Gomez with The White Buffalo, and The Panda Band (11/04/07, The Tivoli, Fortitude Valley)

The Panda Band

I was completely ignorant to The Panda Band and there music before this gig. The Panda Banda are an interesting mix of Indie, Pop and Rock. Although their live shows lean a lot more towards the Indie Rock side of things, because lets face it we would all love to be rock stars. The Panda Band had a great energy on stage and you could genuinely see that all these guys get along really well with each other. The set in my opinion was fairly unpolished and raw, which would I normal get right into, (especially since so much of today’s music is over-produced/edited removing all the imperfections and emotion into an over-worked generic mix). For some reason I just didn’t really get into The Panda Band. It may have had something to do with the mixing especially towards the beginning of the set. There was simply too much vocal, which somewhat got sorted out by a slightly inexperienced or partially deaf sound tech by pushing everything else up, instead of bringing the vocal down. I have said it before and I will say it again, louder is NOT always better. I do believe that The Panda Band will be become one of the many great Aussie indie bands, but holding no more than a fistful of major mainstream (commercial) hits. (Prove me wrong boys, by all means)

Performance 7
Technical 7


The White Buffalo

The thing I like about going to Gomez gigs is that I am usually exposed to new artists and music that I wouldn’t have normally discovered on my own. The White Buffalo performs solo acoustic rock with a twist of country, heavily driven by his outstanding vocals. I wouldn’t ordinarily listen to this kind of music but I did quite enjoy it. The White Buffalo has a huge presents in the room, both in stature and musically (it’s almost a commanding presents). He purely gets an extra 0.5 on his performance as he said motherfuckers during his between song banter. Technically, the sound was pretty good though out the set, not much was done in the way of lighting, but anything else would have distracted from the overall performance.

Performance 7.5
Technical 9


Gomez

What more can I say about Gomez that hasn’t already been said. You don’t ever want a Gomez gig to end, because you are having too much fun and so are they. I always leave a Gomez gig with a huge smile on my face that probably looks totally ridiculous. All your problems melt away when these guys perform and you leave the gig left wondering what had you so worried or annoyed to begin with. I quite often listen to Gomez after a difficult day a work.

Here's the setlist, in somewhat jumbled order.

Revolutionary Kind
Hamoa Beach
Love is Better Than A Warm Trombone
These 3 Sins
See the World
Here Comes the Breeze
Cry on Demand
Notice
We Haven't Turned Around
Girlshapedlovedrug
Detroit Swing 66
Charley Patton Songs
Get Myself Arrested
Blue Moon Rising
Hangover
Devil Will Ride

Chasing Ghosts With Alcohol
Rnb
How We Operate

My personal highlights were Detroit Swing 66 probably one of my first favorite Gomez songs, and first time I have seen it performed live. Get Myself Arrested and Hangover as always, the crowd loves these ones everyone sings along. The huge jams in Girlshapedlovedrug, Charlie Patton Songs and an excellent extended version How We Operate with a cappella intro. My only slight disappointment was that Gomez didn’t perform In Our Gun, which would be my overall favourite Gomez song and is awesome performed live.

The lighting was fantastic throughout the set and the mixing was up to the usual high standard that I have come to expect from The Tivoli. These guys have so much fun and it is just as fun to watch, if you haven’t seen Gomez live yet, you must. Gomez is a band that just keeps on getting better and better.

