Tag: alternative

VIDEO: Regurgitator – “One Day”

This video really really creeps me out, but also makes me laugh a little bit.

Have you ever had the urge to just go into a room, cut up all these body parts, do a voodoo dance, then watch as the limbs and intestines move across the floor and merge together to form some giant monster thing, which then subsequently eats you, and then you escape by forcing your way out of its stomach? ‘Cause I sure know I have. I get that urge all the time.

This is the first single from their latest album, SuperHappyFuntimesFriends, which I only discovered today that you can download for free! Well, it’s “name your price”, but if you’re a poor uni student such as myself that may equate to “free”. I rationalise it by the fact that I’m gonna go and see them live on Sunday (you should probably check out the tour dates as well – MusicFeeds have them all over here). Anyway: you can get the album here if you want.

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Posted on by Jeremy 0

LIVE: The Streetlight Parade, live at The Phoenix, Canberra (04-08-11)

Two gigs in as many nights? I know, I need to slow down right.

Last night I adventured down to The Phoenix in Canberra with some friends who were keen to catch The Streetlight Parade (I caught the end of the previous band, and missed Crash The Curb afterwards). They were on second and were met with rapturous applause and a few screams (well, it was rapturous compared to the size of the room alright? It’s a small club). Their welcome was well deserved, because they certainly put on a great little show.

I can’t fault them for not jumping around there or seeming energetic, ’cause the stage there looks pretty restricting, but they definitely looked like they were enjoying themselves. Their style of rock was filled with lots of catchy guitar hooks and giant choruses, and they really know how to write a good melody or two. Imagine these light, quick guitar fills that really flesh out the songs and hold it all together. Keeping it simple, it’s memorable, joyful indie rock at it’s best. And it was so good that the crowd kept them up there for an encore – an encore of a song they’d already performed. No one cared though, because the song was cool as hell, and the band clearly were having fun. That kind of attitude is infectious when it comes to performing.

I’m looking forward to seeing these guys move up and up in the Canberra scene, and hopefully make it bigger as well. They seem to have the song-writing skills to get there.

Grab some of their free music over here.

Posted on by Jeremy 1

LIVE: Kaiser Chiefs, live at the UC Refectory, Canberra (03-08-11)

It was always going to be an interesting night. Only being familiar with singles from all three acts on the night meant that, in a sense, I was going in blind (or deaf). Which was kind of exciting.

In comparison to the Chief’s Sydney and Melbourne sideshows, which I’m sure will sell out, Canberra’s reception for the international band seemed a little lukewarm at first. Word from one of the event organisers, before doors opened, was that around 600 tickets were sold, and my friend and I (who both arrived an hour before doors to get a good spot) were the only ones there for quite a while. Which surprised me, to be honest. But we were the first ones in, so I can’t complain.

First up were Stonefield, and they showed everyone exactly why they’re starting to make waves in Australian music. Although they didn’t appeal to me stylistically, there’s no doubt that their playing was tight. Their brand of early rock was huge and expansive, filling the Refectory, and they did a good job of getting people excited, especially considering their job was to support Kaiser Chiefs. Vocally, all four girls had lots of talent, and I think if they continue playing that well, along with solid touring, they’ll develop a very strong fanbase.

Next up were Papa Vs. Pretty. These guys have been getting a fair bit of support from triple j lately, and their live show is a good indication of why. Thomas Rawle’s voice really shone on single “Heavy Harm”, and from then onwards, their set seemed to get better and better. They manage to move musically between lighter, melodically diverse moments, to harder, crashing rock, in mere moments, and there was no doubt that they put all of their energy into the set. Unfortunately, whether it was my position in the crowd, or the sound set up, it felt as if the music wasn’t very clear during a few points. Ultimately though the band played well, and like Stonefield, have the potential to get much bigger. While I think Stonefield are more likely to satisfy a niche audience in comparison to Papa Vs. Pretty, both bands were excellent as supports.

