Soundwave Festival 2010 @RNA, Brisbane [20 February 2010]

It's the day after the 2010 Soundwave Festival, held at Brisbane's RNA showgrounds on Saturday 20 February. I have blisters on my achy feet and sunburn, but new memories comprising a collection of absolutely stellar music moments.

While I usually forgo a day of dehydration, sweat, crowds and bad fast food at festivals by showing up around 6pm for my favourite headliners, this year I made a concession for one band: The Gallows. What I'd heard of this Brit band's music was enough to inflame my desire to see them perform live. What I got, at 12:40pm on one of the first slots of the day on a small stage at the rear of the RNA, was an explosive, dynamic, tongue to the floor gig. The band gave 110% of itself in response to the audience showering them with energy, enthusiasm, and adoration. Pulling the biggest crowd I've ever seen from a relatively little known, early festival slot holder, singer Frank Carter was surfing the crowd more than he was on stage. His easygoing banter and sense of humour incited a bit of good natured recklessness among the punters in the pit. While the band's been around for a few years, they're still relatively unknown in Australia. Hopefully, their performances at Soundwave will change that. They're the closest I've seen or heard to punk in a long time.

I then drifted from gig to gig during the lead-up to Placebo at 4:15pm. I saw a little of Taking Back Sunday's gig. The main thing impressed upon me by this band was the lead singer wearing a full sleeved black shirt, black jeans, and black waistcoat while performing in the middle of an Australian BRISBANE summer, in the daytime. His face was bright red. When he climbed a lighting rig to hang upside down, his face morphed into a beetroot and I wasn't sure he'd make it down again before passing out and collapsing to the floor. He did, albeit with a bit of a struggle due to his hands being so sweaty they kept slipping on the rig. After seeing The Gallows, though, I must admit that Taking Back Sunday seemed as hard rock to me as The Wiggles.

Eagles of Death Metal were up next. Singer Jesse Hughes lamented his experiences in New Zealand where he was apparently beaten up for hitting on some other man's woman. Something told me he was up for a bit of loving on the road, as he flirted onstage with the entire female audience. Bassist B.O.C. sported the biggest set of mutton chop sideburns I've ever seen, while the band's drummer on this tour was from noneother than Queens of the Stone Age. (I suppose he needed another gig now that Josh Homme's off with Them Crooked Vultures...) They played a few of their hits but all in all, it was a bit of a slow set. I thought they had it in them to play some of their raunchier numbers.

Next up, I caught the last few numbers from the Clutch set. I didn't know much about them or their music before Soundwave, but they were awesome! Their music is very luscious and bass rich, funky and bluesy. They had a tight live sound and I'd highly recommend you check out their set on this current Soundwave tour. Next up, Anvil, Canadian heavy metal icons who've been around since the 1970s. Okay, they were good. The crowd went wild for them. Lead vocalist Lips sounded like Dio. But I wasn't in the mood, on the day, for some '80s throwback metal, so sadly they didn't rock my boat. However, they impressed their fans, so if you love '80s hair metal, definitely check them out.

Saw the tail end of Paramore's set while I waited for Placebo. I can't say one nice thing about Paramore, so I won't say anything at all. Oh wait, I can: the 14 year olds at Soundwave LOVED them.

I have adored Placebo since their inception, however I recall thinking, while seeing a Big Day Out set they played early on in their career, that their live shows were a little lacking. Yesterday at Soundwave, Placebo defined themselves as not only excellent songwriters with an interesting image, but as impressive and captivating live performers. Brian Molko's voice has matured and he has a much stronger stage presence; much more confidant. Stefan Olsdal on bass continues to play up the sexy, androgynous diva onstage, and yesterday he did not disappoint, dressed in shiny, pewter pants and a see-through singlet top. In fact, it must be said the entire band looked amazing, with a black and white theme that extended through to their equipment. Fiona Brice, a touring member of Placebo, impressed me greatly with her multi-instrumentalist skills on keys, electric violin, theremin, and backing vocals. She's absolutely gorgeous to boot. The lyrics were delivered like a dry martini: bitterness with a dash of seduction. People really should read Placebo's lyrics a little closer; they make some damned accurate observations about politics, society etc that I don't think a lot of people seem to 'get'.