Performance 10
Technical 9.5

V Festival (01/04/07, AVICA Resort, Gold Coast)

Well the first ever V Festival on the Gold Coast did not get off to a fantastic start. The main gates opened, but the ticket processing area was not, so we didn’t move too far. There seemed to be some confusion over what was meant to be happening. After a very long wait they finally stated to check tickets and let us in at about 12:30, when the first band was actually meant to start, hence why “That Stage” was running late all day. Also the ridiculous names of the stages made it confusing especially if you were trying to locate your friends on the mobile phone. The stages where called, “This Stage” (Blue), “That Stage” (Red), “Other Stage” (Yellow) and there was a DJ tent called “Virgin Mobile Venue”. You would think the colours would make it easier. Right? Wrong, there were no colours around any of the stages, except for the Blue and Red lights around “This Stage” and “That Stage” respectively, some of the signage was a bit confusing at first, but once we got the layout sorted out all was fine. The price of the food was even more expensive than standard festival expensive. I had a lamb kebab $8.50, other prices of things I didn’t buy, 600mL water $4, Roast Beef Roll $7, and corn on the cob $4 each. It was just crazy prices for food, the Big Day Out isn’t that expensive but I guess that’s what happens when you have the local Lions catering building in the middle of Parklands (keeps it competitive).

Ok enough about what they did badly to the things that were done really well. The use of big screens either side of the two main stages (“This” and “That”) with various camera people working around the stages capturing all the close-up footage you could handle. I think these screens helped control the crowd as there was no huge push to get close to get a good view. The Big Day Out needs to seriously consider having the same/similar thing. The free ponchos where great if you got in early enough to keep you nice and dry from the couple of small showers that did pass over. Since I am not a person who drinks alcohol at festivals, I loved the segregation of the bars and the fact that you were not permitted to remove alcohol from the designated bar areas. The crowd was fantastic all day. I was not once pushed or shoved by a drunken sweaty yob and coping half their beer/rum down my back. This may also have had something to do with the V Festival not selling out, but it was also a great venue with a good layout. (Only gripe with the layout is “That Stage” should have been turned away a little more from “This Stage” towards the entrance.)

The major thing that I am now torn over is the concept of the dual stage set up (like at the Big Day Out). I use to think that this was the only way to go for a festival, whilst a dual stage provides continuous music, but since there is no break the crowd is less likely to disperse between sets. This inhibits fans from getting up close for their favourite bands.

Now to the reviews I will keep them short and I am not going to do the first two bands I saw because I can’t really remember them so they can’t have been that good.

Phoenix (This Stage) performed a tight set. The sound was great and performances had the rock star approval of the crowd. During the last song singer, Thomas Mars, came down off the stage and entered the crowd. The crowd went a little nuts and security had no idea what to do. Thomas was getting hair ruffled by everyone. I guess it was so for the next three days tops those people could be like “Oh my God I touched that singer from that band at V Festival called Phoenix.” Thomas eventually made his way back to the front and security dragged him over the crowd barrier (at his request). Anyway Phoenix was one of the best overall sets at the V Festival. I can only hope that they return soon.

Performance 9.5
Technical 9.5


Nouvelle Vague (That Stage) are, to quote the V Festival descriptor, “Genre-bending at it’s most innovative, the sound of Nouvelle Vague is best summarised as “covers of 80s new wave and punk rehashed into a bossanova incarnation.” Intriguing, non?” Si, very intriguing indeed. Nouvelle Vague acoustic remixes are captivating and singer Mélanie Pain has a very similar sound to Kate Miller-Heidke. Entertaining and a great set that would have gone nicely with a bottle of wine and a cheese platter picnic.

Performance 8
Technical 9


Gnarls Barkley (That Stage) was one of the most energetic acts I have seen in a while got the whole crowd pumping. Gnarls Barkley has the support of a full band including a string quartet. Gnarls Barkley were too big for “That Stage”, hell they are a band with such a huge personality and attitude that no stage is big enough to contain it. What else did you expect when you put Danger Mouse and Cee-Lo Green together on the same stage. I was a little concerned when Cee-Lo Green (Thomas Callaway) started talking the crowd up staying that we all know this song, so he is going to hardly sing it and that he wanted us to do it. Now I am all for crowd participation but there is no way that a crowd can reproduce the vocals for Crazy. Thankfully he realised that not many people were even going to attempt these vocals, so he took over.

