Performing at Newtown Social Club on Wednesday night, Hurray for the Riff Raff well and truly wooed the crowd with their warm, heartfelt set. Hailing from New Orleans, this five piece managed with great success to bring their southern charm to the inner west of Sydney, incorporating elements of blues, roots, country and folk into their sound.
2014 has seen some pretty exciting tours so far, and the Trivium / In Flames double headline was a pre-Christmas treat for sure. Having been down earlier this year for Soundwave, the tour celebrated Trivium’s 2013 release, Vengeance Falls, and the eleventh studio album by the Swedish legends, Siren Charms, released earlier this year.
The boys from British India have been ticking all the right boxes recently. After releasing their single “Wrong Direction” in October they went on to support the Rolling Stones at their Sydney and Melbourne shows alongside The Preatures.
Kimbra finished her last leg of her 'The Golden Echo' tour in Melbourne over the weekend however she showed no signs of fatigue as she bedazzled the audience with her extraordinary voice and elaborate costumes.
Six months ago, New Zealand duo Broods seemed to spring out of nowhere, fully formed and armed with an EP so self-assured and polished that it bordered on the suspicious. Synth pop merchants with a flair for crafting indelible hooks, they quickly slipped into high rotation due to the sugary dance menace of “Bridges”, and the thundering “Mother & Father”.
Brisbane indie pop band Millions kicked off their 12-show ‘For your leisure and pleasure’ tour on Friday night to a rowdy Adelaide crowd. Ever since winning the 2011 Unearthed competition for a spot on the Splendour bill these guys have been crooning all over Australia.
Sadtime music certainly has made a comeback throughout the last year. The more heart wrenching the better seems to be the rule, with accolades going out to Sun Kil Moon's Benji, Perfect Pussy and Run the Jewels new albums and the increasing re emergence of emo in popular culture (as evidenced by almost everything I've written on this site) shows just how sad everyone's collective thoughts have become. So it's no wonder that the local scene have taken up this property. And last Friday I got the chance to witness one of the best in this scene; Adelaide's Sincerely, Grizzly.
Kimbra stands on stage; a spectacular gold cloak draped over her Jetsons-esque dress of reflective silver, bright eyes slammed shut as she grips the microphone, tearing notes from her throat.
I have always found it strange how people approach an artist with cynicism and skepticism when that artist attempts to dabble in a mode of expression different from that they are most known for. It's something that happens constantly, and it's not too hard to understand when you look at people like Paris Hilton who start DJ careers and end up making more money than actual DJs; but Guy Pearce is no Paris Hilton. Pearce, one of our country's most acclaimed and recognisable actors, has decided that, after years and years of hesitation, he is going to delve into the music world and give recording a genuine and complete go. It's worked. Broken Bones, his debut album, has been subverting any cynicism with it's charm and undeniable musicality. It's a collection of someone who is a superb talent in singing and songwriting.
Why didn't anyone think of this sooner? Only in it's second year, the Airlie Beach Music Festival stands in the ineffable surrounds of, well, Airlie Beach in the famed Whitsundays. Yes, that's right - a music festival in The Whitsundays. Already you're beginning to get a picture of something much different than what festival regulars are used to, and you'd be right. The festival is not only unique in atmosphere, but also structure and style; the direction the line-up points in is quite obvious when headliners includes The Screaming Jets, John Paul Young, and The Eurogliders.
Although Jimmy Eat World's Futures didn't get the same press as Bleed American, it still remains a fan favourite. Between the blistering power chords of single "Pain", the stupidly catchy chorus of title track "Futures" and the bare beauty of "Drugs or Me" it isn't much off a question as to why. So when the announcement was made that the band were touring the album in full for its 10th anniversary, fans went running at the chance to see the under-appreciated sister of Bleed American in all its glory for probably the only time in their lives. It's the only way to explain the packed floor I arrive onto less than 30 minutes after doors.
The 7th Australasian Worldwide Music Expo - featuring 58 groups performing over 4 days alongside a two day conference - kicked off with an opening party early on Thursday evening with Pete Murray, Benny Walker and a Welcome to Country ceremony.
As it seemed most of Melbourne were dressing as cats and making their way to the Katy Perry concert (#katycats), an nonetheless impressive contingent of the city's less under-16 female crowd filled up the Corner Hotel for the second of two just-about-sold-out performances from Manchester Orchestra, supported by Ballarat's Apes and Brooklyn based Kevin Devine.
Thelma Plum reminds me a lot of Emma Louise, that same gentle shy awkwardness on stage, but utterly entrancing when she lets those vocals loose, with songs that foster adoration. Thelma played the Amplifier Bar last Saturday night as part of her Monsters tour and totally wooed the Perth crowd.
The Brighton Up Bar is a curious venue for dancing, owing to the giant staircase that drops down in the middle of the dance floor. It doesn’t prevent it however, as it’s now nearing the end of Betty & Oswald’s single launch, and every single body in the bar is moving. They’re in the middle of a cover of Louis Prima’s “Just A Gigolo & I Ain’t Got Nobody”, vocalist and guitarist Pete Sotiropolous is bouncing on his toes, Claudia Schmidt skittering about behind her microphone.