Next up: AFI. Didn't impress me one iota. This band appears to suffer from a musical identity crisis; their music is all over the shop.

Now, for one of the bands I'd been waiting YEARS to see: Jane's Addiction. As one of their old-timer fans (I'm 40 so yes, I was in my 20s when they first came on the scene) I was a fair way away from the stage, just enjoying the vibe more than wishing to be squashed. First thing that impressed me was that I paid more attention to the crew setting up Jane's backdrop than I did listening to AFI. The backdrop was absolutely beautiful: a vintage flocked wallpaper design that glowed purple, gold, and white. This design was flanked on both sides by large cut-outs of voluptuous, naked women. When Dave Navarro took to the stage, he was resplendent in rock star cliches: tight leather pants, shirtless, nipple piercings, sex on legs. But can that guy play guitar! He's quite brilliant, and although his rock persona sometimes gets in the way of people realising that, you'll notice if you catch Jane's live some day. His guitar playing throughout the set complimented Perry Farrell's vocals, changed the dynamic of the music completely, sexed it up and played it cosy. Perry was absolutely stunning, a thorough diva onstage in his new suit, scarf slung just so around his neck. He's a legend, this man, and I adore him. The band navigated its way through a set that included some very well known numbers such as Jane Says and Been Caught Stealing with less known (in Australia) hits. The band was joined onstage by two lovely women dressed up in saucy outfits which resembled an amalgamation of a geisha costume, some 17th century courtesan, and Dita von Teese. They cavorted with Perry, each other, and themselves, including some video cam action. Very erotic. Naughty. Provocative. Just like Jane's Addiction themselves. I was betting around 90% of the male punters left that gig more than a little aroused...

When Faith No More came onstage, a giggle escaped my mouth. I wasn't sure what many of the younger kids who weren't familiar with the band would make of their pastel, wedding singer suits. I'm sure they thought they were a bunch of 'oldies'. It didn't take them long to show that they are still one of the most musically innovative, impressive live bands on the planet. Sublime is one word to describe their performance last night. One of the best gigs I have seen in my entire life is another way in which to say their set was faultless: brilliant, witty, energising, complex, sarcastic, sexy, and experimental. They somehow managed to perform many of their biggest hits while curve-balling the songs with seeming improvisations that added something new to the music; it didn't just sound like a well known band playing their greatest hits. Mike Patton, who impresses me with every musical venture he partakes in, was on fire last night: part theatrical showman, part trouble instigator, his voice soared and screamed and gave birth to sounds I've never heard before. He cavorted with the cameraman offstage, forcing the camera on to the audience instead of himself. That was before he quickly whipped the camera down for a full view of his trouser fly before he reached in and pulled out what we can only assume was his cock for a brief tug before returning the camera to the cameraman, who stood there in shock, hands raised in the air as if to say, "Not my fault my camera just showed someone's genitals to everyone at Soundwave". I don't want to ruin future Soundwave gigs for people who are waiting to see Faith No More on this tour, so I won't give you a full setlist rundown. I will, however, tell you that you will not be disappointed: their set was filled with their biggest hits and they've obviously tried to give everyone a great taste of their musical accomplishments within a limited amount of stage time. From start to finish, this was a perfect set, only making me fall deeper in love with the music and the mischievous antics of Faith No More. I didn't think I could become more of a fan, but today I'm already missing them. They were absolutely incredible. Please, do not miss their set at Soundwave for anything.

I think this year's Soundwave offered up some truly inspiring music and that all in all, it was one of the better Soundwaves I've been to. Of course, the addition of Faith No More to the lineup might've biased me somewhat. To all those people who bought Big Day Out tickets instead: ha ha. And yes, I did mean that in a Nelson from the Simpsons kinda way...

Brian Jonestown Massacre @ The Zoo, Brisbane [18 February 2010]

I've heard SO much about Brian Jonestown Massacre's live performances. In the minds of some, the most earth shattering live band on the planet. So of course, in one sense, I was going to be slightly disappointed the first time I saw them.

