A WILHELM SCREAM
Club 299

It'd been six months since I'd last set foot in 299, and somewhere in that time someone screwed the stage monitors directly into the stage. A great idea for sure, especially considering the lack of anything resembling a barrier in the venue, but I had no idea how much those would come in handy later in the evening. The show started off with locals The Gifthorse playing an energetic set of their melodic punk. I'm really glad Brisbane has a band playing this music as well as these dudes do. You are downright cheating yourself if you haven't given these guys a chance in a live setting. Up next were Lungs, a three piece from NSW that make music that could easily pass as the product of a two-guitar band. Their frantic and intricate guitar work left me amazed. For a style of music that's often slagged as being technically limited, these guys give those critics a run for their money and a foot to shove deeply into their mouths. While the first two bands received a positive, polite response, nothing could prepare me for the absolute mayhem that unleashed when A Wilhelm Scream took the stage. I was up the front and it was at this point that I realised just how much I love whoever mounted those speakers to the stage; they make for a great thing to hold on to for dear life while being shoved in every direction. I have to add that while I can appreciate the crowd's enthusiasm, I've been to a lot of gigs and never have I been left this tired and sore after seeing a band play - it was almost too much. But I'm sure the band got off on seeing people go that crazy so far from home. They played a decent cross-section of their material and whipped the crowd into a frenzy (especially when they closed with 'The King Is Dead'). I for one was left exhausted by it all. Great gig (Rob S).

CHILDREN OF BODOM
The Arena

It was only when I heard the sold-out Arena crowd chanting 'Children of Bodom' two hours before they were scheduled to play that I realised just how big this show was going to be. Sydney tech death metal band Synperium were very heavy. Their vocalist belted out some of the most guttural growls I have ever heard, however the crowd seemed to lose interest pretty quickly and the 'Bodom' chants became more frequent between every song. It was obvious that Alexi Laiho was the man everybody had come to see. The lights were dimmed and then Bodom took the stage opening with 'Sixpounder', which really got the crowd going. This was Bodom's first trip to Brisbane, so everyone was making the most of it. The tracks off their new album ('Hellhounds on My Trail' and 'Blooddrunk') went down really well, but the crowd seemed more familiar with slightly older songs such as 'Living Deadbeat' from 'Are you Dead Yet?' than the really old classics like the powerful 'Deadnight Warrior' and the thrashy 'Silent Night, Bodom Night'. There was the occasional stuff up on Alexi's behalf, as he and most of the guys were drunk, but no one cared as everyone was enjoying the spirit of the show. Bodom made their god-like presence felt by playing their more popular tracks ('Angels Don't Kill' and arguably their best song 'Needled 24/7'). You couldn't have asked for a better night of entertainment. The epic and mighty 'Downfall' closed what was a fairly short set due to curfew, but it was nothing short of an amazing gig (Matt).

CUT COPY
The Tivoli

It was a cold evening but the sell-out crowd certainly warmed the inside of The Tivoli up with gusto. New Zealand rockers The Shocking Pinks provided some much needed tunes to accompany the enthusiasm displayed by the erratic crowd. Their set was fantastic although they didn't use much lighting at all, which disappointed a little. New York four-piece The Juan Maclean almost dampened the mood a little with their more ambient and laid back stuff. It's not what I would have chosen to get a crowd prepared for what they were about to see, but nevertheless, they seemed to hold their own and displayed some real ear candy towards the end. If there is one word that describes Cut Copy's live show it is 'tight', very tight. Everything was crisp, fresh and really well done. It seemed like the entire band was mechanically synchronised to one another in some supernatural way. The crowd went off to all the 'In Ghost Colours' hits, although I only saw die-hard fans rocking out to 'Future' and their final song 'Saturdays' from their 'Bright Like Neon Love' record. From the mezzanine floor (where I spent most of my time) I could see the crowd below lapping up Dan Whitford's lyrics like slaves to their master. A brawl broke out in the foyer just near the end of the gig and an ambulance was called, but it seemed like the punters couldn't care less. After all, that's not what they came to see. I woke up the next morning singing the lyrics "It all comes back to you, oo oo oo oo" from 'Feel the Love' over and over again. It's still in my head and I hope it never leaves. They have undoubtedly left a lasting impression (Vivienne Hill).