Performance 9.5
Technical 9


The Rapture (Other Stage) were by far the loudest at the V Festival. The Rapture produced a high energy performance that really created a buzz. A great act to have seen just as the sun was setting to reenergise everyone before the night-time proceedings.

Performance 9
Technical 8


Beck (This Stage) was good as Beck could be. He must have been recovering or coming down with something because unfortunately his voice wasn’t at its best. However his set was extremely entertaining complete with live puppets, where the puppeteers were copying the bands movements with their puppets. The use of the cameras and the big screens completed the overall experience. You would look at the stage and see Beck singing, then look up at the screen and there was “Puppet Beck” singing along. Another part of the Beck experience was when his band gathered around a table set with plates, bowls, cutlery and glasses, and stated to freestyle at the table using the cutlery to tap anything on the table (including the table) slowly building it up. Beck was polite enough to ask if we could hear the table (which we could). It’s quite amazing the sound you can get out of a dinner table.

The puppets ventured out to the front of the stage and, as the puppets headed back to the back of the stage again, “Puppet Beck” stayed out the front and hopped on the end of Beck’s guitar and was over course copying every movement. (There is only one word to describe it and that’s “cute”.) Beck did announce that he would be back, hopefully sooner rather than later.

Performance 9
Technical 8


Pixies (This Stage) What can be said. The Pixies rocked! Played all the favourites and then some, including my personal favourite “Monkey Gone To Heaven” which I woke up with in my head the next morning and where it remained for the rest of day. The stage was set with only what can be described as “rock musician minimalist” the only things on stage where instruments and the corresponding amplifiers. The lighting was very rock-esk as you would expect. The best thing about the Pixies set was that there was no mucking around they were here to play music and that’s what they were going to do. Here is the huge setlist:

In Heaven'/'Wave Of Mutilation (UK Surf)
Bone Machine
Monkey Gone To Heaven
U-Mass
Head On
Caribou
Subbacultcha
No. 13 Baby
Tame
Hey
The Holiday Song
Here Comes Your Man
Wave Of Mutilation
Planet Of Sound
Debaser
Crackity Jones
Something Against You
Isla De Encanta
Nimrod's Son
Vamos
Where Is My Mind

The Pixies did the best suited encore break for a festival by remaining on stage before playing their last two songs.

La La Love You
Gigantic

I really hope the Pixies enjoyed their first time touring Australia and I hope they will be back again soon.

Performance 9.5
Technical 9

The Mars Volta (14/03/07, BCEC, South Bank)

I arrived at the Brisbane Convention and Exhibition Centre (BCEC) just after 7:00pm, doors were already open. For those of you who have not attended BCEC for a concert, is it good to know that you are not permitted to have your drinks in anything other than a cardboard cup (which is supplied for beverage transfer).

The strange thing was there was no support so we sat around and waited until about 8:45pm for The Mars Volta to start. Also it is interesting to note that this gig/concert didn’t sell out. For those of you who don’t know there are currently eight guys in The Mars Volta. From left to right of stage:

Adrian Terrazas-Gonzales - Flute, Tenor Saxophone, Bass Clarinet and additional wind & percussion instruments
Marcel Rodriguez-Lopez - Percussion, synthesizers
Omar Rodriguez-Lopez - Composer, Guitar, synthesizers, production
Thomas Pridgen - Drums
Juan Alderete - Bass
Cedric Bixler Zavala - Lyrics, Vocals
Isaiah "Ikey" Owens - Keyboards
Paul Hinojos - Guitar, Sound Manipulation

Omar and Cedric write all the music and they were the driving force behind At the Drive-In. This brings me to my next point of just how typically “indie” these guys are and their history. Omar and Cedric worked hard with At the Drive-In, gaining massive popularity and becoming commercially successful. Just when At the Drive-In’s success was starting to reach its peak, Omar and Cedric are all like this band/group is being so restrictive of my music creativity (man). So At the Drive-In broke up and The Mars Volta were born. At the Drive-In defiantly had a certain sound to them, so I can see why Omar and Cedric felt compelled to create a more explorative band such as The Mars Volta. The Mars Volta’s music is much more varied than At the Drive-In and I can only assume this is what Omar and Cedric were going for.