By this time the Refectory was actually looking quite full, which was a nice feeling. Canberra doesn’t get many international acts visiting, so I feel it’s important that when they do come out, we encourage them to come back. The compulsory chants started, and then we got a couple of minutes of some pre-recorded jam playing while lights flashed. It was pretty exciting, even if it was a less conventional way to see a band come on stage.

Starting off with “Everyday I Love You Less And Less”, the band wasted no time in launching into a series of some of their most popular hits. Despite this, the mosh was surprisingly tame for the whole night, which was actually quite nice. Second row and not being pushed around? Sounds good to me.

Frontman Ricky held the band’s performance together in terms of stage presence. Leaping all over the place, he proved to be a gigantic ball of energy throughout the course of their set. Seriously, solar power? Wind power? Screw it, just get this guy on a treadmill and we’ll be fine. Drummer Nick Hodgson also put a huge amount of energy into his playing, however both guitarists looked a little bored. That said, I can’t fault the band’s playing one bit at all. I probably only knew just over half of their set, but what I knew sounded spot on.

On top of that, the band (and Ricky in particular) definitely know how to engage a crowd. Standing on the barrier a few times and encouraging everyone to sing along during certain moments (which there were plenty of), the band really showed everyone why they are big enough to tour internationally – whether or not you love their music, they really are entertaining.

Their set consisted of every single I knew (and one I’d forgotten I knew), with the notable exception of “Na Na Na Na Naa”. I also heard new songs from The Future Is Medieval that I liked, so all in all they really know how to please a crowd and balance out their material, which becomes an important skill to have when you’ve written four albums.

It’s a shame some of the other band members didn’t seem so enthusiastic, but maybe that’s their playing style. Kaiser Chiefs brought down the Refectory with their infectious rock, and I hope their show encourages more bands to do the same, because it was a great night at a venue with lots of potential.

Some of the photos courtesy of Nick Beecher.

Posted on by Jeremy 0

REVIEW: Tim Fitz – “Infinite Space” EP

I don’t have many concrete facts to give you regarding this EP. It arrived in my inbox without a press release, and with only the most basic of information: Tim is 21, lives in Sydney, and wrote, played, and produced the whole release at his home. If you ask me, that’s quite an impressive feat giving how good it sounds! As an aside, let this be an important lesson to any PR types: long, convoluted press releases full of spin will not make me want to listen to your music more. I’m more likely to listen to your music if it’s good. Tim Fitz is proof of this.

The first track “Disposable Youth” opens the EP magnificently: tinkling pianos and thundering drums give way to a tremendous crescendo as the song builds. If you try one song, “Disposable Youth” should be it. The percussion in “Helplessman” sounds so glitchy and unpredictable, and the acoustic ditty “Box” feels so laid-back. This is a diverse EP, and it’s all the better for it.

All up, Infinite Space is quite short, clocking in at just over 12 minutes, but this is one of its best attributes because it just works. The songs don’t drag on, and the timing feels right. The release moves and adjusts so seamlessly, changing stylistically on a regular basis. After listening, you’ll notice it’s incredibly difficult to pin-point any one sound or pigeon-hole the release. It’s also refreshing to have such a short and diverse collection of songs, and it’s amazing how much is crammed into such a small time frame. Tim’s voice sounds great, and he could easily escalate out of the whole “bedroom musician” niche. However, an artist’s live show can be a large part of that transition, and I’ve got no idea where that stands right now.

Regardless, this is some great music from someone who does everything themself. It’s a brilliant testament to the things musicians can create without a label backing them. If you have a passion for it, if you want it badly enough, then you can do it: Tim Fitz is living proof of this. Infinite Space is a great release, and trust me – you have time to listen to it and to give it a go. Enjoy it and be inspired by it, because that’s what it will do.

Grab Infinite Space EP over here from Bandcamp (you can name your own price).