FROM THE HEARTS OF HEROES
Sands Tavern

Five-piece Sunshine Coast hardcore band From the Hearts of Heroes (FTHOH) made an impressive launch of their 'The Weight of a Thousand Swords' EP at the Sands Tavern. The venue lights went down and one by one each band member took their place on the stage, which exploded with a flash of colour and fog. The first notes of the set hit like a 10-pound truck as 'In Love and Betrayal' beamed out of Luke, followed by jumps, stamps and an outpouring of energy from the crowd before them. Guitarists Jess and Damo played with incredible force while Bryon played up to the crowd. Lit up by the strobes, drummer Corey was hitting hard and fast. You can truly see that FTHOH love the stage and the raw energy exuding from every pore of the crowd. Crowd favourites and songs for long-time fans were played with 'My Capulet' being the standout. An upbeat interpretation had the crowd climbing each other and barriers to get to the mic. At one stage people came over the barrier and fell to the ground. Their performance was tight, fun and memorable, with the last song of the night, 'Together We Stand', a true highlight. The crowd were jumping, fists in the air and screaming out the words. FTHOH's progression as a band and musicians is demonstrated not only by their interactive and energetic stage performances, but also by their new self-funded EP. This is one band to keep a look out for as these boys are not going to slow down anytime soon (Belle Sattell).

WE LOVE SOUNDS
The Family

What a perfect venue for such a line-up. The sound is always great and the club offers a 360 light show that is far superior to most of the competition. It was set to be a great night, but little did I know the disappointment in store. As legendary house DJ Derrick Carter was getting his groove on upstairs, I headed my way down to catch, what was for me, the main event. When Hybrid toured Australia last year in support of 'I Choose Noise' they brought the power of a live band and combined it with the dark mood of their unique dance music, resulting in a set that was nothing short of mind-blowing. It was for this reason I was so excited to catch the latest instalment of We Love Sounds, and it was for this reason that I had one of the most disappointing concert experiences of my life. Instead of the live set that was billed for the British band, we were given a DJ set that, while having its charm, could never hold up to the real thing. The peak crowd went wild regardless as the duo tag-teamed their way through the show, and the energy followed well into the next set. French duo Cassius delivered a booming set that kept the enthusiasts raving hard until the very end, but by the time Dubfire took the stage the tanks were seemingly getting low. Without a doubt there was some fun times to be had, but nothing could put a smile on my face after such an initial let down. Maybe next time (Jake 3).  

I KILLED THE PROM QUEEN
Club 299

USA support The Ghost Inside You were great and packed full of energy, bringing out all the hardcore kids and their mosh antics. Melbourne boys The Red Shore put on a show and a half, with Jamie (their bassist) now on vocals. You could tell the 150 percent effort was for their friends and fellow band mate who passed away not long ago. They were truly spectacular. UK's Bring Me the Horizon sure brought the fans and front man Oli Sykes surely brought the fan-girls. They didn't play the tightest set, due to alcohol (I caught Oli dancing on the merch tables), but they put on a great performance. The lights finally dimmed and this long overdue reunion became a reality as IKTPQ came running on stage and straight into old-time favourite 'When Goodbye Means Forever'. The energy was amazing. Fans started flying in all directions and voices shouted in unison, "CHECK YOUR VITAL SIGNS!". The band then continued to play an excellent mixture of songs including 'Death Certificate of a Beauty Queen', 'My Best Wishes', 'Never Never Land', 'To Kill Tomorrow' and newer tunes like 'Say Goodbye', '666', 'Colombian Necktie' and 'Bet It All On Black'. As I stood on the side of the stage, all I saw was a sea of smiles and passion. Any chance the crowd got, they would head-walk to get crucial mic points. Crafter was pulled off stage a few times, and even needed the band crew to pull him out of the sea of hungry hands. The band ended with 'Sharks In Your Mouth', and I'm sure no one in that room was standing still during it. This was one of the best nights out I've had in a long time. IKTPQ will be missed greatly (Nat).



