Blog — Page 10 of 281

The Rocky Horror Picture Show
Theatre Royal
Sydney, Australia
03 April 2024

The Rocky Horror Picture Show has entrenched itself as a cultural icon, melding interactive cinema, Tim Curry's iconic rendition of Dr. Frank-N-Furter, Richard O'Brien's glam-rock melodies, and a fervent fanbase devoted to cosplay and audience engagement. Returning to Theatre Royal Sydney amidst global celebrations for its 50th Anniversary, the production dazzles with a stellar cast led by Jason Donovan as the magnetic Frank-N-Furter and Dylan Alcott as the charismatic Narrator, offering a captivating blend of spectacle and nostalgia.

The Australian leg of the 50th Anniversary tour follows sold-out successes in Newcastle and Melbourne, reaffirming the show's enduring allure. Donovan's portrayal of Frank-N-Furter, alongside a talented ensemble including Stellar Perry, Deirdre Khoo, and Henry Rollo, delivers a high-energy, immersive experience. Blake Bowden and Daniel Erbacher add depth to their roles as Brad and Rocky, complementing the show's dynamic narrative arc.

Directed by Christopher Luscombe and featuring Hugh Durrant's evocative sets and Sue Blane's iconic costumes, the production maintains the Rocky Horror legacy while infusing new vitality. Nathan M Wright's choreography and Nick Richings' lighting design create a visually stunning and electrifying atmosphere, enhancing classic numbers like "The Time Warp."

Despite the passage of time and societal shifts, Rocky Horror's irreverent charm endures, though some elements may feel dated. The show's enthusiastic audience participation, led by Alcott's engaging narration, injects renewed vigor into familiar scenes. Donovan's playful interpretation of Frank-N-Furter, coupled with Bowden and Khoo's chemistry as Brad and Janet, keeps the narrative engaging and entertaining.

While acknowledging the show's nostalgic appeal, one wonders about its potential for contemporary relevance and deeper exploration of gender and sexuality themes. Nevertheless, this production's infectious energy and spirited performances resonate, affirming Rocky Horror's timeless legacy and its ability to captivate audiences across generations.

In essence, The Rocky Horror Picture Show at Sydney's Theatre Royal is a jubilant celebration of music, mischief, and liberation, inviting audiences to embrace their inner rebels and indulge in a riotous evening of entertainment.

On an unseasonably pleasant Monday evening,  I made the short journey to the city of Norwich in Norfolk for a night of doom metal. A normal Monday evening for me consists of doing the weekly food shop and then falling asleep on the sofa in front of the TV so a deviation from the mundane was largely welcomed. 

Liverpool based three piece doom metal legends Conan formed in 2006 yet this was their first time playing in Norwich. So, a first for us both as this was my first time seeing Conan live. The Waterfront Studio is a smaller room above the bigger Waterfront gig venue so nice and cosy. The gig was sold out as well which is always a good sign. The UK leg of this tour kicked off on the 12th March and playing with Conan as main support were Wallowing from Brighton. Every city or town visited supplied a local opening act to kick the night off.

Our local support band for the night were the awesome Norwich based three piece, Acid Throne. For me, and for the fact that it was a Monday, they were the perfect opening act. Their dark, heavy, booming sound gave the night a promising start. I found them quite serene and zen whilst producing some quality bass heavy doom/stoner metal. Acid Throne have come a long way in a short space of time having won the opportunity to play The New Blood stage at Bloodstock festival a mere 6 months after forming. A little understated in stage presence but their adept attitude and no nonsense approach at their craft is great to watch. Their dual booming vocals add depth but sometimes it was a little hard to differentiate between the two. Their debut album Kingsdom's Death released in November 2023, was produced by Conan's former bass player Chris Fielding, so it makes sense that they should be there. 

Out of all the bands playing this show the only one I had previously seen were Acid Throne.  Conan  are a band I have listened to before and at least knew of them beforehand. The second band of the night, Wallowing, were completely unknown to me. Before they came on, a friend commented, saying that he had heard they were a kind of scfi/experimental metal crossover which peaked my interest. What happened next was a set that you had to see in person to fully get the true experience. Dressed as a bunch of futuristic bee keepers complete with smoke machines and flashing lights, Wallowing, ascended the stage to one of the longest intros I have heard. They are a five piece consisting of drums, bass, guitar and two vocalists with a sampler. Their music is a bizarre combination of avant-guarde/improvisational noise with on stage theatrics and a fuck ton of shouting. Are they pioneers of this interesting crossover? I would say no. Did their music inspire deep existential thoughts and transport me to a higher plane? Also no, but they did have a great stage presence and most of us in the crowd just stood open mouthed throughout their entire set. Perhaps it is because I don't know their songs but it seemed to me like they were a bunch of people all playing an instrument but not necessarily playing the same song. It was all a little bit too freestyle for me interspersed with random shouting and at one point I think one of the singers may have had a break down of some sort. The crowd really did seem captivated by them though and the band were giving it their all. I think the sound tech was having an absolute nightmare. They were fighting a losing battle trying to get the instruments to cut through the noise of the samplers whilst making the dual vocals understandable and more often then not it was just a muddy mess of white noise. I can honestly say that Wallowing are not for me but I am glad I got to experience them live.

