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The Music Writers’ Poll: Charmaine de Souza
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Live Review: Sam Smith, Emma Louise – Perth Arena
Published on themusic.com.au | 28.11.15
Thousands of hearts shattered earlier this year when Sam Smith suffered from haemorrhaging of the vocal chords, forcing him to cancel his Perth show. This time ’round, punters weren’t taking any chances, queuing up well before doors were set to open.
Emma Louise serenaded the crowd as they excitedly filed into the arena, her hauntingly gorgeous voice drawing people in immediately. The Brisbane local powered through numbers like Jungle and Underflow with poise, settling the crowd in perfectly for the night ahead.
Sam Smith made a deliciously dramatic entrance, complete with an impeccably timed curtain drop. Decked out all in black, the British singer was quick to bust out the falsetto with opener Life Support. The man was all charm throughout the night, apologising profusely for cancelling his previous show, and promising to sing his heart out tonight. And he certainly lived up to that promise.
Smith’s vocal intricacies were flawless, making the most insanely technical vocal transitions look easy. A row of lights arched across the entire backdrop; its warm glow at times resembling a halo around Smith’s head. Every shy smile that he gave the crowd made hearts melt instantly.
He likened his songs to diaries, emphasising the importance of honesty in his music — and this was more than evident in his face. As he sang, he appeared to completely transport himself back into the very experience that inspired each song.
The night took a funky turn, starting with an uplifting rendition of Like I Can. The entire arena was on its feet, before being treated to a killer solo by his resident drummer. Restart kept the groove going, Smith this time leading the crowd in a two-step.
Before too long a grand piano appeared in the middle of the stage, with Smith ready to slow things down with a medley of Can’t Help Falling In Love and Lay Me Down, leaving onlookers feeling all loved up.
Fans were urged to switch on the flashlight of their phones during a rendition of Latch, and within seconds the arena was lit up with thousands of iFireflies. Fan favourite Stay With Me drew the night to a close, leaving fans misty-eyed and holding their significant other just that little bit tighter. It may have taken longer than expected to see you over our end, but, Sam, it’s safe to say that you were well worth the wait.
http://themusic.com.au/music/livereviews/2015/12/01/sam-smith-perth-arena-charmaine-de-souza/
Live Review: The Getaway Plan, Red Beard, Lights of Berlin – Rosemount Hotel
Published on themusic.com.au | 20.11.15
When The Getaway Plan visited Perth back in June, they’d promised that they were going to be back very soon. A mere five months later, the boys from Melbourne made good on that promise, returning to Rosemount Hotel to celebrate the songs that have defined their career so far.
Lights Of Berlin absolutely killed their opening set, filling the venue with 30-odd minutes of delightfully addictive pop rock. They smashed out track after track with headliner-level finesse; their songs good enough to elicit cries of “holy shit!” from this reviewer’s plus one. A cover of My Chemical Romance’s Teenagers proved to be quite the ice-breaker, loosening the crowd up and setting the mood for the night. And, hand to heart, vocalist Devon Bayer managed to give Gerard Way a serious run for his money.
Queensland’s Red Beard were up next, continuing the trend of stellar music. The only thing more impressive than frontman Tomi Rooney’s beard was the sheer energy oozing from the trio. Their onstage demeanour was a testament to the fact that they truly gave a shit about what they were doing — and this, in turn, made the audience love every second of their performance. The boys didn’t pull any punches throughout the night, even surprising the audience with a cover of Gym Class Heroes’ Cupid’s Chokehold. It’s safe to say that they left a mighty fine impression behind during their maiden voyage to WA.
The Getaway Plan hit the stage 15 minutes earlier than expected, prompting fans to rush from the bar to the front of the stage. Lead vocalist Matthew Wright warmly welcomed the intimate crowd, calling us his ‘old friends’ before launching into a set jam-packed with old and new favourites. The boys were pros onstage, playing each song with an intensity that’s hard to find. Oftentimes Wright stood, eyes completely shut, as he belted out soaring notes and attention-grabbing screams. Punters excitedly speculated (and demanded) various song titles throughout the night, singing along to every single track the band played — even the new ones.
One thing that never fails to impress is the fact that these boys aren’t afraid to revisit their past. More often than not, bands choose to promote the here and now, while neglecting their long-time fans. But these boys made sure that every single person left the venue feeling just like what Wright had called them — old friends.