THE BLACK KEYS
The Tivoli

Tuesday night gigs are always weird. It's simply hard to get into the mood with so much of the working week remaining. But locals The Blackwater Fever went quite a distance towards helping to ease the mid-week blues with their own entertaining blend. The duo was obviously rapt to be on the large Tivoli stage, with their dark garage blues going down well with the genre-favourable crowd. You would expect they would have picked up a new swarm of fans with their entertaining set. Perennial local supports Violent Soho quickly assumed the stage next, but blink and you would have missed them. Playing their fast, energetic brand of grunge throwback, the band seemed to take the stage for mere minutes and play through half-a-dozen of their tracks. In last song 'Scrape It' singer Luke Boerdam broke a string, before launching himself into bassist Luke Henery in a rapid and delightful performance. After roadies spent an eternity trying to install a large rubber tyre - much to the delight of the large crowd - The Black Keys were bizarrely introduced to the stage by an unknown MC. Such oddities though were quickly forgotten as the Akron, Ohio duo launched into their set. Showing off their newly-released, Danger Mouse produced album, 'Attack And Release', was a little strange without all the choirs, flutes and synths on the new tunes, but it gave greater insight into the songs' original sounds. 'I Got Mine', 'Strange Times' and 'Psychotic Girl' stood up well among old favourites '10 A.M. Automatic' and 'Your Touch' in a set that saw guitarist Dan Auerbach constantly jumping and moving back and forth across the stage. The two song encore saw Auerbach momentarily put down his guitar and take up a seat at the keyboard, before regaining his six-string to blast through 'Rubber Factory' hit 'Till I Get My Way'. All in all it wasn't a bad way to spend a Tuesday night (Nate Shea).

POWDERFINGER
Lake Kawana Community Centre

Whitley instantly appeared more subdued than last time I saw him grace the stage, but his vocal performance made up for his lack of exuberance. Launching straight into a series of standout songs from his debut, 'The Submarine', his voice started out slightly strained but quickly filled with a pleasant confidence. 'So Many Things' was a favourite, while his echoing voice during a cover of Bjork's 'Hyperballad' was certainly memorable. A humble thank you to the Powderfinger boys set the room cheering for the main event. On time and full of valour, frontman Bernard Fanning led the band on stage with a genuine smile and practically oozing enthusiasm. Years of touring have no doubt led the band to this touring point, when the fate of the set is placed in the fans' hands -- and in this case, capable hands they proved. An acoustic sound filled the air as Fanning catapulted into a string of classics, from newer single 'Waiting for the Sun' to older, but certainly not staler, tracks like 'Not My Kind of Scene'. Fanning fuelled an air of energy with his band mates as they continually expressed gratitude to the fans for choosing the vastly different set lists. As always, his voice was fluid, raw and consistent throughout the acoustic set, possessing an energetic charisma that teamed perfectly with his flawless voice. But it was an energy that rarely appeared on stage until this "people's tour". While credit is due for thinking of the fans, one downside to the people's choice tour was the karaoke sound that drowned out the band a large portion of the time. That teamed with the constant chatter and people who paid good money to make-out all night made me prefer smaller, more intimate venues than the crowded Community Centre. The acoustic set finished on a high and a short break made way for an epic, grand and highly energised rock set. 'Not Such A Beautiful Day', new single 'Wish You'd Only See More', 'My Happiness' and the encore-driven 'On my Mind' served an enjoyable dose of classic Powderfinger music (Nik).

THE MARS VOLTA
Brisbane Convention Centre

Knowing what to expect from a Mars Volta live show is a very difficult thing to get your head around. To break it down, they can go one of two ways: the style they play at festivals such as The Big Day Out, which is closer to what you can hear on the albums, or they go off on numerous, improvised tangents making most of what you're hearing unrecognisable. Well, as those who attended this latest tour will tell you, it was most definitely the latter. The epic, three-hour set strongly favoured 'The Bedlam in Goliath', with a few songs off 'Amputechture' and one song off 'Frances the Mute'. Fans of their earlier stuff, from the breakthrough 'De-loused in the Comatorium' and 'Tremulant EP', were certainly left disappointed, with not one song being played off either of these releases. With relentless drumming and drum stick breaking from newish drummer Thomas Pridgen, each song had an intensity that was equal parts mesmerising and draining. Most of the set comprised of songs being stretched out with long bouts of improvisation and sneaky covers, and of course Cedric's crazy dancing, microphone tricks and tea drinking. The Mars Volta are one of those bands that never cease to amaze in a live context. With little break in the music, the set was more like a story with an energetic start, a slower building middle section and a climaxing, eardrum-busting end. Watching for the first time in the seating section was surprisingly the best way to experience the prog masters at work. With the rear of the stage decorated with colourful backdrops taken from their recent album covers, the show was visually tantalising and as busy as it was musically dynamic and hypnotic. It was a little hard to follow at times but, as always, The Mars Volta live is still a musical experience that is hard to top (LukeD).       