A little late arriving onstage, I was initially blown away by the sheer quantity of people in the band: eight in total, with four guitarists, one bass player, one keyboard player, a drummer, and the ever so boheme looking Joel Gion out front with the tambo. The current tour line-up for BJM is:

Anton Newcombe - Guitar/Vocals
Matt Hollywood - Guitar/Vocals
Frankie Teardrop - Guitar
Ricky Rene Maymi - Guitar/Feedback
Collin Hegna - Bass
Daniel Allaire - Drums
Rob Campanella - Organ/Guitar/Percussion
Joel Gion - Tamborine/Maraca

Of course, with a set-up like that, the night was inevitably going to be filled with the jingle-jangle of guitars in that beautiful psychedelic style BJM has mastered, so reminiscent of the '60s. Many fans were there to ogle Anton Newcombe, who I admit to having a fondness for due to his experimental nature, the way he lives his life without limits. I know it's probably not the healthiest lifestyle, but he's interesting. And really, in a lot of ways, that's all I ask for in musicians and artists these days.

(He also uploads wild and crazy videos on YouTube, which I really enjoy watching. Okay, so that's not linked directly to the music, but it's rather fun all the same!)

While I don't really know that much about the band -- for some odd reason, unless bands really have a message to hard-sell, I prefer it that way, because it allows the music to be the star instead of the musicians -- I did see DiG! so I knew what to expect in a sense. I have some of the albums, so knew what the music would sound like. But it was the carpet ride I wasn't expecting.

I suffer from gig ADHD. I find it difficult to focus on what's going on with the music if there are annoying punters around me; people who shove, talk loudly etc. But last night, I was intently focused on what was happening on the stage. Well, almost. This focus wasn't, I might add, helped by the extremely poor mixing effort, as my ears were constantly assaulted by ridiculously loud bass levels. Or the annoying girl in front of me who kept shoving her digital SLR in the air and taking random photos with a flash of the band -- few of which turned out (yeah, it helps to actually look at what you're taking a photo of, you twit) -- throughout most of the gig. (Whatever happened to The Zoo having 'flash for first two songs only' rules for gigs?? If they apply to professional photographers, they should apply to punters also. Really. Fucking. Annoying.) Also, note to male punters: it's time for the gentlemen to return to the fold. No more tall guys pushing in front of 5'4" women at gigs, okay? It's really rude.

Vent complete.

The music was this rolling ocean of sound. I was transported back to the '60s, a time when you get the gist that musicians were quite mystical and into otherworldly pursuits. While there weren't many surprises, the songs played were crowdpleasers and provided a very groovy, continous snake-train vibe. I particularly enjoyed the rhythms created by the percussionists; BJM's music is the kind of music I can imagine lots of stoners having sex to. I felt a bit of that vibe among the audience.

At one point, a punter offered a gift to Anton of -- and I think this is what it was, as I couldn't see it properly -- a My Little Pony necklace. His reaction showed he has a healthy sense of humour and isn't the psychotic that many members of the music media make him out to be. The band members, generally, gave out a very positive feeling overall. I think they'd be really enjoyable people to hang out with. They seemed...dare I say...nice? THAT was one preconception -- created by my exposure to mass media -- that was smashed last night.

What I was disappointed with was the lack of newer, more experimental music being performed. I would've liked to see more of this, less pandering to the crowd. I wanted to experience the full expanse of what I believe BJM is capable of and I didn't get that. I would've enjoyed 20 minute explorations versus catchy pop. I felt as though the actual stage performance was a little disorganised; there appeared to be only a sketchy set-list. The crowd seemed to be dictating what got played, which meant more well-known songs won out.

But overall, wow. I really enjoyed myself last night and would definitely see BJM again. The mindset of the band, the seemingly lackadaisical yet effective way they win new fans while maintaining old ones; the entire concept of BJM is joyful in comparison to other overhyped/overmarketed bands who play the industry in a more overt way. I was sad when my carpet ride came to its conclusion, but so happy I'd experienced it.

