked to give it up another dozen, instructed how to clap another handful of instances and most peculiarly asked to “make some noise so you make me feel like I am famous”. The band covered the broad spectrum of their career from the tense, naive power of ‘Israel’s Son’ as a three piece to fleshed out brooding sparse rock brackets with an additional keyboard stage left and broad electric washes from Paul Mac driving from behind. An almost solo acoustic spot was granted for Open fire (Ana’s song) contrasted with a singlet-clad Ben Gillies led crunch through ‘I’m a freak’. The new stuff sure expands into the spatial surrounds of the stadium. ‘Straight Lines’ sees a glowing Pean of mobile phone screens raised as a modern update to the cigarette lighter tribute and ‘If you Keep Losing Sleep’ whimsically careened the set into even greater heights. Powderfinger on the other hand filled the vast space not with faux accented platitudes but good ole fashioned guitar lines, and plenty of them. That is not to imply that the band have nothing of note to say, they most certainly do – and always have – it is just done in a more astute and effacing manner. This whole tour had as one of its main aims to encourage awareness and action on reconciliation and Indigenous issues. It is baffling to think then to think someone in the crowd thought a response to the line ‘A black man’s lying dead’ would not be ‘whoooooo, yeah’. To give benefit of the doubt, it may’ve merely been an exclamation acknowledging the band’s particularly astute song writing and stance making as Powderfinger for al their honourable outspokenness really are a well-honed and intuitively entertaining band. The songs rattle and roll and lurch upwards into great memorable choruses that lift even the less potent sentiments into instantly poignant moments. The sheer scale and breadth of the Across the Great divide tour is almost a milestone that these two bands are currently the two biggest bands in Australia today, sharing nine number one albums between them. What does having that sort of power enable you to do? Why call up oz-rock luminary Jimmy Barnes to come up and sing The Who’s ‘Substitute’ with you for an all star-jam finale, that’s what. Powderfinger / Silverchair / Youth Group Apr 06, 2023
 Andy J Ryan Casiotone for the Painfully Alone, Clue to Kalo, Anthony Rochester, Spectrum August 23rd 2007 Unfortunately a missed train meant that I jolly well missed part of Mr Rochester opening proceedings. Anthony is an utterly affable chap, just sporting a spiffing guitar and his invisible electrically provided backing band. The tunes were bright tales of awkwardness, worldly observations and tales delivered endearingly and oh so pleasantly, interspersed with pensive shuffling and not quite punchy banter between songs. Clue to Kalo were a musical menagerie, songs played out in between a music instrument swap-meet. In their brisk set the band members variously used a piano accordion, a harmonica, all manner of guitars - both acoustic and electric, a vibraphone, a keyboard and numerous other musical trinkets, not to mention liberal doses of hand-claps. Almost like Architecture in Helsinki, but with a stricter recruitment policy. Apologetically offering that they were from Adelaide, the band sure won some new fans, the crowd buoyantly smiled along, nodding serenely and quietly impressed. Then it was to Owen Ashworth, the chap who bills himself as Casiotone for the Painfully Alone. Alone was one thing he was not this evening, with the few gaps in the crowd readily filled by the time he commenced. Unlike many bands (and for that matter occasional overly exuberant early morning punters) who have graced the stage at Spectrum, this was a set delivered without any fanfare, hype or nods towards fashion. After a few minutes tinkering, Ashworth set about his business. A surprisingly tall feller, Ashworth comes across softly spoken and diminutive as he delivers his narratives hunched over and fiercely concentrating on his assorted electronic devices. The set largely featured songs from the latest Casiotone album “Etiquette”. It is his most expansive sounding album released thus far, with a wide array of instruments used in its recording, the songs still radiated live with just the basic rhythms and melodies Ashworth’s gadgets provided. Ashworth’s voice, a slightly world wearied drawl nestles above the simple instrumentation, with nothing further needed, for these are the tales of everyday disappointments and have no need for sugar coating. Each song a separate little story played out, his characters finding themselves in unremarkable, but relatible situations such as in New Year’s Kiss, which was delivered with a particularly morose poignancy. Mid way through the set Ashworth was joined on stage by guest vocalist and “Etiquette” collaborator Jenn Herbison. While another personality on stage may have threatened to dominate proceedings, she remained distantly respectful of the songs, taking her spot on stage as if an obedient choir girl. Her comparatively cheery voice lightened the tone of the set with Hobby Hobby and an almost joyous Scattered Pearls, a curt handshake her reward as she left the stage. Whilst Ashworth admits to being “The world’s biggest Smiths fan” it is not all bleak and sombre, there are many moments of great beauty and even humour, one wag in the crowd yelling out “I love your knob twiddling”. Smiles seem to be the most common accessory amongst the audience. We are even treated to an encore as after finishing his set as Ashworth “Felt stupid just standing around back there”, an intriguing cover of Paul Simon’s “Graceland” popped up and we had witnessed rare and lovely evening indeed. Casiotone For The Painfully Alone / Clue to Kalo / Anthony Rochester Apr 06, 2023