Anyway back to the set. The set list went something like this:
Rapid Fire
Roulette
Cygnuss
Viscera
Idle Tooth
Drunkship
Vermicide
Tetris
Cicatriz
Mecca
Baphomet

The great thing about seeing The Mars Volta live is that, they very rarely just reproduce the sound that is recorded on their CD’s. Which lets face it is why we go and see live music. The Mars Volta do not disappoint with almost each of the eight getting a chance to let their creative side out with some awesome solos. I particularly like the almost duelling that went on for a while between Omar on lead guitar and Adrian on sax. Omar would play a little something on his guitar and Adrian would reply with a similar sound on the sax, Omar upping the anti each time. Thomas Pridgen (on drums) is relatively new to The Mars Volta and I tend to agree with some other reviews out there that Thomas was trying a bit too hard at times to make his mark in the band. But all in all a good performance filled with lots of on stage antics by Cedric, including a lot of throwing his white microphone (with white lead) around and catching it (also Cedric was mainly dressed in black so it provided a great contrast to the white mic). There was also a bit of “rock status” climbing on top of equipment (amps, etc).

From the technical side of things, firstly the BCEC doesn’t have great acoustics. That being said it would be difficult to get he mixing of eight musicians in any space. However this is what they do and I think the mixing could have been better. Isaiah "Ikey" Owens awesome work on the keyboards was just getting washed out a lot of the time. The quality of the mixing varied throughout the set. The lighting and effects were of a high standard during the songs, however the between song lighting while sort of themed (purple down-lights on the stage), became very repetitive and a bit boring.

There was no encore, and the set wrapped at about 10:55pm so it was a good two hour set from The Mars Volta.

Performance 8.5
Technical 7

Garage to V (01/03/07, The Troubadour, Fortitude Valley)

Well unfortunately I had a bit of a headache and was feeling tired so I piked on Garage to V. I guess I will be seeing the winner at the V Festival one month from now.

Kate Miller-Heidke with Andrew Morris (22/02/07, JWCOCA, Fortitude Valley)

This was my first visit to the Judith Wright Centre of Contemporary Arts. We enjoyed a couple of drinks before the show in the foyer, and the bar prices were very reasonable ($5 for premium beer, and $8.50/$35.50 for a Barossa Shiraz). The show took place in the performance space which was set up with cabaret style seating down the front with theatre style seating behind that (off course I was sitting down the front, second row of tables left of centre for the best view). This created a great relaxed atmosphere. The sound was superb, just to prove to all those n00bs in most live music venues that loud is very rarely best (exception Mogwai), it’s the correct mixing that matters the most.

Andrew Morris
I have only recently reviewed Andrew Morris for a December gig, however his performance this time was a much more relaxed solo acoustic set. He had a selection of 2 or 3 harmonicas to accompany his guitar. This time he had a fixation on beer, throughout the set he kept looking for his beer on stage. I am sure this led to him mentioning some of the guys sitting up the front were “hitting the Golds” which led to Channel 10’s Beach Cricket and to Australia’s current losing streak, he promptly stopped himself and said “we’re here for music”. I think I liked this set better than the one I saw in December at The Zoo. The main highlight was when Andrew Morris completed this set with “Let It Roll”. I guess nothing really struck me about Andrew Morris’s set, it was a good performance. I am just a bit indifferent to this particular genre of music.