Visit BJM's MySpace for more info on their music and tour dates.

Porcupine Tree @ The Tivoli [5 February 2010]

It's rare that I will attend a gig not knowing much at all about a band. I'm usually an avid fan or at least familiar with the music on offer. Porcupine Tree was a different matter. I had a limited recollection of hearing a couple of their songs played on Triple J in the '90s, but I always associated them with that Tool, prog rock style, which bored me senseless at the time when I was into NIN, Ministry etc. I dismissed them somewhat.

Fast forward to this past week when my partner persuaded me to see them with him at The Tivoli, Brisbane's most beautiful live venue. It was an interesting experience, seeing a band with no knowledge of them or their music to back it up. As I watched the fans roll into the venue - many wearing Tool t-shirts - I became a little wary. "Please, no prog rock tonight!", I begged of the music gods. I didn't feel like being bored to death for several hours while my feet steadily ached more and more (a symptom of seeing a prog rock band, I've found, because you don't dance or move much so your feet become anchored to the floor and hurt like buggery).

The Australian support band didn't help. Yes, their music was fine, but it was all 'out there'; no light and shade, just 100% full-on constantly. Their set went for waaaay too long and frankly, I switched off after the first four numbers. And note to Australian bands: saying 'fuck' every time you open your mouth in between numbers doesn't make you sound so much cool as illiterate.

Prior to Porcupine Tree coming on, we met up with a couple of new friends who were also die-hard fans, so I was at least hopeful they wouldn't completely suck. Over the loudspeaker came the message that none of the performance was to be recorded on video cameras, so if you see some vids pop up on YouTube, they're not authorised by the band. Next, the lights dimmed, and the band walked onstage and announced they would be playing the first disc from their new album, The Incident, in its entirety. "Nooooooo!", I screamed internally... I could imagine the next hour being utterly bored to death while my feet grew roots.

I couldn't have been more wrong. The combination of the band's polished and tight performance, the inspirational visuals and lighting, and the dynamics of their music delivered a revelation to me: I love me some Porcupine Tree. The album is incredible and now, of course, I'll have to buy it. Porcupine Tree had its Tool-ish moments, but they were few, and I was left with the overall sense of an up-to-date, more acerbic version of Pink Floyd's Dark Side of the Moon. The combination of dark Edvard Munch-style visuals and this music that catapulted me from elation to nihilism to love to pain was gut wrenching. I felt as though throughout the entire performance I was on a small boat in the ocean: sometimes the ocean was smooth and gentle and I could gaze at the stars, other times the waves threatened to throw me into the dark depths, never to see the stars again. Yes, the performance affected me. My favourite song from this part of their performance was 'Circle of Manias', which is simply awe-inspiring.

After EXACTLY a 10 minute break - yes, the band had an onscreen counter - they returned to play some older songs, which pleased many of the hardcore fans who expressed their appreciation through, in some cases, interpretive dance moves, which was quite amusing to a couple of us. However, I found the older songs much less impressive than the band's new music and drifted off a little toward the end of the performance. One thing I will say about the Porcupine Tree fans is that they are dedicated with a capital 'D' and lovingly showered the band with appreciation throughout the gig. Actually, it's difficult for me to recall experiencing such love among punters in a long time; usually, the poseur to genuine fan ratio is higher and many people seem to be at gigs to be seen or take photos of themselves versus listening to the music. Porcupine Tree fans were there 100% for the music, which was frankly delightful to experience. I definitely felt the love and positive atmosphere. And no violence!! Loved it.

When the gig came to its end I was, I must admit, a new fan of Porcupine Tree. They're evidently in this industry for the music, not the groupies or the potential corporate ad dollars. Their no bullshit, love us or leave us attitude is refreshing and I'm happy to say that the next time they tour Brisbane, I'll probably be in the front row and I might even know all the words to their songs.

And the beat goes on, as my love of music continues to grow stronger every day...thank you, Porcupine Tree.

Find out more about the band here.

The above photo is taken from the Porcupine Tree website and is by Diana Nitschke.