Posted on by Jeremy 0

NEWS: New Kaiser Chiefs album!

The internet has certainly opened up more opportunities for bands to release music on their own terms, which is a brilliant thing. But I’ll admit, I never would have thought something quite this strange or out there would happen.

Kaiser Chiefs have just released their latest album, The Future Is Medieval, and it’s a fan-made album. A huh what?

Basically, you pick 10 of the 20 songs Kaiser Chiefs have made available, put them in order, then design the artwork. After which you fork over £7.50 and download your new album.

Now here’s the really interesting bit. For every version of your album they sell, you make £1.

At first I thought “Well, lots of fans are going to have to buy two copies of the album now – that’s a bit harsh”, but the last bit of information spices things up a bit. Kaiser Chiefs are letting other people make money from their music! I’m not sure I’ve ever seen that concept before.

If you feel like making your own album, or buying someone elses, jump over here and check it out. It’s a pretty neat idea.

And for all of you huge Kaiser Chiefs fans out there, or people who simply want all of the tracks, here are links to two albums which put together comprise of all 20 songs: Album One and Album Two. Downloading all 20 and re-ordering them over time sounds like the way to go I reckon.

Posted on by Jeremy 3

LIVE: Mind Over Matter, live at the ANU Bar, Canberra (07-04-11)

Coptic Soldier and Johnny Utah.

I Forget, Sorry! can be credited for really broadening my interest and faith in hip-hop. The Australian based collective create some brilliant, innovative music that deserves much more attention than it’s currently receiving. I’ve been a fan for quite a while, and recently I was lucky enough to catch a few of them live on Mind Over Matter’s Just Like Fireworks tour.

My friend and I arrived at the ANU Bar a bit before 7. The place didn’t look incredibly lively, but by the time the first supports took to the stage there were a few people wandering around. Unfortunately I think Illy playing a show the next night may have had a small effect on the turnout, but everyone looked like they enjoyed themselves throughout the night. Even if they’ve probably played to bigger crowds before.

If I’m blunt, I don’t remember a whole lot about some of the local supports. That’s not an insult to Canberra’s hip-hop scene (if there is one – I’m new here), it’s just they didn’t grab my attention and I was hanging out with a few mates. Although I do remember a duo called Domesticated Apes. Their songs got better towards the end of the night, although a few were hit and miss. Repeatedly saying “Sh*t C**ts” over and over didn’t do much for me to be honest.

I think it was about 9.30 or so before Coptic Soldier and Johnny Utah came on. To say the least, I was a little excited. Johnny Utah’s EP The Welcoming Party was a solid release, and I love Coptic’s acoustic stuff I’ve heard lately. At any rate, these guys have been a part of my hip-hop diet for almost a year now, and I was pumped to see them perform live. They did not disappoint.

Coptic Soldier and Johnny Utah (with Count Effectz DJ’ing)

That night was the first time Coptic and Johnny had performed live together, and I was incredibly impressed. The interplay between the two was great. Playing tracks they would normally perform individually, each knew the right moment to jump in and the right moment to hang back. As a result, the older songs sounded collaborative and fresh, but didn’t take anything away from the original.

The duo went through tracks from Johnny’s debut EP and Coptic’s The Sound of Wings. We even got to hear “I Hate Sleep” from The Sound of Wings 2, the acoustic release (which you should all buy by the way! – acoustic hip-hop sounds brilliant. I’ll have a review up soon). I was lucky enough to hear some of Johnny’s new songs too, which will hopefully feature on his debut album Handful of Gravel. They sounded brilliant, and I’m keen to hear the studio versions.

Coptic Soldier and Johnny Utah were a great support act, and despite the fact they didn’t have a live band like Mind Over Matter, they energy they put into the performance was amazing. Great songs performed by great musicians, with enough energy to get everyone pumped up. Count Effectz was DJ’ing for them and did a great job as well. Seeing these guys was a highlight of the night, and has only reinforced my belief that I Forget, Sorry! deserve more attention across Australia.

