All posts tagged live-review

  • The Vine live review: Big Day Out Gold Coast, January 2014

    A festival review for The Vine. Excerpt below.

    Big Day Out 2014
    Metricon Stadium & Carrara Parklands, Gold Coast
    Sunday 19 January 2014 

    The Vine live review: Big Day Out Gold Coast, January 2014, by Andrew McMillen. Photo credit: Justin Edwards

    I love music.

    That’s about the most banal opening sentence to a live music review that you’ve ever read, but it’s worth dwelling upon a little here at the outset.

    Music has been a huge part of my life and identity for as long as I can remember. I am obsessed. If I’m not listening to music on speakers or headphones I’m thinking about it, humming or singing a melody, or learning how to play songs on guitar. It occupies my every waking moment. I love music and the Big Day Out has been a consistent, reliable lightning rod for that cause since I first attended in 2005. I’ve only missed one year (2010) since. As long as they keep booking excellent lineups, I’ll keep walking through these gates on a Sunday in January.

    Today heralds a shift in venue for the Gold Coast event, from the usual Parklands to a football stadium and its surrounds. It works well. The arena and its grandstands are where the main stages are housed; elsewhere, three big tents for the smaller acts. There are no problems getting around. Full credit to the organisers here, because to let loose tens of thousands of people in a new environment and to keep it all running smoothly is a remarkable feat indeed. We festival-goers are a fickle lot, generally quick to criticise an event’s logistical shortcomings, but today there’s literally nothing to bitch about. Amazing.

    When reviewing shows I tend to keep an air of bookish distance from the source material. In the past I’ve been the guy near the sound desk with his arms crossed, nodding his head and occasionally tapping a foot; always an observer, rarely a participant. As of today I’ve thrown all that shit out the window in favour of embracing the obvious: dancing. Clearly my past self is an idiot because this is a total revelation: I haven’t ever had this much fun at a festival.

    The first act to loosen my limbs is Toro Y Moi, about whom I knew nothing prior to wandering in under the Red Stage tent and finding myself in the funky soundtrack to a spy film. I especially enjoy the contrast between the studious-looking guitarist, with sensible haircut and collared shirt, against the rock-dog bassist with shaggy long hair, shades and singlet. Earlier, Bluejuice brightened my day with sunny pop songs, shiny gold Freddie Mercury outfits and good humour. And I’m the kind of arsehole who thinks that The Drones soundchecking sounds better than most rock bands in the world, so it’s no surprise that I award their set today full marks. I’m up against the barrier for the first time at a Drones show and it’s a nice change to see how the songs work up close.

    Guitarist Dan Luscombe thanks us for opting to see them over Tame Impala at the main stage, joking that at least a few people think The Drones are the better option. One band writes pop songs about elephants, among other topics; the other opens with a depressing eight-minute narrative about climate change and how fucked humans are as a species. (Not too many teenage girls seeing The Drones, I note.) I love both bands and I’m glad that I catch Impala’s tailing pair of ‘Feels Like We Only Go Backwards’ and ‘Apocalypse Dreams’, the latter being an incredible wash of sound that proves that Kevin Parker wasn’t fucking with TheVine when he told us that the band recently found a new way to finish their set.

    For the full review and photos, visit The Vine. Above photo credit: Justin Edwards.

  • The Australian live review: Elixir featuring Katie Noonan, September 2011

    A live review for The Australian. I don’t usually publish my live reviews here on my blog – I keep track of them on my Last.FM journal instead, which is also syndicated in the right column of this page – but since this is my first review for the national paper, I thought I’d make an exception. Full review below.

    Incidentally, this is the 223rd live review I’ve written since June 2007.

    Katie Noonan spreads warmth against the chill winds

    MUSIC Elixir. Featuring Katie Noonan
    Brisbane Powerhouse, September 9.

    THE true mettle of any musical outfit can be measured against how they perform in adverse situations.

    Six hours before this show, inner-city Brisbane is subject to a torrential downpour. When Elixir begin their first set of a two-night stand, a chill wind runs through the makeshift outdoor theatre.