Performance 7.5
Technical 10


Kate Miller-Heidke
Kate Miller-Heidke commenced her set with the opening track from her second EP (Circular Breathing) “Out and in”. Immediately following the rest of band took their positions on stage. Kate Miller-Heidke is a phenomenal performer. Her voice is pure and operatic. There was only 2 other hits from Kate Miller-Heidke’s previous EP’s namely, “Space they cannot touch” and “Apartment”. The rest of the set was filled with new songs from the upcoming album and live favourites. One of the major highlights was when Kate Miller-Heidke played tribute to Britney Spears (current perils) with her own version of “Toxic”. This version of Toxic was outstanding, crossing genres from pop to a bit rock to heavy rock to Kate Miller-Heidke’s own style. The boys (Keir and Scotty) seemed to really enjoy the chance to rock out during the heavy rock section of “Toxic”. A Kate Miller-Heidke set would not be complete without “Australian Idol” and “Psycho Killer”, and a costume change. The costume change gives Keir Nuttall a chance to entertain the crowd this was done with a little number called “Piece of shit”, which involved calling a lot of things a piece of shit (e.g. James Blunt, Nickleback), and finishing on one everyone can agree on “Paris Hilton, silly tart”. Just before Kate performed “Little Adam” she informed us of her upcoming debut album to be released in June, would be titled “Little Eve”.

A great use of lights through out the set helped establish the mood (and comedy) of the performance (e.g. green lights used during “Australian Idol” and red lights used during “Psycho Killer”). No digital media can ever do her justice. If you can get along to see Kate Miller-Heidke live just do it. It will be a night to remember.

In the mean time be sure to catch Kate Miller-Heidke on RocKwiz on SBS TV this Saturday 24th February 9.20pm performing “Australian Idol”, I quote, “in what will be it's ONLY television airing” and a special duet with Paul Dempsey (from Something for Kate) of a 1980’s hit for Wham!

Performance 10
Technical 10

Big Day Out (21/01/07, Parklands, Gold Coast)

I probably approach Big Day Out a little different to most people. Firstly, I try to see as many of the international acts that I want to see, and then I fill in the gaps with acts that I wouldn’t normally go to see. Obviously scheduling comes into it, and I may have to struggle through a set in order to find a good vantage point (e.g. Jet). This year all the bands that I saw I had never seen before live.


Operator Please (Green Stage) where a good way to kick off the Big Day Out, the reason the technical is low is due to some feedback issues and they were really loud even for a festival.

Performance 7
Technical 6


Macromantics (Hot House) carry a lot of energy and even though rap isn’t particularly a genre I enjoy, I could appreciate what they were doing.

Performance 7
Technical 7.5


That 1 Guy (Hot House), well to quote the words from the Big Day Out website, “a one-man band straight outta your imagination who plays a home made, seven foot tall, metallic Magic Pipe”. That is exactly what you get. I don’t think I would fully appreciate a recorded version of That 1 Guy’s music, however very entertaining to see live.

Performance 8.5
Technical 8


DJ Aniki (Boiler Room) whom I have always a soft spot for, presented a very professional set, slowly building the energy, getting everyone primed for Lily Allen.

Performance 7
Technical 8


Lily Allen (Boiler Room) one of the biggest highlights and she is far too popular to be contained by the Boiler Room. The marquee was packed and people standing everywhere outside and around anywhere. This was a full class act by Lily Allen, supported by a full band including a three piece brass section.

Performance 10
Technical 9.5


The Sleepy Jackson (Green Stage) is hard for me to rate their performance as I was sitting back just chilling for a bit, but what I heard and did actually see (their last song) was good.

Performance 7.5
Technical 8.5


Kasabian (Green Stage) provided some good straight up British rock. I didn’t really know what to expect from these guys. All I can say is that these guys have definitely won a new fan. I look forward to when they return to Australia for a headlining tour.

Performance 9.5
Technical 9.5


The Killers (Orange Stage) produced a great sound, but where a little bit boring with their on stage performance. I think The Killers would be more spectacular in a large indoor venue (e.g. Brisbane Entertainment Centre). Somewhat disappointing, but enjoyable.