Mind Over Matter

Next up Mind Over Matter came on stage, and the crowd reacted incredibly well. I haven’t heard Just Like Fireworks yet, although I’ve heard good things about it. After seeing them live, I’m convinced I’ll enjoy it. The songs they played had amazing hooks and sing-a-long choruses (see “Be A Pirate”), and everyone really got into it.

The addition of a live band did the set wonders. Ernst Carter Jnr’s back-up vocals were amazing and added a whole new dimension to the songs. It really did sound great, and the live bass and drums gave the whole act more stage presence. Everyone had more to look at, and the way it all meshed together is a testament to their talents and preparation.

The general consensus from the media is that Mind Over Matter have really launched themselves into the Australian hip-hop scene with this album. Their live show reflects this in a way that you have to see to understand. I thought they were going to play longer, but I think noise restrictions came in or something. At any rate, they put on a great show, and for $10, I think everyone felt like they got more than their money’s worth.

Mind Over Matter

It’s a pity that brilliant artists like the ones that performed all night aren’t getting the recognition or airplay they deserve. I could go into a large rant about support of Australian musicians, but it’d detract from the review. Suffice to say, like Coptic and Johnny, Mind Over Matter put on an incredibly entertaining and engaging show. In my case, familiarity with the songs means that I personally enjoyed Coptic and Johnny a tiny bit more. In some cases familiarity can go a long way, but Mind Over Matter buck that trend. Despite the fact I knew only one or two songs they played, their show emphasised their talent as live artists, and these days that talent can be quite rare.

I Forget, Sorry! are a brilliant collective. Download the free mixtape I put together last year and give them a go.

Don’t forget to get over here and check out the rest of their dates. You should definitely head along.

Posted on by Jeremy 0

REVIEW: Various Artists – “Triple J Hottest 100 Volume 18”

2010 was a great year for music. We were lucky enough to get some amazing releases from bands like The National, Dead Letter Circus, Los Campesinos!, Birds of Tokyo, and Delphic. The Australia Day of 2011 reflected this, with what I thought was a fairly solid count-down. More importantly it also reflected a great year for Australian artists, with 51 spots taken out by some of our best talent. Australian artists even took out 4 of the top 5 places, and although I don’t quite like “Big Jet Plane”, I’m proud that Australian musicians have worked their ways into the hearts of so many voters.

What this means is that there wasn’t too much room to go wrong with the latest Hottest 100 compilation. Some Hottest 100’s have been a bit hit and miss, but the latest offering features tracks from  some amazing musicians. It includes some of the most popular artists of the year: Cee Lo Green, The Wombats, Arcade Fire, Adrian Lux, and more! And in all honesty, without name-dropping, I probably only dislike 3 or 4 tracks across the two discs. In my world, for a release with over 40 songs, that’s excellent.

This is one of the best Hottest 100 compilations I’ve listened to, and it’s a testament to triple j and their commitment to music that is not only good, but also Australian. Their support of Australian artists is shown in the poll results, and I’m proud to listen to a station with such a passion for local talent. No other station does this better than triple j (and sadly, I don’t think many other stations care).

Volume 18 is a brilliant compilation of some of the best tracks from 2010. It’s a snapshot of a musical year, and it’s worth buying: you’ll definitely get your money’s worth.

Posted on by Jeremy 0

LIVE: Karnivool, live at The Metro Theatre, Sydney (01-07-10)

Karnivool #5

One week ago, I embarked on a journey of epic proportions. Joined by one of my best friends and my dad, at approximately 8 o’clock in the morning we began a 7 hour drive to Sydney to see one of my favourite bands ever: Karnivool.