 Andy J Ryan Candle Records Farewell Concert, Metro Theatre 18 August 2007 Tonight is a sad occasion, the 2007 Candle Concert is the last ever to be held in Sydney. The usually buoyant and joyous annual celebration of Candle Records artists is somewhat of a wake, mourning the closing of the label after 13 years. Candle Records itself has been the ultimate in boutique labels. More of a co-op than a business, the Candle Records family has nurtured the careers of some of Australia’s best bands and foremost lyricists The label largely running on the labour of love and enthusiasm of founder Chris Crouch, release artists chosen because of the love of the music as opposed to their potential commercial appeal. If the label was to have a credo it would be: Give me your cheery, your quirky, your huddled musicians yearning to play pop. The whimsical lyricists of your teeming shore... Candle has a roster predominately penning guitar pop, with the integrity of the lyrics as the centre of the songs. The label has clocked up more than 100 releases since 1994; their acts may not have huge chart-busting followings, but passionately devoted ones. Tonight’s concert showcases seven Candle acts, each playing small bite-sized sets. There’s some pretty damn-fine and intricate music behind the lyrics too - from the grand soaring designs of Mid State Orange to the dreamy swirling strains of Small Knives. Best reflecting the song writing talents on show are the ever-honest observations of Rob Clarkson, who is back to solo singer-songwriter mode after a stint with the band Ruck Rover. Similarly Anthony Atkinson, the former singer-songwriter of The Mabels, now with his band The Running Mates, adding to the formidable, but largely under-rated legacy of his former band. Jodi Phillis and Trish Young took The Clouds to the very brink of something big in the mid 90s, their perfectly suited voices oozing out of the speakers like stereophonic honey. In the more stripped back setting of their current incarnation as The Girls from the Clouds, the wondrous working of harmonies and vocal melodies really come to the fore. A delight that is over too soon and ending with more effusive thanks for Chris and the label. The Lucksmiths are just a gem of a band, there’s a sprightly shimmering quality to everything they do. Endlessly charming and cheery, their songs are infused and trimmed with quirk, sunny melodies and bounce. They soon get everyone smiling, nodding and joyously tapping along and are even joined on stage by Russell Crowe (actually Darren Hanlon) on banjo. It is left to Gympie boy-done good Darren Hanlon to finish the show. Starting with a plaintive tune played out on ukulele he was soon joined by long time collaborator Bree van Dyke on drums and occasional glockenspiel bursts. Hanlon’s songs are almost anecdotal bursts sent to music, whether wry, wizened observations or just a pun or word play that’s been picked-up and run with. If happiness is just a chemical, then there were some big doses administered as an array of gests joined the stage. It wouldn’t be a Candle Concert without the all-star jam at the end, and musicians en-massed joined the stage for a ramshackle, but with much better haircuts than the original, version of ‘We are the World’. It was the end of an era for Candle Records, but the music will go on. Darren Hanlon / The Lucksmiths / The Girls From the Clouds / Anthony Atkinson & The Running Mates / Rob Clarkson Apr 06, 2023
 Paul Cranley Not sure of date, '67-'70 My first rock concert Chicago Apr 06, 2023
 Thekilburnoracle Rescheduled gig from 8th April 2020 Bauhaus / Hope (DE) Apr 05, 2023
 Idm1 This was 1 of 2 extra dates added as wembley and Birmingham had sold out. The ticket was automatically issued. David Bowie / The English Beat / Icehouse Apr 05, 2023
 MoeMan57 I don’t see a concert listed which I know I attended at Cincinnati Gardens - Hall & Oates in (I believe) January 1985. Cincinnati Gardens Apr 05, 2023
 Izzie Mack Had a p terrible experience before playing the show - we only found out at 6.56pm that the venue wanted us there for 7pm with a full backline (including an entire kit). We’d been emailing them for days/weeks before the show to get more info. Then when we got there we got talked down to a LOT. RBCF were super nice in the end but that initial experience really sullied (no pun intended) my experience of the show. Rolling Blackout Coastal Fever / Fern Sully Apr 05, 2023
 Izzie Mack In the Mourning heckin SLAP. In The Mourning / Fern Sully / Kicksie Apr 05, 2023
 Izzie Mack First gig playing with new band, Fern Sully. Sweet and Lowdown / Stuck Out Here / Fern Sully Apr 05, 2023
 Izzie Mack I liked all the crowd engagement. It was a nice gig for the bad mood I was in. Cheekface / Sad Park Apr 05, 2023
 KanTexCali Feel free to use the playlist I created from this concert. Just please be respectful and do not add or delete any songs from my playlist. Enjoy! https://open.spotify.com/playlist/3UbkzxUQzjZX0r2KIvvvj9?si=MXeN6GGUQ6uxIm15IVjXHw&pt=94824ee054a1272515432c19c69f0f84 Doobie Brothers Apr 05, 2023
 Anni Sandover Great show Darryl Braithwaite Apr 05, 2023
 zetetic https://web.archive.org/web/20010306183055fw_/http://www.greenant.com/planet_maya.html Planet Maya Apr 05, 2023
 CakeBuddy Such an amazing show Flobots Apr 04, 2023
 Louise Halsey Hosted by Mike B. DJ CD Apr 03, 2023
 JabsJams B Wring Red Letter. We ard Sac boys. Dif band in seattle Red Letter Apr 03, 2023