Live Review: Bernard Fanning, Dustin Tebbutt, Ainslie Wills – Fremantle Arts Centre

29.10.2016 | Published on themusic.com.au

The weather gods weren’t the kindest to Perthians on Saturday night, a chilly Fremantle Arts Centre serving as the backdrop for Bernard Fanning’s Civil Dusk Tour.

Ainslie Wills welcomed rugged-up punters into the venue, her hauntingly delicate vocals impossible to ignore.

Up next, Dustin Tebbutt took to the stage, armed with an acoustic guitar and keyboard. The New England local’s chilled-out tunes spread mellow vibes throughout the crowd.

Bernard Fanning arrived on stage earlier than expected – a huge relief for those in the crowd desperately attempting to thaw out. “Nice balmy summer evening here in Fremantle,” Fanning said cheekily. The former Powderfinger frontman took a moment to admire his surroundings, remarking that he’d played this very same venue a decade ago for his debut solo album, Tea & Sympathy. Before long, the man launched into the first song of the night, Emerald Flame; a shadowy figure bathed in a (fittingly) emerald spotlight. A collective hush spread throughout the crowd as they watched on, soaking up every minute of his performance.

Fanning’s band, The Black Fins, were quick to join him on stage for the remainder of the night, supplying beautiful harmonies during songs like Departures (Blue Toowong Skies) that soothed many a soul. Shortly after, the twangy goodness of Hope And Validation lifted spirits, with fans swaying their heads along to the beat.

The night swayed back and forth between past and present, Fanning not shying away from old favourites. “What’s that mate?” Fanning asked an unknown audience member. “Did you say Songbird?” What followed was a mad dash to the smart phone and a mass singalong – rounding the song off with a seriously impressive fiddle solo.

Before the night was over, Fanning expressed his sincerest gratitude for the “shitload” of people that always show up at WA shows. After tonight it’s abundantly clear that Perth will always be here for Fanning – rain or shine.

http://themusic.com.au/music/livereviews/2016/11/02/bernard-fanning-fremantle-arts-centre-charmaine-de-souza/

Live Review: Cute Is What We Aim For, Lights of Berlin, Calm Collected – Rosemount Hotel

Published on themusic.com.au | 19.08.2016

The Rosie was dishing up quality nostalgia when emo royalty Cute Is What We Aim For headed our way to celebrate the 10-year anniversary of their iconic album, The Same Old Rush Of Blood With A New Touch.

A couple of local bands were up first, with the lads from Calm Collected keeping the early birds entertained with their roaring tunes. Recovery deserved a special mention, encouraging punters to get just that little bit closer to the stage. Not even a drum mishap could stop the boys from smashing out an entire set of dark yet seriously danceable pop punk.

Lights Of Berlin brought it in for the home-grown talent, winning the audience over early on in the set with a stellar cover of the Wheatus classic, Teenage Dirtbag. “Let’s be honest, you’re not here to see me,” singer Devon Bayer joked before delving into a set of soaring vocals and downright dirty riffs that kept energy levels at an all time high. It’s safe to say that their next gig will definitely see a few more familiar faces.

After a brief intermission the lights dimmed and the general ruckus mellowed out into excited murmurs. Cute Is What We Aim For emerged on stage and wasted no time, launching straight into opener Newport Living.

“Thank you from the bottom of our hearts for even showing up,” vocalist Shaant Hacikyan cried out to the crowd, an undeniable sincerity ringing through the air. “This is our first time playing together in almost two years – so let’s just sing our hearts out.”

And that we did. In a matter of minutes, the entire room was 15 years old again, singing along to every word and fighting for the barrier. Hacikyan seemed genuinely chuffed when the collective singalong overpowered his voice, doubling over in amazement numerous times during this trip down memory lane.

Fans cherished every minute that the band was on stage. Phones were constantly at the ready, documenting every breath the New York natives took. Each song was met with cries of approval, with one punter proudly declaring that she could die happy after finally seeing the boys in the flesh. Most of the room had waited ten years for tonight — and judging by the concluding applause, they were well worth the wait.

http://themusic.com.au/music/livereviews/2016/08/22/cute-is-what-we-aim-for-rosemount-hotel-charmaine-de-souza/

Live Review: Troye Sivan, Tyde Levi, Nicole Millar – HBF Stadium

Published on themusic.com.au | 13.08.2016

HBF Stadium GA was looking more like a can of sardines a good hour and a half before Perth’s own Troye Sivan was due on stage for the last show of his Australian tour.

