Blog — Page 10 of 283

Iron Maiden
Qudos Bank Arena
Sydney, Australia 
12 September 2024

Essentially, what eventuated tonight transformed Sydney's Qudos Bank Arena into a grand amphitheatre of metal might as Iron Maiden stormed the stage, delivering a performance that felt like the awakening of a sleeping giant. 

Killswitch Engage, the evening’s opening act, took the stage with a ferocity that ignited the crowd like a spark in dry brush. Their high-octane set was a whirlwind of metalcore, their powerful presence creating a maelstrom that had the audience’s adrenaline pumping. The band’s cover of Dio’s “Holy Diver” was a fitting tribute, though the metalcore twist might have been a polarizing choice. Despite the tough crowd, Killswitch Engage’s relentless energy and dedication earned their place in the night’s lineup.

Iron Maiden prepared to make their entrance, the atmosphere in the arena became palpable, like the calm before a storm. The haunting echoes of UFO’s “Doctor Doctor” played over the PA, a prelude to the mayhem that was about to unfold. The lights dimmed, and a surge of anticipation rippled through the crowd as the Blade Runner theme song filled the air, signalling the imminent arrival of the legendary band. When the intro to “Caught Somewhere In Time” blasted through the arena, it was as though a bolt of lightning had struck, electrifying the audience and setting the stage for the night’s grand performance.

Iron Maiden’s setlist blended old and the new material. They navigated their extensive catalogue with the precision of seasoned mariners, steering through classic tracks from Somewhere in Time and the fresh waves of Senjutsu. 

Bruce Dickinson, the charismatic captain of this metal voyage, commanded the stage with the authority of a maestro, guiding the audience through a journey of sound and spectacle. His tales and interactions with the crowd added a personal touch, not unlike a storyteller weaving threads of mythology into a grand epic.

The night’s performance was a symphony of metal, with Iron Maiden’s stage presence as the orchestra and Eddie, their ever-present mascot, as the dramatic centrepiece. 

From the energetic “Can I Play with Madness” to the soaring heights of “Heaven Can Wait,” each song was a chapter in a larger story, unfolding with the grandeur of a classic saga. Eddie’s appearances, whether as a menacing figure or a playful icon, added layers of drama and visual flair to the evening’s narrative.

As the concert neared its climax, tracks like “The Trooper” and “Wasted Years” served as the powerful denouement to the night’s epic tale. The crowd, caught in the whirlwind of Iron Maiden’s performance, was left exhilarated and satiated, having witnessed a masterful display of metal artistry. The band’s ability to blend their storied history with vibrant new material ensured that the night was both a tribute to their past and a glimpse into their future.

Summa summarum, Iron Maiden’s Sydney show was a celebration of metal that combined musical prowess with theatrical splendour. The evening stood as a testament to their enduring legacy and their unparalleled ability to craft an unforgettable experience, proving once again why they are titans of the genre.

I think I've lamented on this in the past, but one thing I really miss about the tape/cdr era is mixtapes. Playlists offer something similar, fortunately, so I can keep it going when I want to mix things up from writing reviews.

This list collects a bunch of stuff I've covered/discovered through Scene Point Blank, plus a couple additions that just hit the mood forever reason lately.

If you find something here that you enjoy, search our archives to learn more. #obligatorysellingpoint

The Gaslight Anthem are out on the road in support of their newest album, History Books. For the west coast leg of the tour, they've brought along The Dirty Nil and Joyce Manor. I was fortunate enough to make it out to their show in Anaheim at the House of Blues and it wasn't a show that should be missed. 

Opening the night was The Dirty Nil. The band has been around for nearly 2 decades and despite having seen them in the past with Against Me!, this performance was a refresher. The Dirty Nil came out with confidence, energy, and showmanship. The band is also currently supporting an album they released last year entitled, Free Reign to Passions, which occupied most of their set with tracks like "Nicer Guy" and "Celebration."