Performance 7.5
Technical 10


Jet (Blue Stage). Let me say straight off the bat, I don’t think I have ever become so bored during a live rock set. Jet were trying really hard to keep the crowd going during their set. I think that the majority of the people in the D were there to see Muse and Tool, with little or no interest in seeing Jet.

Performance 6.5
Technical 8.5


Muse (Orange Stage) MUSE! Now this is who I really came to see and “oh my god”. As one of my friends simply put it “Best live band. Ever!” These guys put on a class act and even provided me with entertainment before they were on stage. During the aforementioned Jet and became bored my eyes wandered over to the Orange Stage and I was already in awe. Some of the equipment on the stage, was but not limited to, two massive screens, these strange but very cool looking plastic tube things with lights, and from another review I read, apparently a plethora of foot pedals/switches connected to there guitars.

I think the set list was as follows:
Knights of Cydonia
Starlight
New Born
Supermassive Black Hole
Hysteria
Map of the Problematique
Invincible
Time Is Running Out
Plug in Baby
Stockholm Syndrome
Take a Bow

Just outstanding if my scale went to 11 Muse would definitely get it. I have my fingers crossed and hope that Muse will be returning for a headlining tour of Australia again soon. I have achieved a new benchmark, from which all other live performances will now forever be judged by.

Performance 10
Technical 10


Tool (Blue Stage) did what Tool are known for, and provided us with the heaviest modern metal experience ever.

The set list went something like this:
Stinkfist (extended)
The Pot
Forty-Six & 2
Jambi
Schism (extended)
Opiate
Sober
Lateralus
Vicarious
Ænima

And all that lasted 90 minutes. The stage had three (maybe four) screens across the back. The best thing about seeing Tool live is the drummer, Danny Carey, two kick drums, countless other drums and symbols, and to top it all off a gong positioned behind him. According to other Tool fans it was a real surprise and a treat to get Opiate live. The most exciting thing about Tool’s set was when they announced that they would be back in November/December this year. Just outstanding!

Performance 10
Technical 10


All in all the technical was of a high standard through out the day and various stages. The highlights from Big Day Out 2007 with no surprises were Muse, Tool, Lily Allen, and Kasabian, with the most interesting going to That 1 Guy. I don’t know if I will do a festival again ... but if the headlining acts are of the same quality again I might just put up with the aching legs.

Bob Evans with Andrew Morris (03/12/06, The Zoo, Fortitude Valley)

Well I have been really lazy this gig was over two months ago. So the review will be very short.

Andrew Morris
Andrew Morris started his set in the alternative rock genre which morphed into folk and then some almost full blown country. Alternative rock tracks like “Let It Roll” made me think of Powderfinger’s earlier stuff with particular reference to his vocal styling. I quite enjoy the alternative rock and folk style music. I didn’t mind some of the country stuff but it got a bit too much country for my liking. However, though this he gave an energetic and refreshing performance which was entertaining and provided a relaxed feel for a smooth transition to Bob Evans. The Zoo lived up to its average technical skill, the mixing was a bit off in a few tracks, but we did manage to avoid and real nasty feedback. (So, I guess it was above average for The Zoo, maybe they are getting better or maybe I have suffered more hearing damage then I would like to admit too.)

Performance 7
Technical 6.5


Now this is going to test my memory.

Bob Evans
What I can remember of Bob Evans was he saved us from the terrible sound people at The Zoo by providing his own sound guy (as all musicians with any class should do). Also he expressed his love for the Brisbane fans and how supportive the Brisbane fans have been. He also mentioned how he should move to Brisbane not only for the fans but he seemed to imply it would help him with his finances, (well playing to sold out audiences has to be good for the bank roll). Towards the end of the set Bob Evans was attempting one of his earlier songs and was stumbling over the words, and noticed a girl standing towards the front who knew all the words. So like any professional, he admits that he can’t remember the words, so he drags her up on stage to help him out. If my memory serves me well, I think she corrected him 3 times during that one song. It was a fun relaxed gig.

Performance 8.5
Technical 7