After the surrealism of Wallowing it was time for the band we had been waiting for. Conan  hit the stage in style with drummer, Johnny King making the other drummers of the night pale into insignificance... this guy has unbelievable power behind the kit, to the point of distraction. That kit was absolutely hammered yet he made it look so effortless! Being a three piece, guitarist/vocalist Jon Davis and new bassist/vocalist David Ryley flank King on either side so the crowd can experience the whole picture both physically and visually. Conan have been labelled as "caveman battle doom" which is  funny and pretty apt but even so they are more technical then that. Conan are never going to be described as monotone either. The contrast between Davis and Ryley's vocals is just how it should be. To me, Davis has a kind of Ozzy Osbourne/Tony Forests high pitched quality that cuts through the bottom end sound and accentuates the low growl of Ryley perfectly. There is definitely doom/sludge metal elements at the forefront in terms of structure but they also have a huge hint of good ol' fashioned metal too. Their song pace is just that little bit quicker, a bit more powerful and their tracks are around 4-5 minutes which I guess would be considered relatively short. After the muddiness of Wallowing, Conans sound was clear and refreshing to start off with. I think everyone's hearing was giving up by the time Conan were in the last quarter of their set so again everything did start to blend together again but for a while it was great. I'm not hugely up on Conans back catalogue and I am only familiar with a couple of their albums; Revengeance (2016), Existential Void Guardian (2018) and Evidence Of Immortality (2022) so there were a few tracks that I was not particularly familiar with but I did recognise some key tracks, "Volt Thrower", "Levitation Hoax" and "Satsumo" to name a few. 

The whole set went down incredibly well with the sell out crowd who were a mix of early twenty somethings to us oldies over forty skulking around in the background. A mosh pit activated almost as soon as Conan hit their first chord, before that it had been non existent which I am blaming on the fact that it was Monday, Acid Throne were quite chill and no one had a clue what to do for Wallowing so it was kind of a relief to see some movement! A few brave souls fashioned a circle pit of sorts and heads were being banged in various stages of enthusiasm throughout their set. The band certainly seemed to enjoy their first show in Norwich and stood at the door to thank patrons for coming and talk shop. The merch stands were reasonably priced and there were a lot of really awesome hoodies, t-shirts, posters and CD's to take home. I think the line up complemented each other well and we as the crowd experienced something unique with it being Conans first Norwich show and who they brought with them. I think this was my favourite Monday night of this year. 

Alkaline Trio are back on the road supporting their new album, Blood, Hair, and Eyeballs, and they've brought along pop-punk act Worriers and hardcore quintet, Drug Church. The tour is starting things out in So-Cal and had the opportunity to catch the show in San Diego!

Worriers walked out and blasted into "Big Feelings" from their third LP, You or Someone You Know. With the release of their newest album late last year, most of the set was occupied with tracks from Trust Your Gut, including "Hold My Breath," "I'm Not Mad," "Backyard Garden," their latest single "Top 5" and the title track. They still threw in a smattering of old songs including "They/Them/Theirs" from Imaginary Life and "Future Me" from Survival Pop. The combination of punchy chords, catchy hooks, and Lauren's unique vocal timbre resulted in a warm and inviting energy to the room that kept the audience entertained.

Next up were Drug Church. I'd been familiar with the name for years, but have never actually listened to one of their albums. Up until recently, admittedly, they've been a band I got confused with Gouge Away and Culture Abuse. Don't ask me why. This was my first real exposure to them and I was blown away. Despite being the support act, for a very different type of band, frontman Patrick Kindlon still managed to connect with the crowd. He danced across the stage, declared the barrier as being "imaginary" and invited fans to make their way to the stage. If the bouncers thought they were going to have an easy night, they were sorely mistaken as a steady stream of crowd surfers started to make their way to the band.

Next up were punk vets, Alkaline Trio. They opened the set with their new album opener "Hot For Preacher" before jumping back to their breakout single, "We've Had Enough." The energy from Drug Church carried over as a slew of people began crowd surfing. Newcomer on the tour is drummer, Atom Willard, who's filling in after long-time drummer, Derek Grant decided to step away from the band. While the overall feel of some songs was different, Atom did well to fill Grant's shoes.

Alkaline Trio decided to shake up the setlists this go around, abandoning some setlist staples for years like "Private Eye," "Cringe," and "This Could Be Love." They rotated in some songs that haven't been played in years like "Dine Dine My Darling," "Burned is the House," and "Fuck You, Aurora." The setlist change could be felt throughout the room, for better or for worse. On the one hand, it gave long-time fans a chance to experience some songs they may not have had a chance to see in the past, but on the other hand, the crowd wasn't singing as much during some of the deeper cuts. The band continued to try out new tracks like "Break," "Versions of You" and "Bad Time" while working in classics such as "Mr. Chainsaw," "Goodbye Forever" and "All On Black."