Live Review: Matt Corby, RW Grace – Metropolis
Published on themusic.com.au | 06.11.15
The line outside of Metropolis Fremantle was seemingly never-ending as punters queued up to see former Australian Idol contestant/current indie pop powerhouse Matt Corby in action.
RW Grace was first up for the night. The Perth local emerged from a cloud of billowing smoke and calmly greeted the crowd before launching into a set jam-packed with bluesy goodness. The singer managed to command the stage with nothing more than an electric guitar and her voice; a feat that definitely doesn’t come easy to just anyone.
The entire venue erupted into raucous applause at the mere sight of the main event. Matt Corby appeared almost angelic while perched centre stage. A single spotlight washed over him, immediately drawing attention to his long locks — and causing a good portion of the audience to audibly swoon.
The man’s entire vibe was effortlessly cool, as he seamlessly transitioned from delicate crooning to turbo-charged wails (with all the right amounts of grit). Rest assured, each impressive note was celebrated with a hearty roar from the crowd, with fans swaying and bopping their heads to the chilled-out tunes in between.
Resolution‘s opener was quick to kickstart an epic crowd sing-along, the drum’s punchy beat injecting a burst of energy into the previously zen audience. This energy carried on through the remainder of the set, as Corby delved into some of his more upbeat tracks of the night. He busted out an electric guitar halfway through, showing off his riffing skills and — one can only assume — making everyone in the crowd feel just that little bit more inadequate in the talent department.
It wasn’t long before a familiar cry of “OOH-ooh-ooh!” spilled out from the stage, piquing the interest of the entire room. The audience burst into cries of ecstasy as the man of the hour performed the song that arguably cemented his post-Idol star status: Brother. As every note dripped from Corby’s mouth, it was abundantly clear that the man had painstakingly poured every drop of his heart into his work, laying his soul bare for the entire audience to see. And hey, isn’t that exactly how music should be?
Live Review: Boyz II Men – Metro City
Published on themusic.com.au | 03.10.15
It had been a hot lil’ minute since ’90s sensation Boyz II Men last graced Australian shores, but that didn’t stop fans from coming in droves to see the trio perform a plethora of their most iconic hits. The queue spread out well past Metro City’s grounds, which was a clear indicator that this night was going to be massive. A couple of DJs welcomed punters with some classic R&B as they made their way into the venue, immediately setting off everybody’s nostalgic feels.
After almost two and a half hours, the Boyz we’d all been waiting for finally hit the stage, fans already screaming as loudly as they could. What followed next can only be described as an explosion of angelic harmonies and seriously smooth synchronised dancing.
Shawn Stockman elicited cries of “he’s so cute!” as he played the dedicated showman. The man had a flair for theatrics, falling down to his knees for the aptly titled On Bended Knee. He frequently showcased his heavenly falsetto, which only got the crowd even more worked up.
Wanya Morris brought runs for days, particularly in stand out track It’s So Hard To Say Goodbye To Yesterday. Morris sang with conviction and a sincerity that’s severely lacking in modern performers. Every single note that came out of his mouth was pitch perfect, and the crowd made sure that they made their approval heard.
Baritone Nathan Morris’s velvety vocals were an instant hit with the ladies. His deep, honey-laden voice was melting hearts all over the venue — this reviewer’s willing to bet that he could elicit coos just by reading the phonebook.
The trio meshed brilliantly together — a clear sign that they hadn’t lost an ounce of their talent over the years. Fans grooved along to hits like Motownphilly, while I’ll Make Love To You had everyone cuddling up next to their special someones. The guys would bust out some sleek synchronised moves every now and then, proving once and for all that there ain’t no shame in being in a boy band — as long as you’re good at it.
All in all, it was a wonderful night for nostalgia, with fans leaving the venue with their teenage dreams fulfilled. Here’s hoping the Boyz won’t wait quite as long for their next visit.
http://themusic.com.au/music/livereviews/2015/10/13/boyz-ii-men-metro-city-charmaine-de-souza/
Live Review: Calm Collected, Dropbears, Vice Versa, The Moment We Fall – Amplifier Bar
Published on themusic.com.au | 24.09.15
Eyeliner, studded belts and the odd top hat were dug out of many a closet for a very special shindig to celebrate the ten-year anniversary of Panic! At The Disco’s seminal classic, A Fever You Can’t Sweat Out, hosted by Perth’s own Calm Collected. A sea of black excitedly poured into Amplifier Bar, ready to be transported back to a simpler time, when Hiptops ruled and everyone was itching to become MySpace famous.
