FESTIVAL REVIEW: Big Day Out, Homebush, Sydney (23/1/10)

How Many Bands Can You Fit In One Day?
Saturday 23rd January 2010
Sydney Showgrounds, Homebush
　

It was a milestone for the Big Day Out today as they celebrated their 100th show, and what a ride it’s been! I’ve been attending Big Day Out’s from the tender age of 12 and they have never disappointed, offering up a plentiful and diverse range of acts that make it very hard to choose from. Sticking to the Main Stage this year my first act of the day was Sydney’s very own Bluejuice.

This is one hard working band who’ve been treading the musical boards for years so it was good to see them make it to Main Stage status. They drew a large and very young crowd ready to shake their thang to Stav and Jake’s catchy vocals. They’re a fun band with a good sense of humour – donning yellow jump suits with black racing stripes, not so wise a choice for the almost 40 degree heat – and the music is just as entertaining. Bouncing beats, rocking rhythms and a huge inflatable lizard side of stage made the perfect opening act for my day.

Karnivool and Mastodon followed, both with slightly smaller crowds than Bluejuice, and both hammering out the harder rock style. Unfortunately both failed to impress. Karnivool replicated the same epic dramatic sound they have always had which is kinda cool, but I don’t see any great advances on their behalf as far as their new stuff goes. And Mastodon looked and sounded the part with their heavy metal musings but nothing stand out – metal music by numbers comes to mind.

Kasabian were next to the plate and the huge crowd gathered showed how far this band has come. I’ve recently returned from London and they have definitely trumped Oasis in the Brit-rock stakes, producing a mighty fine piece of work in their latest slab West Ryder Pauper Lunatic Asylum. The world has gone literally crazy for their ever-growing sound and the set they delivered was nothing short of perfect. Fire, Shoot The Runner, The Underdog and various others were played with talent and fervour and were met with ecstatic sing-a-long’s and dancing. I have no doubt if Kasabian ever return to the Big Day Out circus they will be placed much higher on the line-up ladder.

Biggest Main Stage crowd of the day is a tall title to hold, but the next 2 acts won it hands down. Hilltop Hoods drew an amazing surge of people all ready to throw their hands in the air and witness the MC stylings of the boys from Adelaide. I am not a huge fan of Australian hip-hop but these guys sure know how to get down and work a crowd. Old favourites Hard Road, Nosebleed Section and Clown Prince rang like Australia Day anthems throughout the stadium with the crowd knowing every word. Newer releases Chase That Feeling and Still Standing were greeted with the same enthusiasm, and the MC talents of the boys were highlighted by one of the longest freestyle runs I have ever seen.

Dizzee Rascal represented the hip-hop/grime genre from across the pond and drew even more people into the bowl. Everyone loves a rascal and Dizzee certainly lives up to his name, holding the crowd in the palm of his hand with old and new material including Fix Up Look Sharp, Sound Of The Police, the horribly main stream Holiday, and of course Bonkers. I’m not sure if you’ve ever seen a stadium full of people going bonkers but I can tell you it’s a sight to behold. A great set from the boy from London and an awesome afternoon crowd pleaser.

Sticking to the London theme Lily Allen shuffled on next and provided some light and girlie relief to the afternoon. I like Lily – she’s so cute and fun and entertaining in her personality, however her music leaves a little to be desired. Her lyrics are sweet and personal to the point of prying, but she lacks substance and ability. Her voice is great and the set was fun, but I can’t help feeling she’s a bit of a show pony, wooing the crowd with her beauty and girl power without producing anything that credible. Fun to watch regardless.

Award for best band to clear a stadium goes to The Mars Volta as almost two thirds of the crowd evacuated once their screaming chords kicked in. The dedicated few that stayed to watch were oblivious and went bezerk as the band ploughed through their long and winding list of hits. A friend of mine once described them as being guilty of ‘musical masturbation’ and I tend to agree to a point, but there’s no denying these guys have a wealth of talent that should be admired and their set today showcased those talents well. Their dramatic lyrics, crescendos and time changes make for a rock’n’roll ride like no other and their sound boomed about the stadium nicely.

Australian headliner for the day was Powderfinger and I think we all agree that you can’t get much more Aussie than The Finger (except for maybe The Spoon). Of course everyone came to see them and of course everyone knew all the words and of course we all waited for stalwart favourites My Happiness, (Baby I’ve Got You) On My Mind, These Days and Love Your Way. However I can’t help feeling The Finger have become a little run-of-the-mill as far as festival acts go. They were good, and it was nice to see them, but their sets don’t seem to be as exciting as they used to be. Their new material was so-so and the rest were just the same as usual.

