Browse 73026 Reviews & Comments (Page 3042)

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 Andy J Ryan Tim Rogers & Tex Perkins - Annandale Hotel, 15 September 2006 Australian rock icons, Tim Rogers and Tex Perkins, join forces touring the country, playing songs and telling tales from their new album My Better Half.† Loene Carmen once played Sally Anne Huckstep in Blue Murder; Carmen's mournful blues-tinged songs may not get her onto 60 Minutes, but will ensure her musical career suffers a far less sinister fate than her onscreen alter ego. Rebecca Barnard was complaining that touring with the T'n'T boys was indeed hard work. She had gotten her first pimple in 20 years from all the late nights and carousing, plus the boys both tried to crack onto her every night. It was fair to say most of the sold-out audience were saving their attention for the headline act. The crowd resembled and sounded like rowdy post-work drinkers rather than music connoisseurs. Barnard valiantly played on, pleasantly surprising with I'm Empty from her former band Rebecca's Empire and wishing us well with a knowing, "you'll like them, they are real funny". So to T'n'T, Tim Rogers and Tex Perkins. The stage itself was decked out like some suburban swinger's pad, well at least the bathroom of one. A bar better stocked than the airport branch of Downtown Duty Free to one side (with obliging barmaid), and the rest of the stage decorated with a coat rack, cast iron bath, mirror, sink, toothbrushes, a toilet, T'n'T embossed bath towels, candles and flowers. The pair waltzed out with as much decorum as they could muster, wrapped in embroidered initialled bathrobes. "Welcome to our bathroom." The kinship, respect and comfortable rapport between monsieurs Perkins and Rogers was something to behold. The two cheeky buggers would scarcely believe their luck, playing with a symphony orchestra at their fourth gig, and a world tour, an album and a sold-out national tour all coming within a matter of months. The made-of-beer idea that grew legs and just kept on walking. It is as if that on any given Friday night we could find the pair of them knocking back a few drinks, belting out a few songs, having a few laughs, a bit of a yarn and getting a bit off their chests, whether the 400 of us were there or not. Tim and Tex traded songs like they would shouts. Unspoken respect and a fair whack of mutual admiration seeped through. While Tex has forged his way through his various musical incarnations with an impeccable swagger and bravado, he lays himself open with Half of Nothing and Here I Am and a stark version of the Beasts' Can't Say No. Our Tim wears his heart a bit up from the cuff. The sting of separation is all too evident in You Should See Her Now and Hate This City, before a couple of You Am I numbers, Weeds, and a vivid version of Heavy Heart. The two playing together was a display of mateship at its finest, singing their problems through, with each offering the other a comforting harmony, a shoulder to cry on and to strum with. There was of course mischief in bundles, from their co-written songs Everyone Hates You When You're Popular to the lads putting their life stories to song with Semi-Auto-Bio-Duo -"Cause my girlfriend was a stripper, but that ain't why I quit her". The boys have an almost encyclopaedic knowledge of music to draw upon; in one outro they challenged each other to sing the song's harmony firstly in Eagles style, then Bee Gees style, then "ummm ...Bread? Who else are the heroes of modern harmony? Well, apart from us." A heckler in the crowd was dealt with cuttingly: "There's someone in the crowd having their first ever drink tonight." The unlucky chap was wearing a Kiss t-shirt, which prompted the pair to mime each of the Kiss members' eye make-up, which then segued nicely into their lyrical analysis of the work of Paul Stanley - "who really is bald and gay" - via their cover of Come on and Love Me. Their cover of Rod Stewart's Tonight's the Night was introduced with "you people will be the jury; we propose that this is the dirtiest most scurrilous song, sung by rock's most debauched fellow". With the evidence tendered in the lyrics "spread your wings and let me come inside" and "don't say a word my virgin child, just let your inhibitions run wild", the fair and true people gathered didn't need much more convincing. We were humbly thanked for our attendance, with Tim suggesting "if I had to come and watch two guys with acoustic guitars I would want to stab myself in the eye". But these weren't merely two guys strumming the nylon; they are an almost perfect pairing of personalities. Returning for an encore, Tim graciously remarked "You've been so good to us; now we want to give something back, an education. Take it away Professor Tex..." Education proved an understatement, as what followed was a 20-odd minute bawdy foray into the origins, techniques, facts and everything you ever needed to know about... cunnilingus. Tex Perkins & Tim Rogers (T’n’T) / Rebecca Barnard / Loene Carmen Mar 20, 2023