But first, the support acts. The Moment We Fall didn’t spare a single ounce of energy, going all out as though they were the headliners. Several band members dispersed into the crowd, adding a whole new dynamic to the experience. Frontman Jack Harvey offered EPs to the five most impressive audience members, prompting some people to go all-out.
The screams continued with Vice Versa, who held the room’s attention with their punchy, power chord-laden tracks. The boys seemed genuinely stoked to be there, and their sheer enthusiasm rubbed off on the crowd, who thrashed along to every breakdown that came their way.
Dropbears got hearts palpitating with their heavy vibes and thunderous drums. Vocalist Rhys Gahan’s rapid rhymes clashed brilliantly with some two-part harmonies and soaring riffs, resulting in a beautiful chaos unfolding before our very eyes.
The boys from Calm Collected were dressed to the nines as they took their places, with several members even sporting Ryan Ross’ iconic eye makeup. Punters flocked to the stage as Fever’s introduction began, before the band launched into The Only Difference Between Martyrdom And Suicide Is Press Coverage.
The band executed track after track flawlessly; so much so that one would think these songs were their own. Fans lapped up every minute of their set, screaming every single lyric at the top of their lungs. Vice Versa’s Alex McGleave took the reins for Camisado while Calm Collected’s Tim Tan sneaked away for a breather.
After some minor technical difficulties, the guys were back with one of Panic’s most popular singles, Lying Is The Most Fun A Girl Can Have Without Taking Her Clothes Off. They deviated from track list soon after, opting to save Fever‘s biggest songs for last. Tan seemed to struggle with the franticness of Build God, Then We’ll Talk, opting to offload the majority of the singing duties to the audience — but it’s not like they minded that one bit.
The floor rumbled as fans stomped their feet for the final song of the night, I Write Sins Not Tragedies. An epic singalong ensued, complete with drawn-out wails that were probably audible from the other side of Murray Street. Calm Collected had proved that, while they weren’t P!ATD, they were pretty damn good in their own right.
http://themusic.com.au/music/livereviews/2015/09/28/calm-collected-amplifier-bar-charmaine-de-souza/
Live Review: Andrew McMahon in the Wilderness, Mike Waters – Amplifier Capitol
Published on themusic.com.au | 27.08.15
Pic by Charmaine de Souza
After a three year-long absence, Andrew McMahon was back on Aussie shores in his latest incarnation, Andrew McMahon In The Wilderness.
Mike Waters got things going for the night with a set of acoustic gems. Decked out in a flanno and jeans, the meek musician’s music mirrored the simplicity of his dress sense and this lack of pretension managed to draw a crowd in. Waters’ set comprised meaningful numbers that touched on sensitive subjects like depression and his mother’s passing, soft-spoken lyrics literally bringing tears to the eyes of this reviewer’s plus one.
Ominous smoke billowed throughout the venue during intermission, prompting fans to move just that little bit closer to the stage. Andrew McMahon needed no introduction as he and his band In The Wilderness quietly took to the stage and kicked things off with All Our Lives. From there, the man unleashed a tidal wave of favourites onto the crowd, track after track spurring on cries of “I fucking love this song!” and the like. The mere mention of McMahon’s former band Something Corporate made the crowd lose their shit, fans singing along to every word of Ruthless with conviction.
McMahon was effortlessly cool on stage, at times even holding the mic in one hand while playing piano with the other. He soon proved discontent when staying still, constantly moving back and forth from the piano to the front of the stage. A rendition of The Resolution, from McMahon’s Jack’s Mannequin days, was an uplifting experience celebrating his triumph over cancer, while the newer Driving Through A Dream filled the venue with a seriously danceable, Bowie-esque vibe. The band soon snuck away, leaving McMahon front and centre for Rainy Girl, an ode to his baby girl and newfound fatherhood.