    It stays this way throughout their 90-minute performance. Yet besides the occasional raised eyebrow and witty quip between songs, the three-piece jazz trio and their string quartet stay focused, airborne sheet music be damned.

    Eight years have passed between Elixir’s self-titled 2003 release and last month’s First Seed Ripening. Late in the set, singer Katie Noonan remarks that she was “much younger, single, and not a mum” when she first wrote Tip of Memory, the first track from their debut. Soprano saxophonist Zac Hurren — Noonan’s husband — beams approvingly.

    The trio is completed by guitarist and rhythmic linchpin Stephen Magnusson, who sits straight-backed centrestage and remains stoically poised, even while deftly navigating the fretboard.

    Unexpectedly, the insistent gusts add dramatic heft to Elixir’s elegant compositions. It’s quite something to behold Noonan’s purple dress aflutter while she emotes through remarkable voice and outsized gestures.

    At times, the purr of a side-of-stage generator is louder than the musicians; wind can be heard through the singer’s microphone.

    A couple of covers are aired, though the trio prefer to consider them “tributes”. There’s a spacey version of the 2007 Radiohead b-side Last Flowers, which features Noonan twiddling with a vocal effects unit, and a loose interpretation of Joni Mitchell’s My Old Man.

    Highlights include new track Hemispheres, thanks largely to the intricate string parts that bookend its six-minute narrative, and Tip of Memory, with contrasting string accompaniment of violence and beauty arranged by Paul Grabowksy.

    While rubbing her hands together in a final attempt to generate heat, Noonan declares the band are heading inside “to test the theory that red wine makes you feel warmer. We’ll do our own market research”.

    Their finely crafted set ends with Snapshot and words from Noonan that are less suggestion than command: “Go home and cuddle, to keep warm.”

    For more Elixir, check out the below embedded video or visit Katie Noonan’s website.

  • The Vine festival review: ‘Ric’s Big Backyard Festival, Brisbane’, April 2011

    A festival review for The Vine. Excerpt below.

    Ric’s Big Backyard Festival #1
    Ric’s Bar, Fortitude Valley, Brisbane
    Saturday 26 March 2011

    What makes a good music festival? Let’s make the educated assumption that, for the vast majority, value for money is the key determinant. If a buyer perceives a festival to be worthy of their time – and, more importantly, money – there’s a high likelihood that the festival has a line-up that appeals to them. If not, the buyer refuses to part with their money, and spends their day elsewhere. Such is the dilemma faced by the first Ric’s Big Backyard Festival – ‘#1 Autumn 2011’, according to a note on posters and wristbands, and thus hinting at future events. The value proposition for festival #1 is thus: 20-odd bands for $75, spread across three stages near the Brunswick Street Mall in Brisbane’s Fortitude Valley. More specifically, the majority of the festival action is contained within Ric’s Bar, a long-standing pillar of this city’s live entertainment scene. Ric’s holds two of the festival’s stages – the main stage is located behind the venue, in the laneway between the Royal George Hotel and X&Y Bar.

    From the outset, one problem is apparent: the festival’s value proposition isn’t strong enough. Upon arriving just before 3pm, a trip to the Upstairs stage – where local actVelociraptor are playing – reveals a modestly full room, with a reasonable gap between skittish punters and the band exhibiting their idiosyncratic style of gang-pop. Their eight members include three guitarists, two drummers, a bassist, a keyboardist, and a singer. They play obnoxious, shambolic pop music that could easily come across as contrived, but manage to avoid it, somehow, probably because they don’t seem to give a shit. It’s a fine line between appearing to not give a shit, and actually not giving a shit, and they err on the latter. Still, even this early in the day, it’s clear that the venue’s close confines – or, to put it another way, forced intimacy – is going to work against the festival.