Screams were deafening when opening act Nicole Millar started her set; a wave of people crashing against the already-tight standing space. The Sydneysider seemed to genuinely relish her time up there, even getting emotional during a few parts in the set. “I was bullied in high school because I wanted to do music,” she said, choking up. “And now here I am.” Millar’s 30-minute performance was brimming with homegrown talent, the crowd losing their shit during High, thePeking Duk song of which she features. A new track saw a surprise cameo from WA’s own Morgan Bain, injecting some new life into the tail end of her set.

Up next was a DJ set from Sivan’s brother, Tyde Levi, and he somehow managed to make the crowd even more hyped than they already were, keeping the stands rumbling for a solid 20 minutes.

Before long, an elusive figure emerged from a cloud of smoke and Troye Sivan‘s distinct voice cut through the crescendo of ecstatic roars. Opener Bite immediately put the crowd into a groove, jumping and singing along to every single word. Sivan had the crowd at his mercy, a simple wave setting the stadium into hysterics. The man was right at home on stage, showmanship oozing effortlessly from his pores. He commented about how surreal it was to travel the world and then come home to see people from high school in the crowd. “Perth will always be my home. This album was pretty much written about Perth,” he proudly proclaimed, before reminiscing about singing the national anthem in this very same stadium for a Wildcats basketball game 11 years ago. “Who’d have thunk I’d be selling this out!?”

Rainbow flags were waving high and proud during Heaven, a song written about Sivan’s days as a self-professed “tiny ball of gay anxiety”, and how he came to accept himself, while a stripped-back rendition of Happy Little Pill swept the crowd off its feet. A heartfelt moment was shared during Sivan’s performance of Suburbia as a sea of “WE MISSED YOU, TROYE” signs emerged from all around the stadium. “I missed you guys, too,” he cried out emphatically, stirring a chorus of approval from fans. This certainly was one homecoming that neither performer nor audience will ever forget.

http://themusic.com.au/music/livereviews/2016/08/15/troye-sivan-hbf-stadium-charmaine-de-souza/

Album Review: Montaigne – Glorious Heights

Published on themusic.com.au | 02.08.2016

Montaigne appears to have struck gold with her debut full-length release, Glorious Heights — she definitely wasn’t afraid to go all-out.

Collaborating with Tony Buchen (of Andy Bull and The Preatures fame), the Sydneysider managed to create 13 earworms stamped with her signature quirky style.

The album is noticeably more poppy than previous efforts, with catchy hooks and a danceability that will prove very palatable to a more mainstream audience; think synth-heavy tracks and a delightfully ’80s feel that would make Bowie proud. But fans of the singer’s early tunes need not worry, as Montaigne’s sublime voice manages to cut through all of the glitz and glamour of a full-scale production. The singer proved to be a supreme powerhouse with tender ballad Consolation Prize, singing with a sincerity that’s bound to move even the toughest audience.

She’s also making moves to prove that she’s not one to compromise her originality. The use of instruments throughout each track creates a warmth that is almost completely unheard of in modern pop music. What’s more impressive is the fact that she’s not afraid to get dark with her sound, rejecting the notion that pop music needs to be inoffensive, mindless drivel.

The best thing about this album is that it’s bound to make you feel something. It’s raw, emotive and infectious all at once — you’ll be grooving one minute and bawling the next. It’s an uplifting experience unlike any other. And if Montaigne was able to capture this much energy and soul in one album, one can only imagine what her tour will be like.

4/5

http://themusic.com.au/music/albumreviews/2016/08/02/montaigne-glorious-heights-charmaine-de-souza/

Album Review: Honey Bones – Dope Lemon

Published on themusic.com.au | 03.06.2016

Angus Stone is back with his new side project, Dope Lemon.

His debut release, the album Honey Bones, is an effortlessly cool collection of breezy tunes that’s guaranteed to be every triple j fan’s wet dream. The stellar combination of dreamy vocals and layered hooks is rough around the edges in all the right ways and works hard at putting its listener in an almost inescapable trance.

The album can be roughly divided up into two parts, although there is still a great deal of continuity throughout. The first part channels a vibe not unlike Mac DeMarco, complete with jangly guitars, and dreamy, echoed lyrics. The second half channels the motorway-like beat of the late ’70s to mid-’80s post-punk. This is where the album really shines. Although both parts are replete with groovy riffs, the second half nails it. The listener is sure to experience a feeling of elevation, and will truly feel chilled out.