THE PRESETS
The Tivoli

They say the early bird catches the worm, but I saw a guy doing the worm as early as eight o'clock that Saturday night! When you catch a worm that early on in the evening, you know the night is well underway. It seemed that everyone was early, with the dance floor sweating it out even before the arrival of the Cassette Kids. Katrina Noorbergen and Jacob Read-Harber provided some much needed funk and style with a stellar set. The duo held such a presence on the stage, with Katrina's shiny dress and quirky dance moves complimenting Jacob's overflowing enthusiasm. No act could have prepared the crowd better for what they were about to witness.

I saw one girl literally crying with excitement as Julian Hamilton and Kim Moyes entered the arena. 'Talk Like That' was the perfect choice for the first song. Its organ-style synths provided a fanfare of epic proportions. The great thing about The Tivoli is that you can get a great view of the talent from almost anywhere. Julian's fluoro jacket had the crowd's eyes transfixed to the stage for the best part of the show, with fans only peeling their eyes away to make a desperate dash to the toilet. If there is one thing that venues need to do, it's double the amount of female toilets. We just take longer I guess, and when your favourite band is only 20 metres away, you can either miss a few songs or just hold it and hope like hell that your bladder is having a good day. I managed to relieve myself between the end of their set and the encore ( Thanks for sharing that with us Viv - Ed) . And what an encore it was. These boys never fail to impress me and it's a pity they had to postpone their other shows, for the whole world should experience what they have to offer (Vivienne Hill).

THE DREAMING FESTIVAL
Woodford

Family, spirit, culture, connection... these words sum up the experience of attending the 4th annual Dreaming Festival held at the Woodford Folk Festival site on the Jinibara nation's land. It was four nights and three days of witnessing the massive talent of Indigenous Earth people spanning the whole globe. After the beautiful opening ceremony of which Gurrumul's angelic voice floated over the festival grounds, it was on, the dreaming had begun...On the first night, Cinco Do Oriente from East Timor started the celebrations with a gong! Singing traditional and contemporary songs from their homelands, the lead guitarist played unbelievably fast guitar with the crowd responding well. Next up it was off to see Whirimako Black ; a strong Maori woman who sang heartfelt songs in both English and Maori languages. Knowledge was shared about Maori culture and Black's on-stage partner showed the audience the uses of a traditional fighting stick which, if you were in the front row, probably had you slightly worried about how close the stick was to your nose!

We awoke Saturday to find there had been rain overnight and the skies were looking patchy, but the music was playing and the place to be was the Dancestry venue. A large crowd gathered to watch and participate with the Native American Dancers who, through the beating of a drum and the use of voice, enchanted everyone with dances that told stories from the past. Following these dancers were the Rako Dance Company, which blew the audience's mind. The group from the islands of the South Pacific had some impressive traditional dancing going on along with some machete juggling and, to top it off, fire swallowing. Andi & George from Canberra had people grooving away in the middle of the day. This is definitely a group to keep an eye out for in the future. Evening came and it was off to watch the theatre production of 'Koiki', directed by Gail Mabo, who is one of the daughters of the late, great, Torres Strait Islander man Eddie Koiki Mabo. This moving play used dance as its main function of expression and seemed to communicate the highs and lows that come in a life devoted to fighting for rights and recognitions. Later on it was a privilege to witness a performance by the exceptionally charismatic young man that is Dan Sultan. He and his band have such a big sound and the crowd was absolutely lapping it up.

The rain was still about on Sunday, but nothing could stop the performances that were to follow. Once again the morning highlight was at the Dancestry Sand Stage where the Yolngu Chooky dancers performed their interpretation of 'Zorba the Greek', much to the audience's delight and laughter. The other highlight of the day was the piece of theatre called 'Jesus Hopped the A Train'. This is what talented acting is all about, from the simple set design (consisting of two chairs), to the pace, to the dialogue, to the delivery - this was a work of art exploring heavy themes and circumstances. The final day of the festival came too soon and it was time to gather at the ceremonial grounds for the closing of the festival. No Fixed Address played their song 'Aboriginal Woman' and had wet bums wiggling around. After the official closing ceremony it was on to the unofficial, and it was here that the Zennith boys from Kuranda town played their smooth, reggae-infused songs and got the crowd moving. This special festival helps create a space where active reconciliation, healing and sharing can begin, and I for one am looking forward to The Dreaming of 2009 (Penny Hill).