Then it was time for the big guns, the boys from Devon, Muse. I am ashamed to say that up until a few years ago I didn’t give this band the time of day, finding Matt Belamy’s shrill vocals grating. However a close friend has since converted me and I am appalled that it took me so long to catch on. They exploded on stage in an aura of lights, LED screens and audiovisuals perfectly complementing their huge sound and driving rock beats. Muse are a force to be reckoned with and deserve all the accolades they receive. Matt Belamy’s guitar prowess is beyond compare, Chris Wolstenholmes deep basslines keep it all grounded and you could set your watch by Dominic Howard’s heavy beats. Plug In Baby, Knights Of Sydonia and Starlight were among an array of hits that packed the arena, and an encore cover of Back In Black with Jet’s Nick Cester on vocals left us all gagging for more. Far and away the best band of the day and one of the best festival performances I’ve ever seen.

So once again Ken West and Vivien Lees provided us with a stellar day out and showed just how much musical talent is flying around these days. I can only imagine the amazing performances witnessed on the other various stages and wish I could have seen them all. Too much music, too little time.

SHOW REVIEW: Alice Cooper, Hammersmith Apollo, London (6.12.09)

No Mister Nice Guy
Sunday 6th October 2009
Hammersmith Apollo, London

Decapitation, zombies, skeletons, stabbings, straight jackets – not many rock shows can boast such an array of violence and creatures of the undead. But if anyone were to serve it so it would be the Devil of rock himself Alice Cooper.

With a band clad in black and his name in 8ft high silver letters Alice took to the stage with a spectacular version of Schools Out, and the remainder of the set did not disappoint. I’m Eighteen, Be My Lover, Muscle Of Love and No More Mister Nice Guy were all featured amidst various heinous acts. These included Alice himself being decapitated, returning to life brandishing his own head, being strapped into a straight jacket, being stabbed, poisoned and generally harassed by an evil nurse who later demonstrated her prowess with a circular saw on an innocent piece of sheet metal – not to mention the zombies, skeletons and poor unfortunate bride of the undead Alice threw and kicked about the place.

Rather confusingly the encore consisted of another rendition of Schools Out, however this time Alice donned a sliver mirrored 2-piece suit complete with top hat and tails. All in all a great night and fun for all the family, should you be of the family Adamms.

SHOW REVIEW: Editors, Hammersmith Apollo, London (21.10.09)

To Synth Or Not To Synth
Wednesday 21st October 2009
Hammersmith Apollo
　

The lesser-known Airship kicked of proceedings tonight but failed to take flight. They were dull, boring and every indie clad pop milais sounded the same as the next.

Novascotian outfit Wintersleep were an excellent main support. Reminiscent of Midlake and Wilco with a little Arcade Fire thrown in they provided us with fine story telling lyrics, hefty and wholesome guitars and a sound rhythm and drum section that made them an instant crowd favourite. A fine set of talented musicians that complement each other well and will be seen around the traps a lot more in the future I predict.

As you may know Editors have taken a liking to the synthesiser/80’s sound on their most recent slab In This Light And On This Evening, which has obviously worked as it went straight to number 1 in the UK. I personally hate both the synthesiser and the 80's, so was going to be a tough nut to crack. As they exploded on stage in a luminous haze of laser lights and an AV screen big enough to dwarf a zeppelin it became clear they hadn’t lost any of their indie-pop talents. The chasm of difference between old and new was clearly visible, with old hits such as An End Has A Start and Racing Rats pumped out to an adoring crowd. Their melodic riffs and walking-beat hard hits perfectly blend over the amazing tone of Tom Smith’s voice. This may be a random comparison but his vocals have a commanding presence not unlike Brian Blessed’s – they hold your attention whether you like it or not.

Synth-based newer hits such as Papillion were received with equal enthusiasm, coupled by audiovisuals that made you feel like you were in a remake of Tron. A great stage presence and stage show to boot, Editors showed us exactly why they went to number 1 and sold out 2 Brixton Academy shows the following week; cause regardless of whether or not you like synthesiser, they’re good. Damn good.

SHOW REVIEW: The Pixies, Brixton Academy, London (6-9.10.09)

The Legacy Lives On
Tuesday 6th-9th October 2009
Brixton Academy, London
　

With an array of supports and a set comprising of the entire ‘Dolittle’ album plus a few more hits thrown in, The Pixies residence at Brixton would have been hard pressed to disappoint.

The Big Pink did a fine job of opening proceedings on the first night with a wall-of-sound rock style that makes them hard to ignore. Bombay Bicycle Club jumped about a lot on the second night but didn’t seem to make that much noise – all show and no substance for me I’m afraid. Art Brut did their usual fine repetoire of socially observant comedy-laden hits, with a few funny-cause-they’re-so-bad jokes thrown in – I’ll never get sick of this band. And Friday’s offering of Dinosaur Pile Up was a mighty fine choice – a tight and rocky little 3 piece that could be set for big things if this set was anything to go by. It was their superb cover of The Beatles’ Please Please Me that won my vote – awesome! A good sound, a good set, a good rock’n’roll edge that should take them far.

It was announced prior to The Pixies shows that they’d be playing their Dolittle album in its entirety so we knew what to expect to an extent. It was so great to see them back on stage once again, and to see they hadn’t lost the pure indie rock feel that made them the legends they are today. Hits such as Debaser, Bleed, Gigantic and Monkeys were met with ecstatic applause, plus they threw in extra gems Hey, Into the White and Isla De Encanta. A mighty pleasant surprise.