The final performance of the night, Synesthesia, saw McMahon throw a giant parachute over the crowd, the man himself soon joining the audience under the colourful topping. As fans exited the venue, they were clearly elated they’d had the opportunity to see their idol up close.
It’s difficult to explain what being at an Andrew McMahon gig feels like. An overwhelming sense of acceptance, fun and — as corny as it sounds — togetherness filled Amplifier Bar the entire time the man was there. Quite frankly, he can change his band name as many times as he wants, as long as he keeps putting on shows like this one.
Live Review: The Church – Rosemount Hotel
Published on themusic.com.au | 18.07.15
The Rosie was buzzing well before The Church had even hit the stage, with plenty of punters battling it out for a prime spot almost a full hour before show time. A packed room watched anxiously as the crew sound-checked, their rapidly vanishing drinks only adding to the anticipation.
The boys made a fashionably late entrance, immediately amping up the energy in the room with the first cut of their The Blurred Crusade set, Almost With You. Fans made the most of the little space they had, dancing on the spot with their friends.
The crowd soon watched on in stunned silence as the four-piece launched into Field Of Mars. Soaring riffs and crisp harmonies were indicative of a special kind of cohesiveness only attainable through years and years of experience. This predominantly pre-smartphone audience shunned the all-too common iPhone documentation and instead allowed themselves to be swept away by each and every track in the moment. Lead vocalist and bass player Steve Kilbey spurred the crowd on for a louder applause and they happily obliged.
The set continued with upbeat numbers like Just For You, even getting the bar staff dancing along as they took orders. “Alright, we’re gonna rock and roll,” Kilbey proclaimed, before displaying some impressive dance moves himself during A Fire Burns. Some serious magic was worked during To Be In Your Eyes, compelling couples to get just that little bit closer to one another. Next, an over-enthusiastic lad sang along to You Took louder than expected, causing Kilbey to crack up halfway through a verse. The band certainly impressed with a seemingly never-ending marathon of riff-heavy, heart-palpitating psychedelic breaks. Life Speeds Up wrapped up the first half of the night, a deliciously ’80s sound that left people no choice but to bop along.
After a well-deserved break, the guys were back on stage for round two. Fans were thrown back into the 21st century as the band opened this set with a newer song, Vanishing Man. Other Further/Deeper tracks, among them Laurel Canyon and Miami, proved that even after 30 years, these guys show no signs of losing their creative fire.
Just when fans thought that things were winding down for the night, the band launched into a larger than life encore, complete with a cover of Waiting For The Sun — a nod to new guitarist Ian Haug’s former Powderfinger days. Two sets and 20-odd songs later, fans left feeling like they’d gotten much, much more than their money’s worth.
http://themusic.com.au/music/livereviews/2015/07/20/the-church-rosemount-hotel-charmaine-de-souza/
Live Review: The Getaway Plan, Gatherer, Freeds – Rosemount Hotel
Published in The Music (Perth) and on themusic.com.au | 13.06.15
Melbourne rockers The Getaway Plan returned to Perth to offer up a short but sweet serving of all their old favourites, as well as a few samplers from their forthcoming release, Dark Horses.
But first, Freeds hit the stage to warm up the crowd. The Sydneysider was accompanied by a masked drummer, which immediately caught people’s eye. The rapper acknowledged that having a hip-hop act open for an alternative band was a somewhat odd decision, but didn’t let it shake his confidence. The man managed to hold the crowd’s attention for the entirety of his set — his most notable track of the night being a cover of M.I.A.’s Paper Planes.
Screeching riffs drew a crowd around the stage as Gatherer began their set. The New Zealand natives’ grunge-heavy set was impressive enough to get punters lined up along the barrier, egging them on. One fan was head-banging so aggressively, he ran the risk of knocking himself out on the bar in front of him. The four-piece was dripping with sweat as they poured out duel vocals and rumbling basslines that literally got the ground shaking.
Things had gotten rowdy as the audience anxiously awaited The Getaway Plan’s arrival. The boys made their introductions brief, launching almost immediately into Sleep Spindles. Front man Matthew Wright’s vocals were sublime, and since his screams weren’t as audible as they should have been, the crowd was more than happy to be his stand-in.