 Andy J Ryan Okkervil River - @Newtown, 7 September 2006 The Black Sheep Boys flowed down the River of Broken Dreams, to bring their full band back to Australia.† The Model School offers up a dash of rambling folk rock. The musical outlet for songwriter Brendan Wixted, his assembled band played steadfast and easily agreeable music which caused a few murmurs around the politely assembled and largely seated crowd. Jack Ladder is a slightly awkward, somewhat ungainly lad. Standing stooped and solo at the microphone, he is imposing in height and voice with a deep, rich and at times jolting vocal style. While normally an astute performer, Ladder started nervously - the 'seat-offish' crowd may have thrown him a bit. A fluffed attempt at audience interaction led to a lyrical stumble or two, and you couldn't help feeling for the lad. He topically gave his track Two Clocks the new name ,Two Crocs as a tribute to Steve Irwin, and then won everyone over with a tale about an ex-girlfriend being an escort for Ian Thorpe. (Apparently he was "not really into it" - though forget you just read that, as it wasn't supposed to leave the room.) Revealing he and the Okkervil River guys were planning to do a Tim Hardin tribute act, he slipped in a Hardin cover and finished strongly with Black Hole Blues, then the title track of his album played and was warmly appreciated. Okkervil River walks on to an adoring reception. Having visited Australia for the first time in February, such was the response they have returned in full-band mode. Singer and main songwriter Will Sheff has no shortage of intensity, his ramshackle delivery forgiven by the sheer quality of the songs: introspective to the point of anguished, yet cuttingly powerful. Sheff almost cathartically puts so much of himself into the songs, at times so intensely involved in the narratives he emerges from them rather than just finishes singing them. The rawness and human frailty alluded to in his songs is reflected in Sheff's personality. At one point he asked for "a scream from way back down the rear of the hall right up to the front" and when we duly respond he replied, "thank you, that's all we came here for, the rest of the night is just the cuddles part of the evening". The band complements the songs with some wonderfully intuitive playing. The various members are capable multi-instrumentalists, with mandolin and trumpets adding unexpected but fitting flourishes. Drummer Travis Nelsen is a perfect jovial foil to singer Sheff's intensity. The band introduces tracks from their new Australian-only tour EP and also delve into their (unfortunately largely unavailable in Australia) back catalogue. The up-tempo numbers, including For Real, Black from last year's Black Sheep Boy album and Westfall from 2002's Don't Fall in Love With Everyone You See, are fairly rollicking. Their own Tim Hardin cover, Black Sheep Boy, is particularly haunting, the vocals stretched to breaking point and the quieter moments respectfully left so. The set ends with the band genuinely thankful for our attendance, leaving the crowd suspended in compelling anticipation of an encore. Sheff emerges with just an acoustic guitar and a surprisingly sparse version of Sloop John B that morphs into punk rock pace as other band members return to the stage to reclaim their posts. A pent-up finale and the band leaves for the last time with Sheff chanting a scream of "I'm so sorry, I'm so sorry, I'm so sorry"... for what, we could never be sure, as not a single person in the audience had any reason to have any sorrows about the beguilingly brilliant performance. Okkervil River / The Model School Mar 20, 2023
 Andy J Ryan Radio Birdman - Centrury Theatre, 29 July 2006 One of Australia's pre-eminent acts Radio Birdman take leave of their legacy and tour their new album Zeno Beach across the country before taking on the world.