It’s fantastic to see a key Australian musician develop their sound in such a different direction to the current trends. EDM seems to be on the rise these days, with hyped up, pumping beats. Stone has opted to defy this sound, and channel a deep contemplative aesthetic. While the listener may find themselves entering a trance experiencing this album, it will be transcendental and reflective.

It’s the kind of music you’d hear in an indie flick as the protagonist cruises through the countryside in a beat-up camper — chilled out and inexplicably magical.

3.5/5

http://themusic.com.au/music/albumreviews/2016/06/03/dope-lemon-honey-bones-charmaine-de-souza/

Live Review: RUFUS, Bob Moses, Tora – Red Hill Auditorium

Publsihed on themusic.com.au | 01.05.2016

The air was crisp and the drinks were flowing as RUFUS brought their chart-topping tunes to Red Hill Auditorium on a chilly Autumn night.

The Byron Bay boys from Tora started the groove, easing early punters into the scene with the kind of music you’d hear in a trendy, waitlist-the-size-of-a-phonebook kind of club. Tracks like Jaigantic had the standing area nearing capacity, with fans right at the front clearly feeling right in their element. A dash of Australian rap right at the end served as a choice finisher for the band, applause and whistles sending them off noticeably chuffed. This reviewer is willing to bet that these guys will be seeing a lot of familiar faces when they return to our side of the country in August.

Canada’s Bob Moses kept the party going with 40 minutes of fist pump-worthy tracks. Their non-stop onslaught of strobe lights and heart-palpitating beats welcomed the night’s first — but certainly not last — bout of shoulder-riding.

There was barely any wiggle room by the time RUFUS came on stage, and what followed can only be described as a beautiful chaos. Make no mistake, the trio was solid from start to finish, and their performance of hits like You Were Right and Say A Prayer For Me made everybody lose their collective shit. In almost no time the auditorium was transformed into an outdoor club, with women stumbling over the amphitheatre’s limestone steps in ridiculously high heels, and guys awkwardly dancing with a beer comfortably nestled in each hand. Things eventually got so rowdy that a few folks had to saunter off behind the trees for some cheeky puke breaks in between songs, with absolutely no enthusiasm lost in the process. This was definitely a night to remember — though judging by the level of alcohol consumption, it’s safe to assume that most who were in attendance won’t.

http://themusic.com.au/music/livereviews/2016/05/02/rufus-red-hill-auditorium-charmaine-de-souza/

Album Review: Mind of Mine – Zayn Malik

Published on themusic.com.au | 02.04.2016

One Direction’s former resident bad boy Zayn Malik has come out swinging with his solo debut, Mind Of Mine.

Malik doesn’t hold back with opener MiNd Of MiNdd (Intro), an atmospheric start that’s quick to show off his vocal chops. What follows is a string of seriously smooth, sexy tracks — its lyrical content and occasional F-bombs bound to make preteen 1D fans blush.

INTERMISSION: fLoWer is the stand-out track of the bunch, sung entirely in Urdu, the native tongue of Malik’s father. This track offers a nice shift from the barrage of hypersexual songs, while proving that Malik is bold enough to occasionally break out of the pop mould that got him to where he is today.

3.5/5

http://themusic.com.au/music/albumreviews/2016/04/01/zayn-mind-of-mine-charmaine-de-souza/

Live Review: Cold War Kids, Verge Collection – Metropolis Fremantle

Published on themusic.com.au | 21.03.2016

Fremantle was bustling as a string of Perthians anxiously lined up outside Metropolis to see indie-rockers Cold War Kids live and in the flesh.

The boys from local band Verge Collection were up first. These four unassuming lads took to the stage with little fuss, before bursting into a plethora of breezy tracks with total finesse. Lead vocalist Ben Arnold kept his cool as he broke his guitar string mid-song, casually grabbing a standby and getting back to it without missing a beat. The boys had the crowd bopping their heads and tapping their toes, a couple of punters so caught up in the groove they accidentally bumped into surrounding folk on more than one occasion. Earworm after earworm helped punters chase away their Sunday night blues.

The hooting and hollering had started well before Cold War Kids had even come on stage, with fans doing some vocal warm-ups in preparation for the act to come. Before long, sizzling riffs and unmatchable beats had the crowd stomping their feet and punching the air triumphantly.