Fans were already treated to some new material by song #3 — and a sea of thrashing signified a resounding approval. New Medicine (Stay With Me) elicited some drunken slow claps and swaying back and forth; Wright’s vocals punctuated with just the right amount of poignancy.
Back to the new stuff now, and Battleships served as the perfect little teaser for what’s in store for their new record. Shortly after, a rare performance of A Lover’s Complaint was a pleasant surprise for diehard fans, who eagerly raised their glasses to toast the Melbourne locals.
New life was breathed into the room as soon as the boys began their biggest hit to date, Where The City Meets The Sea. Half the venue clutched their phone in their hand — filming the performance and their friends throwing down — while the other half excitedly scream-shouted the words back at the stage. The final throwback for the night, Strings, proved that these guys had it going on from the very beginning, and very clearly show no signs of stopping.
Live Review: State of The Art Festival – Perth Cultural Centre
Published in The Music (Perth) and on themusic.com.au | 01.06.15 | Co-written by Shenae Gooley
The State of The Art Music Festival was back for another year with a stellar line-up of music, food and entertainment for all ages.
Fans, families and curious onlookers stopped by the Wetlands stage to watch the free portion of the festivities unfold, starting with The Little Lord Street Band. Passersby were promptly reeled in. Guitarist and vocalist Natasha Shanks’ husky voice was perfectly accompanied by just the right amount of twang, stamping this band with a unique country twist.
WAM artists Russell & Tom from small country town Narrogin brought their A-game to the festival. Although from the country, they strayed from tradition playing as a folk/rock’n’roll-infused duo. Switching between two acoustic guitars and an Octo drum pad, these two harmonised around the WA Street Food Lane; they’re a duo definitely on the rise and a must-see if you enjoy local talent.
Next up on the Street Food stage was the delightfully bashful Helen Shanahan. A previous winner of the Telstra Road to Discovery, Shanahan’s timid presence on stage and soothingly quiet voice amazed the crowd with her full and crisp sound. With just her acoustic guitar she filled the streets with her sweet tones and lyrics of love, creating a perfectly mellow environment for the audience with her serene, angelic voice.
By now the Urban Orchard stage was going off with Rag N’ Bone in full force. At first glance, you wouldn’t expect such a powerful voice to come out of Kiera Owen’s mouth, but this frontwoman packed a punch from the get-go, her vocal prowess and stage presence sublimely captivating. The rumbling bass and drums in songs like Danielle burned through the stage in the best possible way.
It’s no secret that Hideous Sun Demon bring the goods every time they hit the stage, and this time was no different. Not a single ounce of the Orchard’s beautiful surrounds was spared from the Demon’s gritty, dirty rock. Their set had everyone’s attention, complete with colourful language and the most thrashing you’ll likely ever see at 3pm on a Saturday afternoon.
Moving over to the WA Museum Grounds stage, this reviewer had the pleasure of watching the psychedelic pop rockers, Timothy Nelson & The Infidels. Starting off with favourite, Soldier, Nelson and his Infidels rocked out on stage, inviting the crowd to let loose. Maintaining their upbeat numbers was fill-in drummer from Flooded Palace. The unpredictable and flawlessly pitched group got the whole festival in good spirits with their high energy and retro music. Ten out of ten.
Over at the State Theatre Courtyard stage, We Two Thieves entertained with charming banter and country tunes. Sharing a single mic, the trio delved into a cover of Tanya Tucker’s Delta Dawn, wowing the audience with their ridiculously tight three-part harmonies. Parents and children danced along to their entire set. It’s safe to say that the ukulele never sounded so good.
Keeping expectations high on the WA Museum Grounds stage, indie rock band The Love Junkies were another crowd pleaser. They ripped it to shreds from the start, the audience jumping right into action, head-banging to the indie rock’n’rollers’ hectic sounds. The hilariously engaging band kept the crowd entertained to say the least with their unorganised set and their zero shits given atmosphere – a messy set with intensity-plus. Well done.
Former Little Birdy frontwoman Katy Steele was up next, bringing a new sound to the WA Museum Grounds stage. Starkly different from her band days, Steele has traded rock for a more ambient groove, and her distinct vocals lent brilliantly to it. Her impeccable style and sheer swagger made everyone in her vicinity feel infinitely cooler.