† Radio Birdman gigs that have been scattered over the last decade have been more about the sense of occasion, the shows branded and played more as reunions and comebacks than gigs in their own right. This time the band is touring the country with their first new studio album in over 25 years, and it could be said for a portion of the crowd that it has also been that long since they have been to a gig. The BellRays as main support set the bar high, their explosion of rock & soul and the immense power of their singer Lisa Kekaula filled the stage, a daunting act to follow. The red and black Birdman logo loomed large over the stage, the venue fairly bustling as the band arrived to a heroic welcome. Launching straight into Zeno Beach's opening track We've Come so Far the tone of the evening was set. The band were here to stand up and be counted for their new material, as guitarist Deniz Tek would later announce - "the classic hits Birdman has been consigned to the past". Whilst the core original members remain, the injection and influence of newest member Russel Hopkinson on drums to the band's sound is monstrous. His fierce drumming propelled the band along like some overbearing PE teacher overseeing errant students, urging them to keep up with his sheer insistence. The band's interplay of guitars between Tek and Chris Masuak still lift them above any of the punk rock mire the band was lumbered with. The infusion of surf music, a unique part of the band's sound still resonates. The spirited keyboard lines of Pip Doyle make for changes of pace within the set, with Heyday and Days Like April and the album's title track Zeno Beach almost jaunty alongside the riff dominated tracks Remorseless and Subterfuge. With front man Rob Younger, the band and their songs will always have an impact. His commanding presence and (slightly diminished) howl bringing menace and melody in equal measures. As strongly as the new material stood throughout the set, the biggest response was for the older songs, with Do the Pop!, Alone in the Endzone and Hand of Law really shaking things up. The set drew to a close with a thumping Anglo Girl Desire and the new caustically rocking Locked Up which sits equally amidst the band's more historically dated high points. The crowd bayed for more and were soon treated to a fiery rendition of Aloha Steve and Danno before a teasing If You Say Please, almost as a precursor as to what was to come, Radio Birdman's call to arms New Race, its chant "Yeah Hup!" resonating throughout the room as the Metro seemed to rise as one. The remaining tracks from the new album were played and lapped up, the crowd still buzzing to the end. In what was a showcase for the new material, Radio Birdman showed they are still a musical force. While many boundaries have been pushed and stretched since their first blazing musical forays the band still strike a blow, even if it's impact is not as widely felt as the first time around. Radio Birdman / The Bellrays Mar 20, 2023
 Andy J Ryan Mogwai - Metro Theatre, 20 July 2006 With their latest album Mr Beast bringing Mogwai back to Australia, they played the Metro in Sydney en-route to perform at Splendour in the Grass.† My Disco! do some really bad, nasty things to music. The guitar is held high and close, enhancing each berating strum, the drumming is robotic in its precision and some deep dark rumbling emanates from the bass. The overall effect is tight and jaggedly intense. The band is challenging, unquestioningly talented with members each drawing their sounds from a broad musical base. My Disco! seem destined for devotees as intense as their sound. The Metro is well and truly crowded for the start of Mogwai. The band casually walks onstage, all with matching Rangers jackets, and utter the first of few words for the evening "Hi we're Mogwai, from Glasgow". It doesn't take long to become entwined within the grip of Mogwai's music. The rather apt Yes! I Am A Long Way From Home gets things rolling before the slow burning pairing of newer tracks Friend of the Night and Travel is Dangerous. Discarding their jackets seemed to be the unspoken cue for the band to really get cracking, forging ahead with almost comparatively compact versions of Ithica and Tracy either side of a tottering Ratts of the Capital. The set flows from the utterly beautiful to intense and piercing and at times powerfully brutal - Mogwai Fear Satan should have a health warning issued before it is played, such is the jolt it delivers at its crescendo. Ending with a bounding Glasgow Mega Snake there was almost a palpable drawing of breath from the crowd, gracious for the moment's reprieve as the band exited the stage. After some boisterous cheering, no doubt to be heard over the ringing in most folks ears, Mogwai returned for the ear melting coupling of You Don't know Jesus and left us for the last time with an extended squall loosely derived from We're No Here. It is indeed a testament to the music that it can physically overcome a person, the soaring volumes attained combined with the (perhaps over zealously used) strobe lighting did prove to be too much for some, but those who braved the (Mr) beast that is a Mogwai set could not help but be caught up in the amazing assortment of moods and noise. Mogwai / My Disco! Mar 20, 2023