Doors at The Metro Theatre were set to open at 8pm, and not wanting to miss the opportunity to be up against the barrier, we lined up 2 hours early. Around 5 minutes after lining up, looking down the alley beside the Metro, who do we see but the one and only Ian Kenny! Deciding to take the chance while we had it, my friend and I walked up to him to see if we could get a photo before the gig. At first I wasn’t sure how he’d react – musicians such as himself must get asked for photos and approached by fans all the time, and it would probably get tiring. But he was the nicest guy, and was only too happy to have a quick chat and take a photo. It really made the night, getting to meet a musician from one of my favourite bands.

After that, we returned to the line outside the Metro. We were still basically at the very front, and the next 2 odd hours were spent chatting with a couple of people in line with us and a security guard (who by the way was one of the coolest security guards I’ve ever met).

The clock hit 8 and we all waited with anticipation for the doors to finally open. It took them about 10 minutes to let us in, and we walked (albeit very quickly) up the stairs to hand in our tickets and make our way inside.

Gay Paris #1

The first support act, Gay Paris, were on at about 8.30, so we didn’t have long to wait for some entertainment.

Initially, I had my doubts about Gay Paris. I checked out some of their demos and wasn’t terribly impressed, but their live show was something a bit more special. The lead singer’s style was out there, to say the least. Jumping all over the stage, talking with the audience, telling stories, rolling on the floor – it was all a bit odd, but it was interesting. He put a whole tonne of energy into it and it paid off. The guitarist I was closest to kept pulling surprised faces every so often, and did some awesome jumps during the tenser moments in their set.

In an instrumental sense, their material is full of loud rock hooks and quasi-punk-rock drumming, and it really does sound pretty good. The vocal lines consist primarily of deep growls, making most of the lyrics unintelligible from my perspective, but if that’s your thing then you should check these guys out. All in all, they put on an energetic show, and looked thrilled to be supporting someone as relatively big as Karnivool. So kudos to the guys for being interesting and warming everyone up – you did a great job.

MM9 #5

Next up were electro-rockers MM9. I was pretty excited to see these guys, having heard about their solid reputation when it comes to live shows.

They ended up being pretty entertaining. For those of you unfamiliar with them, they’re like a rockier version of Pendulum. The lead singer stood behind what looked like a small keyboard and a Mac, occasionally standing away from it and singing directly at the audience. The drumming was top notch, and was clearly tough work. The drummer had sweat pouring off his face by the end of the set.

Apart from a few troubles the guitarist had at one point, the set was flawless (as far as I could tell) on a technical level. It sounded good, and they interacted with the crowd, getting us all to sing along at a few points.

MM9 have recently released their debut “The Air Between”, and it sounds like they could begin making some bigger waves very soon. Keep an eye on them.

By this point the crowd was brimming with excitement. With each support act the mosh was getting more and more lively. With the curtains drawn over the stage, and the Karnivool guys doing a quick little sound-check to make sure everything was in order, everyone was getting fairly pumped.

The curtains opened, and we were given an empty stage. Everything was in its place. All we needed was the band. Then they came out.

Karnivool #9

The reaction from the crowd upon their entry was to be expected. It was enormous. This was the moment we’d all been waiting for.

Coming out on stage, Karnivool launched into the lead single from their latest LP “Sound Awake” – “Set Fire To The Hive”. And what a fitting beginning it was. The raw energy behind the song was matched only by the energy inherent in the audience’s enthusiasm. It felt like at least half of the mosh pit was singing along to every single word.

Karnivool then moved onto the rhythmically changing “Goliath” and LP opener “Simple Boy”, which saw guitarist Mark Hosking pick up a pair of xylophone mallets for the distinctive opening melody.

Karnivool #14

Everyone’s performances on the night were amazing. Drew Goddard’s extensive pedal set-up allowed him to recreate the majority of the studio sounds in a live environment, and when a band puts on a performance that’s so good you can hardly tell the difference between them and a CD, you know they’re something special. Ian Kenny’s vocals were amazing, and did not disappoint one bit. Jon Stockman’s bass playing was energetic and ferocious, yet still accurate. Though Mark Hosking was over on the opposite side of the stage to where I was, I couldn’t fault anything I heard, and Steve Judd’s drumming was superb, handling every time signature change and rhythmic nuance like the expert he is (I’m not sure why he had a plush bee on his drum kit, but it was cool none-the-less). In a sense I expected all of this. Karnivool are widely renowned for their live performances, and it really was a sight to behold, seeing 5 extremely talented musicians up on stage playing together.

