Sufjan Stevens - 12 Jan 2008 - State Theatre

The State Theatre is possibly the only place where the blue crystal, red velvet drapes, gold gilding and art deco flourishes rioutously work together. It was uncharacteristically filled with a younger, t-shirt and denim jeans wearing crowd than normally seen in its opulently decorated interior, leaving beer cans and plastic cups all over its foyers, and rather bemused ushers in their wake.

In interviews Sufjan Stevens comes across as rather shy, the music tends towards the quiet and lyrical, and the setting seemed rather too grown up for anything but a serious music show. So I was pleasantly surprised by what a great concert this was: a perfect mix of brilliant musicianship, soft delicate beautiful moments and bright stomping joyous rock songs, visual whimsy and Stevens' rambling charm.

The concert began in a hush, as the ten membered band (including Stevens) filed onto the darkened stage and started playing the quiet beginning of Seven Swans. The first three songs were played without a break in between, one piece segueing seamlessly into the next, from near-acoustic moments of voice, melody and harmony, to the blare of the full band, which included a five-piece brass section, in the more complex instrumental interludes. The band were excellent and uniformly talented, between them playing a vast collection of instruments including a bugle, a trumpet, a clarinet, a saxopohone, a straight (tenor?) sax (the last three played by the same guy), a French horn, a trombone, at least five different people on piano during the set. Stevens himself rotated between acoustic guitar, piano, ukelele and even cowbells!

All through the night, I was struck by how complex the songs are, the beauty of them often obscuring the fact that they are wonderful constructions of melodies and counter-melodies, rather fugue like as each instrument picks out its call and answer lines. The Tallest Man, in particular, was wonderfully immediate and better live in performance, for the ability to visualise the clockwork nature of the music. And I would've been happy to just bask in the amazing interplay between the instruments and Stevens' pretty husky voice woven within it, but he proved himself to be an endearing artist between songs too, starting with a meandering list of things he liked about Australia set before a slideshow of Sydney scenes, and moving onto to rambling, dryly humour anecdotes about inspirations for certain pieces of music (the one about his sister's college roommate that prefaced Jacksonville was by far my favourite, in delivery and in story). I also really liked the humour and whimsy in the presentation: the band's matching multicoloured patchwork tops, the hula hoop girl during BQE and Sufjan's matching display with his own lit-up hula hoop, and the pretty wings the whole band wore during the last song of the set.

When Stevens and the band left the stage the first time, the audience gave them a standing ovation, and were rewarded by a two song encore; the first piece a more acoustic performance of The Dress Looks Nice on You followed by the perfect closer in the magnificent Chicago. It seemed so much care had been put into making the concert experience as relaxed, sweet and enjoyable as possible, and to me they fully succeeded.


Seven Swans
Concerning The UFO Sighting Near Highland, Illinois
THE BLACK HAWK WAR, or, How to Demolish an Entire Civilization and Still Feel Good About Yourself in the Morning, or, We Apologize for the Inconvenience But You're Going to Have to Leave Now, or, 'I have fought the Big Knives and will continue to fight them until they are off our lands!' *
Detroit, Lift Up Your Weary Head! (Rebuild! Restore! Reconsider!)
Casimir Pulaski Day
Jacksonville
All The Trees Of The Field Will Clap Their Hands
4th movement (abr.) of Brooklyn-Queens Expressway
The Predatory Wasp Of The Palisades Is Out To Get Us!
To Be Alone With You
Sister
The Tallest Man, The Broadest Shoulders
Majesty, Snowbird

The Dress Looks Nice On You
Chicago

* yes, that is the title. In full.

My Chemical Romance - 30 Nov 2007 - Sydney Entertainment Centre

The second support act Circa Survive were a little rough at the beginning of their set, and the crowd response was minimal, but I quite enjoyed them by the end. Their frontman was crazy into performing, and also had a surprisingly high voice which contrasted with their heavier sound. They also had this crazy sense of rhythm, a lot of syncopation in their beats, which kept things on edge, and lead to some really interesting (and also kind of alarming) resonance.