 Andy J Ryan The Ground Components EP Launch - Hopetoun Hotel 15 July 2006 After earlier subjecting myself to some sporting fixtures decided by excruciatingly poor refereeing/umpiring, a bit of disillusionment had crept into my evening, but it and any voluntary control I had over my body to keep still was soon left at the door. The Kids From Russia were creating a rightly passionate din that seemed impossible to come from only the three chaps onstage. Music that explodes out at you and is delivered with such ferocity and action they make the stage look small and the crowd swell with movement. The Ground Components had to make an onstage announcement to locate their lost drummer but once found and onstage the band got straight down to business. What is instantly apparent is the cohesion within the band, they are all pulling in the same direction, each equally sharing the passion in the music they are playing. The band draws from a diverse background of musical stock ranging from soul, R&B, country and literal pop songs but the sound is not easily definable. On face value the band can be enjoyed for their simple and unescapable rhythm gushing through their songs, many of which could easily hold up against the best of the 1960s Northern Soul stompers getting feet sliding in dingy clubs the world over. Bass player Indra weaves beat loaded bass-lines through the songs as if he was on a loom, Dale sits at keyboard as if to forcefully address his notes to the song as opposed to just flouncing above it. The two brothers Simon on drums and singer/guitarist Joe out front couldn’t be more opposite – Simon a stoic presence holding it all together down back behind the kit whilst Joe only constrained by the walls of the venue and the length of his microphone cord as he bounds about the stage. With the Kids from Russia’s guitarist taking over the six-stringed duties for the set, Joe was even further unburdened and belted about the stage like a fast forwarded yoga video, a multitude of camera lenses fixed on his every move. The set touched on their two previous EPs and a defining Dylan cover ‘Its Alright Ma…”. Newer tracks from their upcoming album An Eye for a tooth, A tooth for a pick revealed a more urban flavour muddied into the mix, with a greater emphasis of lyrical rhythm and flow and I dare say a bit more hard hitting in their content. The new single they were here to launch is a solid display of a band evolving and maturing, while they are still fine purveyors of some shakin’ soul action they soon may become as quotable as they are enjoyable. Ground Components / Kids from Russia Mar 20, 2023
 Andy J Ryan Limited Express (Has Gone) - Annandale Hotel, 13 July 2006 With their sugary sweet and incredibly infectious sound, the uber energetic Limited Express (Has Gone) left us sweaty and satisfied.† Opening this three-peat of three-pieces tonight were Turnpike. The band has always endeavoured to make music that wasn't comfortable, the drums were an incessant thudding and the bass throbbed in a way that made your stomach lining flap. Even the CSI team would struggle to find even trace of melody in the vocals or guitar work, and it is indeed an intense listen. Whilst Turnpike didn't get any of the crowd's bodies moving, but not a soul left the room and in a rarity, all refrained from talking, so let's call it a draw. Death Mattel began with drum beats pounding out that would be more at home at a goth nightclub, but they don't stay in any particular musical style for any length of time. The band plays precise blasts of songs, somewhat politically charged - but with added cheekiness, muddled with some chilled searing wit and a dash of bitterness. Livewire front man Matt Downey draws all the crowds gaze whilst the raucous noise behind ensues a unique sounding, albeit brief set. Returning for their third tour of Australia, Limited Express (Has Gone) was fresh from their appearance at the Soobiesta Festival in Brisbane. Broadly speaking, Japanese acts that make it to our country never seem of the slow strumming nor balladeering variety, but more likely fast paced acts playing in time signatures more towards the punk realm of music. Limited Express (Has Gone) were no exception, energetic is an utter understatement, a humble greeting offered before blazing into a fantastically manic set, playing a number of newer songs which were veering towards "cute". The band was just infectious, within a few songs the Annandale was filled with unbridled happiness. Singer Yukari spent a hefty chunk of the set manically laughing whilst guitarist JJ played with unquestioned commitment, veering all over the stage and jumping atop the bar like a Coyote Ugly dancer whilst drummer Josh was left at the back to hold it all together. One couldn't help but be caught up in it all, the abundant energy more than filled the gaps in the broken English. The last song of their blitzing set came all too soon and the crowd united in baying for more. The guitarist gamely returned, genuinely panting for breath from his guitar armed exertions, struggling to form a sentence he eventually gesticulated a hand signal to show we were in for 'one more'. A secret show for the next day was revealed and offered with a petite "Please come, we are waiting for you" before the band mustered one last burst and have gone leaving us all beaming and grinning. Limited Express (has gone?) / Turnpike / Death Mattel Mar 20, 2023