Next up was Joyce Manor. This band never ceases to amaze me. They've built up such a dedicated fanbase by consistently churning out Powerpop/Pop-Punk powerhouses in under 2 minutes, which is hardly enough time to hold someone's attention, but they've been doing it for 16 years. This was kind of a pseudo-hometown show for them, and the fans came out in droves! In celebration of the 10th anniversary of their 3rd album, Never Hungover Again, the band ran through 80% of the record and still had time to play another 12 songs that spanned their entire career. With tracks from their latest album, 40oz. to Fresno like "Dance With Me" and "NBTSA" to back to their first song "House Warming Party."

It was finally time for The Gaslight Anthem. The room went dark and a display of giant books lined behind the stage started to glow. The band walked out and jumped into Handwritten's "45" backed by the title track before jumping into the '59 Sound rager "The Patient Ferris Wheel." The set had a cool down with "The Weatherman" and "History Books" before boastful renditions of "Here Comes My Man" and "Bring it On." 

Gaslight continued to run through songs throughout their catalog, including older tracks "Blue Jeans & White T-Shirts" from their EP, Señor and the Queen (and was recently re-recorded for their History Books - Short Stories EP) and "Wooderson" from their debut album Sink or Swim. Rather than opting to walk out and do the whole encore gimmick, Fallon announced they had a couple more songs left. The band and audience gave everything they had left, including a fan with crutches who decided to crowd surf during "Great Expectations" resulting in a lively response from Fallon. Gaslight closed out the night with the 2008 hit, "The '59 Sound."

It was a night chock full of rock and roll, celebration, and excitement. If you have a chance to catch The History Books Tour, I encourage you to do so. All bands were firing on all cylinders. Gaslight sounds better than they have since before their hiatus. Joyce Manor will always be a fun time and The Dirty Nil bring a special brand of rock performance to the show. Don't miss it!

Hot Water Music have been on the road celebrating 30 years and they've brought along Post-Hardcore vets, Quicksand. Joining the final leg of the tour was Avail's Tim Barry opening the show. It's a killer line-up that's likely to appeal to fans of any band on the bill, but at the end of the day, we're here to commemorate Hot Water Music's three decade long career. That was not something I wanted to miss when the tour rolled through Southern California.

Tim Barry's been soloing since Avail's initial hiatus in 2007. Just traveling with nothing more but his guitar and love of life. He ran though a number of tracks from his first album, Rivanna Junction like, "Avoiding Catatonic Surrender" and "Church of Level Tracked" and "This November" from 2008's Manchester. Fans sang along to nearly every word, and it was clear how appreciative Barry was to have such a response after having not toured the West Coast in awhile.

Next up was Quicksand. Walter Schreifels has had a busy year bouncing from Rival Schools, a Gorilla Biscuits show here and there, and now bringing Quicksand back out... and he doesn't miss a beat. The band opened with "Omission" from 1993's Slip and ran through tracks from 1996's Manic Compression like "Thorn in My Side" and "Brown Gargantuan," as well as their latest release, Distant Populations. They seemed to ignore 2017's Interiors. After all these years, Walter still continues to hop around the stage and lose himself in the music while Vega can still make the walls shake with his signature deep bass tone.

It was time for Hot Water Music to hit the stage. They launched right into the set with Caution's "Remedy" before breaking out "Menace" from their new album Vows. There were a few surprises in the set, like "Alachua" and "Freightliner" from Fuel for the Hate Game. This was my first time seeing them with Chris Cresswell from The Flatliners. It was a different experience from seeing Wollard. As wonderful as it is for Hot Water Music to be celebrating 30 years as a band, Wollard's presence was greatly missed from such an occasion. However Cresswell's energy and passion fills the role well.