But I was here for My Chemical Romance, and let’s be honest: I love everything – the theatrics, the mouthy attitude, their concern for fans, the unashamed rock roots in their punk music, the grand anthemic songs. The show did not disappoint despite seeing them only a few months ago – it was a bigger affair overall with the larger venue, the pyro, the fantastic solid playlist of hits and old favourites. The energy on the floor was great, and the band were playing well (despite losing their drummer to a wrist injury a few weeks ago and having to play with a substitute instead). I spent most of the night watching lead singer Gerard Way, with his deliciously camp showmanship, and guitarist Ray Toro with his halo of hair and power stance guitar playing.

Highlights for me included Mama (complete with Way's hilariously OTT fake crying at the end; Toro's awesome extended guitar solo leading into Teenagers; the grand, slow-build of Sleep; and once again, the incredible feeling of joy that I get from seeing and hearing Famous Last Words live, my arm in the air like every other kid there, yelling the same affirmative words. I also loved the amount of songs they played from second album Three Cheers for Sweet Revenge as well as getting to hear songs that are not usually in their live shows.


How I Disappear
Dead!
I’m Not Okay
Give ‘em Hell
The Sharpest Lives
Mama
Cemetary Drive
Welcome to the Black Parade
I Don’t Love You
House of Wolves
You Know What They Do To Guys Like Us In Prison
Teenagers
Helena
Sleep
Cancer
-
Desert Song
Famous Last Words

Muse - 17 Nov 2007 - Sydney Entertainment Centre

We wanted to be close enough to watch Matt Bellamy play, so we zipped from space to space until we were about 8 or so people behind the barrier right in front of Matt Bellamy by the middle of the night. It was a magnificent sight to behold! Muse were in rock god mode last night, and watching Matt shredding on his guitar was so awesome. There was also the awesome piano, which was transparent and lighted-up at times, and when the camera threw up on the big screen Matt's fingers on the keys during the spectacular piano solo during the middle of Butterflies and Hurricanes it was a musical epiphany for me.

Muse seem to have a certain backbone to their set list where they cycle certain songs within that framework, and it seemed the energy levels didn't spike until New Born, when the mosh really picked up. I was glad for the slowed down period in the middle with the ballads, to focus on listening to the lovely music and Matt’s unearthly voice - Ruled by Secrecy was absolutely beautiful live - and watch him play from a good distance without the frenzy of the mosh getting in the way.

The highlight for me was Time Is Running Out and Bliss back to back, with the pretty pink confetti balloons making a reappearance, the songs sounding crazy fierce with awesome energy and the crowd mightily appreciative all around me. The first encore was good too, another dose of joy and energy from hearing two well-loved songs. It was an interesting set overall, pretty evenly distributed with songs from the last three albums (*nothing* from Showbiz though other recent set lists have seen Sunburn substituted for Invincible), with lot of extended intros and outros between songs of riffs from (mostly) b-sides, an appeasement for the hardcore fans seeing them for the second time within a year.

I was massively dehydrated by the end and yet soaked in sweat, my legs sore and shaking as we walked out of the Ent Cent. But during the dying moments of Knights of Cydonia, I looked across to this tiny girl near me and we just got each other - we were both wrecked and sore but we had matching smiles because, yeah, it was an awesome experience.


Take A Bow
Map of the Problematique
New Born
Butterflies and Hurricanes
Supermassive Black Hole
Citizen Erased
Feeling Good
Ruled by Secrecy
Invincible
Hysteria
Fury
Starlight
Time is Running Out
Bliss
--
Plug In Baby
Stockholm Syndrome
--
Knights of Cydonia

Justin Timberlake - 1 Nov 2007 - Acer Arena

Considering how disappointed I was the last time JT played in Sydney, buying the (again v. expensive) tickets this time around was a bit of a wrench. But I'm so glad I did go, because this time around he brought the spectacle that I so wanted last time, the consummate showmanship, the real deal. Starting with the stage, a technical marvel in and of itself, which looked so bare and deceptively simple but turned out to be this intricate interlocking series of platforms. It was highly effective and bringing to the fore whatever part of the show was being featured - the back up singers, the musicians, the dancers, and of course, Justin himself. The whole stage show was awesomely done, from the amazing use of stage, lighting, visual effects and choreography, which didn't distract from the music, but helped enhance the concert experience into an all singing all dancing extravaganza.