 Andy J Ryan The Sleepy Jackson - Paddington Town Hall, 23 June 2006 A grand stately venue was the scene for the launch of an epic album. The Sleepy Jackson launched Personality (One was a Spider, One was a Bird) at the Paddington Town Hall.† Whilst I didn't quite get there for Luke Blonde, I had the sneaking suspicion I'd be seeing him a bit later regardless. Old Man River, a man, his voice and guitar, a cellist and...a monkey. The first thing one would think of when you see a monkey-suited figure is, what are they advertising? But thankfully, it wasn't a mere gimmick to distract from the fact that there was a deficiency in musical talent to cover up, quite the opposite in fact. So to the Sleepy Jackson, in Mr Steele (who is never quite sure how he is spelling his first name these days...?) Australia have their own musical genius, an enigma wrapped in a puzzle - perhaps; an enigma wrapped in a fine sharp suit - definitely. Not for purely cosmetic/stylistic reasons mind you, more as a statement of standards - an outward showing of the expected level of perfection to be obtained. Really, this man has so much more going on in his head than he could ever hope to create on humble instruments. Tonight launching their new album Personality (One was a Spider, One was a Bird), it was only the second show The Sleepy Jackson had played in Australia in the past two years, a humble acknowledgement of the fact that they were still glad to have any fans left. Whilst the significance of the venue may have passed some by, it previously had been the scene of one of Australia's, if not the wider musical world's most influential bands sharing the stage nearly three decades prior. For it was the Paddington Town Hall where Radio Birdman and The Saints played a double bill in 1977, forced upon them as all other venues in town would not let them play, and they were left to make their own scene. In much the same way, it was quite a fitting venue for the Sleepy Jackson, who seemingly operate on the periphery of the established music industry of today, so brimming with ideas they could not be contained by a regulation set in a typical venue. Indeed many of the songs played, including Bed of Nails, Good Dancers and God Lead Your Soul contain enough tangents to fill most bands' albums, let alone operate within the one piece of music. The height and scale of the ceilings and the ornate columns nicely fitted the grandness of the songs aired from the new album. The new guitarist (who resembles Spod, but with pants) quite admirably provided soaring backing vocals, the music driven along by an intriguing mixture of percussion. Even their most musically accessible moment, the gloriously rhythmic Vampire Racecourse, cost the drummer three drum sticks trying to keep up with its frantic canter, and I'm buggered if I or anyone else except Mr Steele could comprehend the story told within. But then again, one of the world's most potently memorable songs had the baffling lyric "there's a bustle in your hedgerow". As an entity, Sleepy Jackson are hardly a pillar of stability, with Luke hiring and firing three bands in the past three years but the current line-up do incredible justice to the songs. See them while you can. The Sleepy Jackson / Old Man River / Luke Blond Mar 20, 2023
 Andy J Ryan Louis XIV - Rebel Rebel, 17 June 2006 They were banned from playing in the south of America, major retailers refused to stock their album, they came (ooh err!), they played, and they made a dirty great noise.† Riding into town with a more than sordid reputation preceding them, with the band being banned from playing certain American states, not to mention the furore over their latest album cover, it was almost a shock to see the band almost humbly arrive on stage with little fanfare. This was a band after all who had claimed that the influence of seeing them live had caused the normally asexual Morrissey to go off and write an album jam-packed with songs about sex after seeing them in LA. Their initial appearance didn't exactly scream out sex gods either, with one guitarist looking as though his religious beliefs would prevent him from using an electrical appliance, and the mullet on singer Jason Hill, well Fraser Gehrig would be proud of that