Meanwhile over at the Wetlands stage, Dream Rimmy kept things moving with their trance-inducing psychedelic rock. Breezy riffs and light keyboard work got toes tapping and heads turning. By the end of their set, the crowd had spilled over to the pedestrian pathway, with plenty feeling compelled to smash out some air drums. The six-piece’s almost ethereal sound was the perfect way to ease the audience into the evening to come.
Australian musician Gareth Liddiard, founder of The Drones, slowed it down in the low-lit tent of the State Theatre Courtyard stage. Liddiard began his set getting to know his fans, testing them with questions and jokes. Once the politically amusing joker had caught our attention he proceeded to calm and entice with his crisp tone and Australian drawl. His haunting lyrics silenced the tent as we listened eagerly to Gareth the storyteller.
Jacob Diamond’s blue-eyed soul cut through the hustle and bustle of the Street Food Lane. Standout track Avarice attracted a crowd around the 21-year-old, his lyrical prowess and emotional depth in performance worthy of a musician twice his age. It says a lot when an artist can pique people’s interests with nothing but a guitar and a voice, and Diamond did just that. Here’s hoping we see him move up a stage or two next year.
The ‘90s fresh Australian hip hop group Downsyde had the crowd going from the very beginning of their set. Starting it off with their earlier hits to get everyone familiar, they continued to pump out their beats with their continuous high energy. For their first show in four years Downsyde have certainly kept their ability to party on stage. Introducing their more aggressive album, Classic Hill, Downsyde kept to tradition by sticking to their familiar lyrics and loops.
Over at the PICA stage, Boys Boys Boys! busted out their infectiously boppy tunes, with synchronised dance moves in tow. This band’s baby-like vocals and colourful outfits might dupe you into thinking you were at a Hi-5 concert, but their catchy hooks and peppy enthusiasm almost instantly set off a dance party that never seemed to stop. As fans were moving and shaking to every single sickly-sweet song, it became clear this was pure, unadulterated pop at its finest.
Retired rock’n’rollers, The Holy Rollers, set a perfect atmosphere at the Urban Orchard stage. Keeping a good energy the Rollers laid down a smooth grunge tone. Reminiscing with the crowd about cassette players and vinyl, Holy Rollers took their fans back in time, reliving those early ‘90s.
Another cult classic, You Am I, had fans filling the WA Museum Grounds, the crowd cheering almost continuously for these crazy classic rockers. Singing along with their top hits Berlin Chair and Heavy Heart, the crowd was once again taken back.
The Urban Orchard stage was oozing with stoner rock when Mt Mountain hit the stage. This five-piece wasn’t afraid to draw out their songs, wringing every last drop of their bass-heavy melodies. Each track was undeniably thrilling; an aural rollercoaster with unpredictable peaks and valleys around every corner.
True to their name Legs Electric were truly electric. Spectators flocked towards the sound of the fuzzy bass coming from the most inspirational women in music since Joan Jett. Legs Electric quickly had spectators filling the PICA stage trying to get front row to witness this all-girl group tear it up on stage. Lead singer Ama Quinsee took control with her powerful rock ballads and growl. These girls are truly taking the music industry by storm.
A sizeable crowd had formed for Urban Orchard’s closing act, The Scientists. Fans clamoured around the stage as the four-piece launched into their opening track, Frantic Romantic. These guys definitely knew how to put on a show, their unassuming rock hitting a stride that so many bands these days can only dream of. It was made abundantly clear how the band attained – and have kept – their iconic status. They weren’t afraid to kick it old-school style, lead vocalist Kim Salmon even taking the time to take a picture of the crowd with an analogue camera.
Festival headliners Birds Of Tokyo had followers quickly packing the stands of the Museum Grounds to hear the Australian favourites rock it out again, opening with an electronic mash-up with crisp rock’n’roll voice of lead singer, Ian Kenny. Although the lyrics were familiar Birds of Tokyo had adjusted their tracks with a synthesiser, creating modern and spacey tones. This worked at times and not in others as it took away the usual rawness of their shows.
After ten hours and 60 bands, the night drew to a close. Punters left still buzzing about their favourite acts from the day. If there was anything to take away from this night, it’s that you don’t have to go far to find some killer music – sometimes it’s right there in your own backyard.
Charmaine de Souza 