Launching into “C.O.T.E”, one of my favourites from their debut album “Themata”, provided a nice contrast between their equally interesting songs from a few years ago and their latest material. At the end of the night, they really did quite a good job of mixing together old and new material. “Roquefort”, “Themata”, and “Shutterspeed” all got an airing, and the crowd loved it. These more mosh-friendly tunes really got everyone pumped up and excited.

Karnivool #7

Having already played through most of “Sound Awake” however, there was one final track to play before the main set was closed: “Change”. Having been alternating between “Deadman” and “Change” at previous gigs, I was glad they played the latter. It’s an amazing track that goes for over 10 minutes, and it really showcases everything brilliant about Karnivool: their ability to create moving songs, that despite their length manage to be captivating and beautiful. “Change”’s different sections fit together seamlessly, and this song is truly amazing. A brilliant end to the main set.

Karnivool #2

After around 5 minutes, Karnivool came out again to a rapturous applause. Everyone knew the encore was going to be something special – and they were right.

Bringing out fan favourite “Fade” from their “Persona” EP showed just how far Karnivool have come over the years. Moving from their early nu-metal influenced days, they’ve developed into a more progressive and unique group. I warned my friend earlier about “Fade”, and it turned out I was right – the mosh pit went off. Everyone loved it. I suspect that the New Day tour gigs could be the last gigs that they’ll play it. Maybe they’re giving it one last run before they put it on the shelf. I don’t have any evidence to justify it, but it’s just a feeling I get.

After “Fade” they pulled out the tour’s title track – “New Day”. Kenny’s hair was a little dishevelled, and they were beginning to look tired, but it seemed to me that Karnivool put in every ounce of energy possible, right up until the final notes.

All up it was an amazing gig. My friend managed to get one of Judd’s drum-sticks and a set-list, but the real prize was a drum plate thrown out at the end. It had been signed by all of the band, and was well out of my reach, going straight into the middle of the mosh.

I feel like I probably spent too much time taking photos and not enough time getting into the gig (you live and learn I guess), but regardless I still enjoyed myself a hell of a lot. It was one of the best gigs I’ve been too, and one of the most enjoyable. If you ever get a chance to see Karnivool, do so. For $40, Thursday was an absolute bargain. Make sure you see them before they start filling stadiums.

You can view a tonne of fairly good quality videos from the night here from ChezBerryxXx.

You can check out the whole set-list from the night here.

You can view all of the photos that I took here.

Also; check out the professional, and consequently much better photos taken by TheEnglishGentleman from FasterLouder over here.

triple j also managed to snap a few awesome ones. Take a look here.

Posted on by Jeremy 0

BRAND NEW/TOUR: Birds of Tokyo – “Plans”

I’ve been wondering for quite some time what Birds of Tokyo were doing with the new album. They released new single “The Saddest Thing I Know” a while ago (the clip is in 3D if you’ve got a pair of glasses floating around!), but there were no details on the new album.

But, good things come to those that wait. And things don’t get much better than this.

Due to be released on the 23rd of July, Birds of Tokyo’s third album, which is to be self-titled, is looking to be amazing. As always, Ian Kenny’s vocal melodies are brilliant. The softer ambient atmosphere is a bit of a throw away from previous tracks like “Silhouettic”, but let’s not forget, in terms of alternative music BoT really are on the poppier side of things, which is not intended as a derogatory description at all. I can easily see this being the album where they really break onto mainstream commercial radio. For such a solid band they deserve it too. So perhaps self-titling this album is the beginning of a new era for the band. Regardless of whether this actually happens or not, it doesn’t matter. This track is great, and I’ll be picking up their new album on release.