They closed out the set with "Teenage Heart." When they came back for their encore, they went into "Time to Waste" and long-time fan favorite and closer, "Radio." The loud chorus of fans during the song's "I've got a big fat fucking bone to pick with you my darling" sing-along was something that you could sense the crowd had been anticipating all night. If they had to trade out any staples, it's fortunate that "Radio" didn't make the cutting room floor.

Although there were some early tour hiccups, or as Skiba described it, "dusting off the cobwebs," they still sounded great! They're finding their chemistry with Atom Willard and giving the fans something different this tour. The entire line-up is varied and something special, and it's not a tour to miss. Catch it when it comes through your city. 

Dinosaur Jr
Enmore Theatre
Sydney, Australia
21 February 2024

Dinosaur Jr brought their electrifying presence to Sydney's Enmore Theatre, delivering a performance that left enthusiasts of all ages buzzing with excitement. The atmosphere crackled with anticipation as the band graced the stage for a series of unforgettable shows, centred around the beloved album 'Where You Been's 30th anniversary.

Lead vocalist J Mascis ignited the evening with his characteristic grin, setting the stage for a night brimming with raw energy and unbridled passion for their music. The band swiftly found their groove, eliciting cheers and laughter from the gathered audience.

As they plunged into crowd favourites like 'Start Choppin' and 'Hide', it became apparent that this was more than just a concert—it was a jubilant celebration of Dinosaur Jr's musical legacy and the lasting impact of their artistry. The crowd was fully engrossed, with distractions from phones or idle chatter kept to a minimum, allowing everyone to become fully immersed in the sonic experience.

Lou Barlow's nostalgic reflections on the venue's history added an extra layer of sentimentality to the evening, serving as a poignant reminder of the band's transformative journey over the years. From their humble beginnings to their current status as revered icons, Dinosaur Jr's evolution was laid bare for all to witness, underscored by their effortless performance.

As the evening unfolded, Dinosaur Jr continued to enrapture the audience with their timeless hits and infectious energy. Tracks like 'Feel The Pain' and 'Forget The Swan' had the audience singing along with gusto, reaffirming the enduring appeal of the band's music.

Following a riveting encore featuring 'Freak Scene' and a heartfelt rendition of The Cure's 'Just Like Heaven', it was abundantly clear that Dinosaur Jr had delivered a performance for the ages. The band's ability to transcend generations and genres was on full display, leaving attendants of the sold out show feeling both exhilarated and nostalgic.

Tool have just rounded out their US tour. The band has been on the road since mid-January (October if you count their first North American leg last year) and finally made their way to California. I was fortunate enough to catch them in Ontario at the Toyota Arena.

Opening for the tour has been the Doom-Metal band, Elder. The four-tet did well to warm up the crowd with just 3 songs that spanned a 30-minute set. Tool took to the stage at 8:30 and walked out to the sound of "Third Eye" before opening with the title track from their latest album, Fear Inoculum. Behind them, a large LED screen projected a round table of imagery that had you feeling like you were traveling through quasars in space to the depths of hell.

The light show and video projections became more elaborate as the show progressed and they continued to play through notable tracks like "Jambi" from 2006's 10,000 Days and the second single from their latest album, "Pneuma." Lasers streamed across the arena, the lighting rig above the stage dropped to form new light displays, and a septagram that hung above the band rotated and swiveled with its own set of lights.

Early on in the show, Maynard James Keenan made note of how the show almost didn't happen due to him having been sick, but his voice never faltered and he delivered a strong vocal performance despite being ill. When the time came for them to play their classic, "Schism," they accompanied the track with a projection of the song's haunting music video.

Following the performance was a brief intermission that allowed fans time to go to the bathroom, get drinks, or go on their phone (since the show had a strict no-phone policy that could result in removal from the show if caught taking photos or video). When the intermission came to a close and the lights blacked out, a spotlight hit Danny Carey standing next to a gong and wearing a leotard that displayed human muscle and flesh similar to the cover of Lateralus. He performed a solo on the gong before jumping onto his kit to give an awe-inspiring performance of "Chocolate Chip Drip." The projection now showed a first-person view of Danny playing the drums while adding a bit of psychedelia. Confetti fell during an intimate performance of "Culling Voices" and before announcing their last song of the night, "Stinkfist," Maynard permitted fans to pull out their phones to take pictures if they wanted but to ensure that they kept their lights off. If they couldn't figure out how to turn off their lights, then to "ask a 9-year-old next to you."

I've never seen Tool before now, but they set a bar for an engrossing artful performance that left me very impressed and eager for more. The visuals were bizarre and beautiful and something I compared to watching the movie, The Cell with Jennifer Lopez. The work and art that went into the entire show made for a memorable show. Tool will be heading to Europe in late Spring, and I encourage you not to miss the show.