There was little to no banter between band members on stage which might have disappointed some, but it only meant there was room for more songs and encores, of which there were 2 each night. They came, they played, they blew us away. Long may The Pixies legacy live on.

SHOW REVIEW: The Maccabees, Brixton Academy, London (3.10.09)

Please Sirs, May I Have Some More?
Saturday 3rd October 2009
Brixton Academy, London

The Lyrebirds. The name of the first support conjured up exciting visions of rock’n’roll perhaps inspired by The Yardbirds, which was perpetuated further by their look as they sauntered on in smart-but-cool collared shirts, jackets and jeans. But the dream ended there as they were yet another softer than necessary indie rock outfit with repetitive cliched riffs and lyrics.

Second on offer, Peggy Sue, came as a pleasant surprise. At first glance they reminded me of a female Mumford & Sons, with catchy country-esque tales of life and love coupled with finely crafted and creatively personable lyrics featuring guitars, drums, banjo and harmonica. Peggy Sue should go far due to their unique style and creative talents.

Next came the band whose rise to fame has been nothing short of a speeding freight train. With 2 EP’s, 2 albums and 10 singles under their belts the boys from Brighton have much to be proud of. Add to that list a sold out Brixton show and you have what lead singer Orlando Weeks touted as being ‘…probably the best night of our lives’. They played a fiery set and had Brixton in the palm of their hands from the get go.

Including Can You Give It?, Love You Better and No Kind Words they played an outstanding set, with Orlando’s musky tones leading a beautiful, melodic, guitar-driven indie rock set that definitely showed you why they stand out from the crowd. The bassists not afraid to show his rhythm, the drummer beats his skins with a fury, and the addition of horns in various tracks made it a perfect showcase of their ability and diversity. An excellent show, an excellent band, an excellent future ahead of them. May we see much more of The Maccabess.

SHOW REVIEW: Mott the Hoople, Hammersmith Apollo, London (2.10.09)

The Rock Returns
Friday 2nd October 2009
Hammersmith Apollo, London

　
Yet another gig that’s been 30 odd years in the making. Yet another room full of ‘mature’ gig-goers happy as Larry and ready to relive their youth. As I’ve said before, it’s hard to capture the excitement in a room full of people who have been waiting to see a band after 35 years. And I feel sorry for any support act that prolongs their return.

Gemma Ray did try their hardest, with their set up nicely ornamented by flowers, and lead singer wearing a Hawaiian style dress and beehive to match. It’s a shame their music failed to hit the spot. The basic surf rock/rockabilly formula was there but they were just too lacklustre and uneventful. That’s the problem with projecting an image – you must be able to back it up.

Mott the Hoople then reminded us why they’re such an influence in so many lives. Ian Hunter’s blues-rock hooks are almost beyond compare, and the overall pure rock feel of the band is one you don’t see much of these days. A gritty rawness exists there that has rarely been replicated, not so much in their signature track All The Young Dudes, but more so in songs such as One Of The Boys, Rock’n’Roll Queen, Downtown and Midnight Lady. And a heartfelt version of I Wish I Was Your Mother bought a tear to even the hardest rockers eye.

These shows were always going to be once in a lifetime rides. And cameos by members of Motley Crue and Mick Hunter’s daughter on back up vocals made them all the more memorable. A well-known Australian photographer – Tony Mott – turned up at one of the shows and confessed the band prompted his name change, showing just how much they mean to people. And I’ve no doubt the 5 show sold out run meant more than money in the bank to the members of Mott the Hoople.

SHOW REVIEW: Paolo Nutini, Hammersmith Apollo, London (30.9.09)

An All Round Sensation
Wednesday 30th September 2009
Hammersmith Apollo, London

It wouldn’t be hard to sound good following the supports on offer tonight. Will & The People: A catchy indie rock band with potential, providing they can learn to write one song that sounds different to the other. One Eskimo: the main support who everyone seemed keen to see. One Eskimo lasted one boring, uninspiring, nothing of note song for me then I was off to the bar.

I remember the first time I saw Paolo Nutini perform. It was on a breakfast show in Australia – Bert Newton I believe – and I was very taken with him. Not only because he was easy on the eye, but because of his hit at the time Jenny Don’t Be Hasty. The lyrics tell the tale of a young boy in love with an older woman and it does not go well. At the time it prompted me to think ‘If this guy can write such an eloquent heart-felt song at such a young age, imagine what he’ll be capable of when he’s older…’

With tunes ranging from blues to rock to country to pop and back again this kid can play. He is unassuming - spending most of his set hunched over clad in a beige corduroy jacket with his eyes closed - entertaining and unmissable. His erratic vocal stylings never seem out of place and his songful storytelling is superb. Couple that with a backing band that don’t fade into the limelight and take the music well up a notch and you have the musical formula that has made Mr Nutini the sensation he is today.

They were young, old, male and female and came for a good night out. What they got was great, and I thank Paolo for exposing a mainstream audience to some very worthy blues and country flavours within his pop lines.