one. However when they launch into their blistering number God Killed the Queen with its overt opening of "If you want to take my body tonight/Then you got to be somebody tonight/Use me just to make your body feel right..." one may be moved to yell out "I want your baby" or throw their knickers onstage. Yesiree at their best Louis are just your grand old rock band from bygone eras where the credo was more about sex & drugs & rock 'n' roll and less about fashion and fringes. Slade on Viagra, but with better spelling. Whilst they may not have connected entirely with the audience, they were at face value thoroughly entertaining, fun even. They even showed their musical dexterity by slipping in the keyboard fuelled power ballad All the Little Pieces, which saw hands to chests and lighters out swaying along. It was left for their breakthrough single Finding out True Love is Blind as their last hurrah, Louis XIV left us in a bit of a lather, a bit curious, and somewhat less innocent than when we had walked in. Upholding the rock traditions of old, they even had someone appointed solely to find girls for them after the show. Classy. Louis XIV Mar 20, 2023
 Andy J Ryan Come Together Day Two – Luna Park, 11 June 2006 At its third instalment, the previously purely all Australian festival opened the borders. Three international acts featured on the hard rock and emo focussed Saturday and Trans Am chiming in late in the afternoon Sunday. Snowman appeared early on the red stage, and t’was near cold enough to expect some more outside too. Their angled bouncy sounds led well into The Exploders, who opened with a sprightly cover of the Easybeats’ Sorry and continued with a tuff wholesome set of bare unaffected rock. The band’s unassuming attitude allowed them to deliver a potent set on a day where time was scarce. They also provided two examples of follicle frivolity, as it seems beards are the new black within the Oz-rock community. Those registering for a future of inbox information from Coke got themselves an invite to an “Up Close” live set and Q&A session with You Am I. With a new album under their hats, their first since 2002 and widely considered a strong return to form, the TV cameras and Timmy’s appearance in a black leather jacket will equate this set as the bands ’06 comeback special. Similarly side-tracked from their core business, You Am I put the distractions of recent times to the background and removed any doubt of their power as a live band. Their strength, a tightness as a band both as a musical driving force behind Tim Rogers’ magnetism as a front man and as a platform for his worldly themed but locally tied lyrics. A barrage of new songs, with eight being aired amidst lashings of spit and sweat, the set ending with Tim shirtlessly delving into the crowd like a scruffier Iggy Pop. The band returned to speak to the crowd, somewhat more civilly than the previous between song baiting, which reinforced the aura the band have even amongst the younger generation here today, for whom they are the real Australian Idols. Back to the action and the Devoted Few were really starting to fire, their sweeping electro tinged epics could barely be restrained to half-an-hour, their singer as excitable as the kids outside on the rides. Bit By Bats showed that a little time spent accessorising can yield great results with the fetching matching cherry red boots, scarf and guitar of singer Owen. It has previously been noted that standing still at a Bit By Bats show is “not only sacrilege but virtually impossible” and they sure walked the walk and danced the dance in an impressively urgent set. A quick spin on the Tango Train and then was struck by the imposingly tall, ever grinning vocalist of Trans Am. Using all manner of vocal effects, samples and keyboards dancing between incessant drumming and biting guitar, pulling poses that saw legs spread to yoga class standard, the only accented band of the day sure lifted proceedings a notch. More bands, more beards. The Mess Hall have, if possible, become even tighter after European and American tours and beat out an almighty din in the main room whilst the mysteriously masked Damn Arms spelled out some troublesome noise at the Purple Sneakers stage. The Panics, somewhat more delicate with deep rich layered melodies and another classic Oz-rock cover, the Church’s Under the Milky Way. Gerling were buzzing from the outset, whilst re-embracing their punkish guitar laden beginnings, they effortlessly get more people bouncing than Berocca, the room was brimming and the hands sailed upwards. The energy dissipated as Ratcat began with a slow burning instrumental. Although Simon Day was surprisingly dextrous, their buzz-saw pop fell somewhat flat, missing that touch of mischief that took them to the