Fans of Avail will especially not want to miss this tour. Hot Water Music ended the night with a cover of Avail's "Simple Song" with Barry on vocals. Living on the opposite end of the Country from Richmond, Virginia, this is the closest Ive gotten to seeing Avail after I missed their last official tour in 07. The crowd went all out for what might be the only chance they'll get to hear Barry do an Avail song without traveling. Hot Water Music may be celebrating 30 years, but they still play like their in their 20s. They've got something for every era of fans on this tour. From classics like "Turnstile" and "Rooftops" to later career tracks like "Drag My Body" and "Turn the Dial." Most exciting of all though, after 30 years, they're still putting out music and getting out there to promote their newest, Vows. Grab a ticket and pay your respects to one of the best and most real punk bands to ever do it.

Gypsy Punks, Gogol Bordello, are doing a short run of dates along the US West Coast, and made a stop at Santa Ana's Observatory for the Casa Gogol tour -- named after frontman, Eugene Hütz's new label. They've brought along new signees, Mary Shelley and Grace Bergere.

As Mary Shelley took the stage, Hütz walked out to introduce this curious group of individuals garbed in hospital gowns and nurse uniforms. The member that took center stage was even in an orthopedic boot, which gave me the initial reaction that this person was probably in pain as they were about to play with a broken foot. They opened with a somewhat subdued track. Slow and thumpy. It wasn't until the second track, that things got interesting. The singer put down the guitar, pulled off his orthopedic boat, and spiked it into the stage while the rest of the band went into a post-punk/garage-rock number. Consider me surprised at the lack of a broken foot. Completely fooled me. Now he's dancing around and giving an uncontrollable performance. Throwing a little theater into your punk rock performance is always appreciated. The band continued to wow me with their energy and antics. The band has a new album coming out on June 14th entitled Bloodhounds, and I'm excited to check it out.

Next up was Grace Bergere. Once again, Hütz came out to give an introduction. The singer-songwriter presented a much different vibe from Mary Shelley. She was more indie/folk-rock with a restrained and somber performance. She only has a few songs available to stream at the moment, but they're worth a listen. Despite seeming like the outlier of the tour, her style of songwriting has the slightest hint of cabaret that manages to fit in with the rest of the tour.

It was finally time for Gogol Bordello. Right out the gate, they kicked things off with "Sacred Darling" from their first record, Voi-La Intruder. The stage was chaos. Pedro Erazo is dancing up and down the stage. Hütz is waltzing across the edge as he connects with the audience. The band continued playing tracks from their break-out hit, Gypsy Punks, like "I Would Never Wanna Be Young Again" and "Immigrant Punk." The entire show felt like a celebration. Fans were wailing from the floor and losing themselves in the music. Hütz never gave less than 100 percent as they continued to play through tracks like "Wonderlust King" and "Trans-Continental Hustle."

While they ignored 2 of their later albums, Pura Vida Conspiracy and Seekers & Finders, they didn't shy away from their latest release, Solidaritine. Puzzled Panther members Victoria Espinoza and Kay Bontempo joined Gogol Bordello for their track "Fire on Ice Floe" as well as their joint single, "From Boyarka to Boyaka." As the set started to wind down, they took a moment to pay their respects and dedicate their performance of "Mishto," to the late great Steve Albini -- who produced Gypsy Punks. And of course, no Gogol Bordello set would be complete without their boisterous, "Start Wearing Purple."

The band returned for their encore and went straight into a cover of Sex Pistols' "Bodies." After lamenting over missing the celebration of the 40th anniversary of Agnostic Front's Victim in Pain, Hütz went into an acoustic cover of the title track. They closed out the night with their cover of Angelic Upstarts' "Solidarity," which the band released digitally with Bernard Sumner from New Order this past Fall to raise awareness and funds for the Kind Deeds organization.

Gogol Bordello are finishing their short little West Coast run at Punk Rock Bowling this weekend. Over the Summer, they will be heading to Europe and The U.K. before coming back to the US in the Fall. Don't miss the party if they come to your town.