Unlike a lot of international bands that have graced our shores in the past, Cold War Kids seemed to actually give a shit about their performance. Not an ounce of energy was wasted, the band pushing themselves until sweat was dripping and veins were popping. Though stage banter was kept to a minimum, each track was so scorchingly intense that the crowd could just tell that the guys were giving them their all. Louder Than Ever got the crowd going, while Audience offered a slightly more chilled-out groove. A collective cry of approval filled the room as the band launched into Hang Me Up To Dry, fans wailing along to Nathan Willett’s vocals.

Fans were beaming as they shuffled out of the venue, with some keen to keep the singalong going well after the gig had wrapped up. All in all, it’s safe to say that these guys were well worth the trek to Freo.

http://themusic.com.au/music/livereviews/2016/03/21/cold-war-kids-metropolis-fremantle-charmaine-de-souza/

Live Review: Sufjan Stevens, Ngaiire – Red Hill Auditorium

Published on themusic.com.au | 03.03.2016

A tranquil autumn night was the perfect setting for Detroit native Sufjan Stevens as he hit our shores, bringing with him his unique brand of introspective folk and electrifying electronica.

Ngaiire opened the night, welcoming the crowd with her effortlessly stunning voice. Fans were quick to settle into their seats and watch on as the Papua New Guinea-born powerhouse smashed back-to-back soulful numbers.

The excited chatter of intermission quickly drew to a close as a sea of red illuminated the stage, with calm yet ominous music filling the auditorium. Sufjan Stevens strolled on stage to an eruption of applause as he launched into Death With Dignity.

What followed can only be described as a complete sensory experience. Neon patterns shifting around on background panels seemed to tell a poignant story when interwoven with Stevens’ gentle, haunting voice, this combination at times eliciting some very audible sniffles from the crowd.

Punters whipped out their smartphones during Vesuvius, the mesmerising background images bound to look spectacular on even the shoddiest device. Stevens and his band steadily upped the intensity as the song went on, an aural rollercoaster keeping fans right on the edge of their seat before plunging back into an eerie calm. Before long, the musician meekly waved to a standing ovation as he headed backstage.

At encore, Stevens took some time out to express his gratitude for being in Perth, and spoke about the importance of living in the now, taking nothing for granted. Armed with a banjo slung over his shoulder, he and the band delved into some old favourites, enticing fans enough to cram themselves into the now bursting standing area as they clapped and sang along. Fans filed out of the Auditorium spellbound by what they had just witnessed, undoubtedly wishing they could experience it all over again.

http://themusic.com.au/music/livereviews/2016/03/03/sufjan-stevens-red-hill-auditorium-charmaine-de-souza/

Live Review: Kev Carmody – Chevron Festival Gardens

Published on themusic.com.au | 19.02.16

Hundreds of fans filed into the freshly revamped Chevron Festival Gardens to see Aboriginal singer-songwriter Kev Carmody on his first tour in eight years, bringing with him his unique method of storytelling and lyrical prowess.

The night kicked off with a very special screening of Songman, a documentary detailing Carmody’s enthralling philosophy on songwriting. The short film explored Carmody’s peculiarly brilliant process of ditching traditional instruments and finding remarkable music in the seemingly mundane, such as blocks of wood, empty cans and even chickens. Interviews with collaborators Missy Higgins, Paul Kelly and Dan Sultan were interspersed in between clips, each musician singing greater praise for the man than the last.

Carmody emerged from backstage to a massive cheer from the crowd. After apologising for some technical difficulties, he launched straight into his first song of the night, Thou Shalt Not Steal. This powerful song took aim at the hypocrisy of bible-thumping settlers, who preached about living a virtuous life while subjecting Indigenous Australians to horrifying acts of violence.

Carmody’s set was intimate and extremely personal. Stand out track of the night, Needles In The Nursery, commented on the social engineering of human minds that starts right from birth. The audience sat in stunned silence, mesmerised by the song’s bold message.

The stage’s setup of nothing but a stool and acoustic guitar was rather simple compared to the carnival rides, dazzling lights and obnoxious techno blasting in the venue’s surroundings. And yet, Kev Carmody managed to hold the audience’s attention effortlessly. Each song was accompanied by its fascinating origin story, with Carmody’s unrivalled way with words transporting fans right into his own shoes, seeing what he saw at the time.

It takes a special kind of performer to keep an entire audience in the palm of their hand with nothing but a guitar and a story to tell. It’s safe to say that everyone who witnessed tonight’s performance left hoping that they won’t have to wait another eight years to experience this all over again.

http://themusic.com.au/music/livereviews/2016/02/19/kev-carmody-chevron-festival-gardens-charmaine-de-souza/