cusp of worldwide greatness. Magic Dirt reverted to their early feedback drenched days, playing Ice and He-Man off their chartbusting ’94 EP Life in Danger. I now wish to join the nearby apartment owners in trying to close down “The Ranger” ride, cripes. Augie March, fittingly high on the bill with a splendidly received new album and sell out shows across the country. An atypical festival band, they were almost apologetic for their less rollicking, somewhat more substantial songs. certainly no shouts of “How you doin’ Sydney?” but instead “Half of you bastards probably don’t know who we are, but that’s okay, it is a pleasure to play for you ladies and gentlemen” along with involved narratives as to the origins and meanings of their songs. Finishing with the crowd voted choice of an acoustic version of There is no such place introduced with “I know what that song ‘I Like your old stuff better than your new stuff’ is all about now, and that is something I’ll have to deal with...”. So it was left for the penders of that very tune, Regurgitator to bring it all to a close and they were labouring away whilst I called stumps and sought a heater and a seat without a safety harness. Come Together 2006 Mar 20, 2023
 André Thibodeau Avec ma femme, Chantal. Au Cabaret de mon chum, Denis Jean Leloup Mar 20, 2023
 André Thibodeau Courtesy tickets from my employer, Niveau Rouge Section 120 Rangée CC Siège 5 The Rolling Stones / Anik Jean Mar 20, 2023
 André Thibodeau With my wife Chantal Peter Gabriel / Jennie Abrahamson & Linnea Olsson Mar 20, 2023
 André Thibodeau With my wife Chantal Arcade Fire / Boukman Eksperyans Mar 20, 2023
 André Thibodeau Régulier - Regular Sec 330, Rangée D, Siège 1-2 CAD $69.50 x 2 Arcade Fire / Boukman Eksperyans Mar 20, 2023
 Acey68 Winter 2023 Tour- St. Petersburg, Fl. 3/18/23 Notes: Rob wrote the setlist. Set 1: 1. 32 Things 2. Jazz Cigarette 3. Seat Of My Pants> 4. Sensory Deprivation Bank 5. West L.A. Fadeaway> (Grateful Dead cover) 6. Tubing The River Styx 7. The Pit Set 2: 8. Skitchin' Buffalo 9. So Long 10. Do It Again (Steely Dan cover) 11. Captain America> 12. ATL> 13. Timmy Tucker Encore: 14. Space Truckin' (Deep Purple cover) moe. Mar 19, 2023
 Bradyv71 This concert was canceled Ozzy Osbourne / Alice In Chains Mar 19, 2023
 Oracleeventservicesinc We go to this show every year just to see the huge led stages! Life Is Beautiful Sept , 16 2022 Mar 19, 2023
 Oracleeventservicesinc Best Show Of The Year! We Love You Derrick D-Nice Rodgers 2019 Exclusive Motown Exclusive Tina Majors Produced By Derrick Rodgers & Oracle Event Services Inc Las Vegas Mar 19, 2023
 John Difford Friday: Briefly saw Taking Back Sunday, saw all of Cloud Nothings, small bits of Alktaline Trio and Portugal. The Man, and was very pleasently surprised by Bleachers. Would enjoy seeing Bleachers again even though they are not my kind of music. The sax does it for me. MCR was the tale of the day. Exactly what I wanted them to be, they absolutely killed it and exuded great music and positive energy. The crowd really sucked though. So many assholes. Saturday: Saw Joy Formidable, Front Bottoms, Yungblud, Gogol Bordello, Sunny Day Real Estate, and some of Misfits and Yellowcard (that's what I remember at least). Joy Formidable were solid, Front Bottoms are good as usual, Yungblud was fully not my thing, Gogol was the best of the day (great energy and passion), the rest were fine-slightly unpleasant. Sunday: Saw Less than Jake, briefly Coolio (RIP), Pvris, Jimmy Eat World, Alice Glass, Sleater-Kinney, Yeah Yeah Yeahs, NIN. (That's what I remember at least). Alice Glass, Sleater, and Yeah Yeahs were the standouts on this day. So good to see Alice doing well, and I liked hearing some Crystal Castles without the douchebag being involved. Sleater is great live, though Janet was missed. Yeah Yeahs aren't my favorite on record but are very good live. The new songs play well in this setting. Overall, I would say this festival isn't built for me. Riotfest of a decade ago was more for someone of my taste, but it is always a fun and exhausting experience Riot Fest 2022 Mar 19, 2023
 John Difford Going into this show, I had no idea this was going to be an album playthrough. Those aren't typically my favorite (unless I only like a specific album from an artist), but I don't feel this detracted too much from this performance. Was right in front to of the stage, and had a lot of fun. The moshing was a bit much for those of us that were on the near outside of the pit, I was in protect mode for my beloved GF. I feel they put on a better performance a few months earlier in support of PUP. I feel their play of Wasted Days wasn't quite hitting on all cylindors. I get somewhat bad vibes from them on a personal level. Cloud Nothings / ONO Mar 19, 2023