Metro City was packed. And just when I thought they couldn’t squeeze another person in the room without invoking some sort of fire hazard, out poured Rudimental’s core four onto the stage along with a menagerie of multi-instrumentalists and vocalists. My feeling of claustrophobia was quickly forgotten as the stage broke out into vibrancy. It was a no frills just talent sort of show, with no gimmicks to distract you like some electronic music concerts have. The vocalists and Rudimental member DJ Locksmith performed some synchronised booty shaking and shuffling (as one does at a drum’n’bass show) in between vocal acrobatics, with the occasional high kick from vocalist Anne-Marie Nicolson, a former three-time world karate champion, if her facebook artist page is a reliable source.
Their set featured songs from both albums, their latest We the Generation and their 2012 release Home, but all the songs got a fresh organic reboot with the instruments played live on stage. Their tried and tested (and effective formula) of triumphant drum’n’bass powered choruses followed by a monumental drop was made more so with the inclusion of a small brass section, Will Heard doubling as saxophonist and vocalist, especially during “Not Giving In” and “We the Generation”. The highlight of the show for me was when the audience sang along at the top of their lungs to “Free” ending in a sort of chant-like fadeout:
C’est la vie / Maybe something’s wrong with me / Oh at least / I am free
Also, it’s not a regular day you can walk into an EDM concert and get to see a five minute shredding guitar solo and banging drum solo (hehe).
As DJ Locksmith put it just before they played “Go Far”, the message of Rudimental is to spread love. As cheesy as it sounds, I really did walk out with warm fuzzies that night, that or I danced a little too much and overdid my daily recommended amount of cardio.
In Transformers: The Last Knight, the freak show has been toned down; there's precious little human bile forced down your throat this go around. Heck, there's even some attempts at respectability. Which is boring and nullifies the series' proudly nihilistic juvenile identity.
With a fervent belief that true commitment to bad-taste transforms it into something fashionable, fun and infectious, Kirin is a lot to take in.
Slowdive know how to play to their strengths, pulling from the best moments of their discography to present us with something that is at once familiar and refreshing.
I couldn’t think of anything more terrifying than playing a delicate set of acoustic jazzy music to room full of mostly black overcoat-clad, chin stroking, forty-something, ultra-discerning listeners. But for The Necks, that is the thesis for their completely improvised performances.
The Exes share a deep passion for vocal harmonies and heartbreakingly good songwriting. This killer combination has crystallised itself on their new album When We Fall. We caught up with the Exes ahead of their two gigs at Babushka and Fly By Night this weekend.
We caught up with Sydney singer-songwriter Montaigne to chat about making positive change, video games, life, death, and spirituality. Have a read, then do yourself a favour and purchase tickets for her performance at Capitol on the 29th of July.
From humble beginnings to a hefty, sold-out national tour, Winston Surfshirt has certainly transcended the mediocrities of the urban music scene and reminded us all what a little funk and R&B can do for the soul.
So, it's awful.
Will Wagner and the Smithies appeared every part bonafide rockstars on Friday night, with plenty of good songs and good vibes.
Black Swan State Theatre Company’s exciting run (and WA premiere) of beloved American-Australian playwright Lally Katz’s work The Eisteddfod is just around the corner, opening at the end of this month and directed by Jeffrey Jay Fowler. We took the opportunity to have a chat the genius behind the script herself about growing older, writing, the play and WA.