    There’s more space at the Outside stage, where Guineafowl are playing, to a crowd consisting mostly of staff from their label, Dew Process, and a handful of half-interested punters. It feels like a high school dance, where everyone’s afraid of making the first move; or, in this case, enjoying themselves. The band are copping the afternoon sun in full force. This six-piece play indie pop which draws heavily from the U2 school of songwriting; lots of needly guitar lines, dramatic choruses, and extreme earnestness. They finish with something of a whimper, having barely elicited applause from the audience throughout their half-hour. I count eight Toohey’s Extra Dry flags positioned near the stage; two banners are plastered behind the drum kit. Also within eyeshot are five Smirnoff banners and a few Red Bull umbrellas and tables. None of the above detracts from the musical performances, but it’s pretty clear how Ric’s have pushed the corporate sponsorship envelope.

    At the Downstairs stage, Ben Salter is playing songs from his forthcoming solo album, The Cat. Salter is known – and loved – as the singer/songwriter/guitarist of Brisbane acts The Gin Club and Giants Of Science, among others. Few current performers in Brisbane can match his talent or reputation. Still, this is neither the right time nor place for slow, introspective ballads. No-one’s doubting the quality of the songs, but Salter’s act – accompanied by a guitarist, bassist and drummer – strikes the wrong chord today, and not particularly due to any fault of his own. It’s just that the festival seems stuck in first gear, and it’s not clear what will inspire a shift upwards. “You’ve got your money’s worth, then; those who paid, at least,” announces Salter, in reference to the event’s sluggish ticket sales and resultant freebies.

    For the full review, visit The Vine. For some photos of the event, visit Mess+Noise’s photo gallery, taken by Elleni Toumpas (who also shot the image used above).

  • The Vine festival review: Parklife Brisbane, October 2010

    An extended live review of the 2010 Brisbane Parklife Festival for The Vine. Excerpt below.

    Parklife Brisbane, 2010

    There’s nothing quite like rain to fuck up a festival. As clouds loom ominously overhead, we wonder how many tears are being shed in Parklife HQ as wet weather threatens to disrupt the national tour’s first stop. Such thoughts are momentarily cast aside when, soon after hopping off the CityCat nearest Brisbane’s Botanical Gardens, we’re accosted by a friendly undercover policeman, who has us empty our pockets. “Has anyone offered you any drugs?” he asks. “Not yet,” we reply. With a laugh, he sends us on our way – despite having neglected to check my back pockets or earplug case, both of which are chock-full of illicit substances.

    After passing through the VIP entry soon after gates open at 12pm, we encounter Last Dinosaurs, a young local indie pop act who are playing to eight people at the Kakadu Stage. As we walk past, three of them leave. We’re just getting settled in at the better-attended Atoll Stage, where triple j Unearthed winners Teleprompter are playing, when the clouds break. And don’t let up for the rest of their set. For the 50 of us who don’t dash for the nearest cover, this makes the quintet’s set more enjoyable, somehow: dancing in the rain to their slick take on indie-punk which calls to mind the late Melbourne act Damn Arms. Inexplicably, they’re all dressed in Star Wars get-up: the singer’s Luke Skywalker, the keyboardist’s Darth Vader, and the drummer’s Boba Fett. It’s a stupid gimmick, but it’s funny nonetheless. They sound good, and they clearly don’t take themselves too seriously. The Force is strong.

    Full festival review at The Vine, as well as photos via Justin Edwards.

    I don’t usually publish my live reviews here – instead, they’re linked over in the right column, via my Last.FM journal – but I’m making an exception in this case, and I’ll likely do the same for longer reviews in future.

  • Mess+Noise festival report: Splendour In The Grass, August 2010

    I attended this year’s three-day Splendour In The Grass music festival on behalf of Mess+Noise. My friend Justin Edwards took photos; I’ve included a couple below. You can read an excerpt of my work below, and follow the links underneath through to the full report, which is split into two parts.

    Splendour 2010: Day One

    Splendour In The Grass 2010, photo by Justin Edwards for Mess+NoiseANDREW MCMILLEN reports on day one of Splendour In The Grass as it makes its Woodfordia bow. Photos by JUSTIN EDWARDS.