Birds of Tokyo have also announced an up-coming tour. It’s going to be their “every album tour”, and will showcase their new material alongside their classics. The band are now “bigger, bolder, more refined and more fearless”. And it certainly looks like they’re planning one hell of a special tour.

Dates:

September 22, 2010 – Adelaide, SA

September 24, 2010 – Brisbane, QLD

September 26, 2010 – Hobart, TAS

September 30, 2010 – Sydney, NSW

October 01, 2010 – Melbourne, VIC

October 02, 2010 – Fremantle, WA

Posted on by Jeremy 1

LIVE: Pearl Jam, live at Etihad Stadium, Melbourne (20-11-09)

Pearl Jam. One of the most successful alternative rock bands in the world. On Friday the 20th of November, 2009, I was lucky enough to have the opportunity to see them live. They did not disappoint.

Though we were seated in the stadium, and missed out on the feeling of being crushed against the barrier by hundreds of people and being within mere meters of the band (despite the notion sounding ridiculously uncomfortable and painful on paper, it really isn’t that bad, and is entirely worth it), we did have very good seats that provided us with an almost direct view of the stage and the two screens situated either side.

The first support act, Liam Finn, was very good. Though I’d only heard a few of his songs, the way in which he played his guitar parts, looped them around, and then went to play the drums and sing for a bit was very clever. He gave off so much energy while he was on stage, jumping up and down all the time, singing into the mic while practically lying down, and then leaping about with all sorts of instruments, he certainly got the crowd going and put a lot of effort in.

After about a half hour wait, Ben Harper and the Relentless 7 came on for their support slot. Having heard next to none of their songs, I was pleasantly surprised. Harper’s slide guitar playing was very skillful, and his voice practically radiated around the stadium. It was amazing, he managed to put so much emotion into his songs, while moving from the softer more delicate songs to vary his style throughout the set. Edit: It was during Ben Harper’s set that Vedder came out to join them in a rendition of Under Pressure by Queen and David Bowie.

By the end of the support acts, the stadium was close to having filled up entirely. The front mosh section was absolutely packed.

It was about 8.30 when Pearl Jam came on, and it’ll come as no surprise that the crowd went crazy. Beginning with Elderly Woman Behind The Counter In A Small Town, a brilliant acoustic number which contains one of the best moments for the crowd to join in on vocal duties, they continued to proceed through the majority of their most popular hits for the next 2 hours. Playing well known numbers such as Alive, Jeremy, Even Flow, and Daughter, amongst the many other songs they pulled out, it was impossible to go away from the concert being disappointed. Although I’m unfamiliar with some of their more obscure songs, as I only have a best of and a live album, I’m sure that they mixed up their set list and played some other fan favourites as well. With the number of songs they have up their sleeve, they have a stunning amount of freedom in terms of the material they play.

Initially after playing for about an hour, they left the stage and finished up. But as everyone there knew, it was merely a pretext for the next few encores that were to come. The first encore involved inviting Ben Harper out to cover Queen and David Bowie, with Under Pressure. (Edit: Sorry about that, got mixed up. Thanks for the correction) After playing another 8 odd songs I’d say, they left again, only to be called out by an enthusiastic and loving crowd for a few more. This time, Vedder invited Liam Finn out to do a duet, which was very good. It was great in the way he not only interacted with the crowd, telling stories and dedicating songs to people, but also in the way they involved the support acts in their own. They were so dedicated, that they continued playing until after the lights in the stadium were back on, normally an indication of a completed gig.

In the end, it was an amazing experience. They had so much energy, playing and running around for hours, and they involved the crowd as well. It’s really these kind of bands that put on a great show for their fans that are the good ones live. A brilliant concert, well worth the $100+ ticket price.

Posted on by Jeremy 7