    Our decision to arrive at Woodfordia – Splendour’s new site after 10 years at Belongil Fields in Byron Bay – around midday on Thursday proved wise. Those less punctual were subject to queues that stretched back a reported 10 kilometres as security checked vehicles for booze. Upon winding down car windows, our friendly guard tried scare tactics.

    “Where’s the booze?” he demanded.
    “Pardon?”
    “It’s easier to give it up now than face a potential fine of up to $1000,” he began, while his offsiders began rummaging through our vehicle. They came up empty-handed.

    A great many passed these tests, however, judging by the amount of “BYO” consumption that occurred throughout the weekend. Note to self: never underestimate the human capacity to do whatever it takes to get fucked up.

    These initial difficulties were seemingly compounded by the fact that the venue’s only public entrance is via a single road. Perhaps the venue could benefit from multiple entrances? Just a thought.

    Once safely inside, Thursday was spent setting up camp in cowpat-littered paddocks and becoming familiar with the festival grounds. Gates eventually opened at 4pm. Though the Thursday evening program was limited – none of the three bigger stages were operating, though the smaller Temple Stage hosted some live acts and DJ sets until 3am – it provided our first glimpse of the festival’s new home.

    Read part one in full on Mess+Noise.

    Splendour In The Grass 2010, photo by Justin Edwards for Mess+NoiseSplendour 2010: Days Two-Three

    ANDREW MCMILLEN reports on the final two days of the Splendour In The Grass festival, which sees stellar sets from Cloud Control and The John Steel Singers and a disappointing finale from The Vines. Photos by JUSTIN EDWARDS.

    Day Two: Saturday, July 31

    A 10am “Women Of Letters” event proves surprisingly popular among the bleary-eyed and literary-minded. Hosted by Marieke Hardy and Michaela McGuire, the gathering features the likes of Paul Kelly, Clare Bowditch and Jake Stone (of bluejuice) orating letters to songs they wish they’d written. Later, Wil Anderson chairs a panel discussion on social media and privacy. All of the forum events are lively, inspiring and, at the very least, entertaining. Full marks to organisers for coordinating such cerebral activities among the frivolity.

    Read part two in full on Mess+Noise. Justin’s photo gallery is here.

  • My World Tour entry: my music journalism so far

    My World Tour logoUniversal Music announced a competition called My World Tour in October 2009.

    The job

    Ever dreamed of travelling the world, visiting all the hottest music festivals and gigs and getting up close and personal with artists and bands backstage? Do you want to spend some time next year working for one of the biggest music labels on the planet? Are you ready to fight for a chance to have your peers vote you into the job? We thought so!

    We’re on the hunt for two passionate, talented and music-obsessed individuals to become the faces of My World Tour globally!

    Could this be the best job in the world?

    • travelling to 11 of the hottest music festivals around the world;
    • interviewing artists and bands backstage;
    • recording all the amazing experiences and reporting back to Myworldtour.com.au via videos, blogs, photos, social networking tools and other multimedia.

    I entered.

    To assist with my entry, I went back over my music journalism career so far to find the best material for submission, beginning with my first review in June 2007: Karnivool live at The Zoo, for FasterLouder. My live review tally currently stands at 133; over one a week, on average.

    I didn’t read everything music-related I’ve ever written, as so much of the early stuff is painful and hackneyed. But I’m still proud of my 1,800 words on the Pig City festival at the University of Queensland in July 2007, which remains a reasonably strong piece.. despite my now-apparent naivety regarding the bands who played and their place within Brisbane’s musical history.

    Other live review favourites:

    Despite the trend displayed on this blog, I’ve still only had a couple of music-related interviews published: Screamfeeder and I Heart Hiroshima, both for Mess+Noise in 2009.

    The other major component of my entry was my experience blogging for One Movement Word, which I’ve not discussed much here just yet. An overview of that is here and here.

    The My World Tour entry is here. Please criticise me as you see fit.