The concert started with 'FutureSex/LoveSound' which worked really well to build up the atmosphere, from Justin’s voice in the dark with the ominous rhythmic hook backing him up to a brilliant interplay of light and sound. And then it was two solid hours of mostly hits with a few of his ballads thrown in. The instrumentation was great, the arrangements were good if not inventive, and there was lots of great dancing all around the stage – basically, everything you could possibly ask for from a pop concert done really really well.

Justin looked great, but his banter was terrible – apart from some obviously honed monologues about Aussies and drinking and surfing, he spent most of the night yelling “SYDNEY!!” at random intervals, eliciting huge screams for sure, but after the 8th time I was pretty sure everyone was clear on which city there were in, thanks. However, his voice was good and clear; it had its nasal moments, but he'd improved greatly from his NSYNC days. There was an obvious backing track, but excusable in light of how much dancing he had to do as well. Oh my goodness, he is such treat to watch, dancing singing and performing his little heart out.

There were problematic aspects, like the use of stripper-like dancers in 'Damn Girl', where the explicit sexuality just seemed too much and out of place considering the themes – costume and dance wise – for the rest of the night. (Also, rather distractingly, the dancer on our side looked A LOT like Britney in her VMA performance but y'know, not sedated) And as I said, the arrangement stuck really close the CD. The ballads still don’t hold up as well as the brisker songs, though they are few and far between and cushioned well by the dancier numbers, so the energy never flagged.

I also approved heartily of all piano playing moments; the projection screens were great in that they would show close ups of his fingers on the keys, mmmm. The encore was Justin alone on stage, out of his costume and in just a worn grey T-shirt and jeans, playing on the piano. It was a nice way to end the night, slower, but still very pretty (and the song wasn’t bad either. Boom-tish!)


FutureSex/LoveSound
Like I Love You
My Love
Senorita
Sexy Ladies
What Goes Around…Comes Around
Chop Me Up

Rock Your Body
Gone - Take It From Here – Last Night (medley)
Damn Girl
Summer Love
Losing My Way
Cry Me A River
Lovestoned
Sexy Back

(Another Song) All Over Again

Stealing O'Neal / Planet of the Stereos - 20 Oct 2007 - Spectrum

Missed the first band on, but we did end up catching the next two bands, the first being a loud and energetic pop punk band called Stealing O'Neal. They looked ridiculously young. The lead singer was doing his best Adam Lazzara (from Taking Back Sunday) impression, with his crazy all-over-the-stage moves - quite dangerous since the stage is *tiny* and they had five guys and assorted instruments all squished on there - and the microphone lead twirling around his neck. I think the most memorable song for me was actually a cover, an acoustic rendition of 'I Bet You Look Good on the Dancefloor' (from the Arctic Monkeys).

Planet of the Stereos were good! A rocking indie band, with some really catchy songs; I particularly liked 'Wasting Time', and 'Delicate Girl', both of which managed to sound sweeter and fuller live. I was surprised to hear they'd only been around two years or so, since they played well together.

Kisschasy / British India/In Fiction - 27 Sept 2007 - The Metro

In Fiction were an average five piece rock band. They seemed to have trouble picking a genre to play in, and while April and I agreed that musical range is a good thing, changing styles four times during a song seems rather excessive.

I knew *nothing* about British India except there was a bit of hype about them, that they were supposedly pretty good. I was not prepared for how young they looked, nor for how much I liked them and how utterly enjoyable they were. They had lots of energy, played well together, and had a gloriously chaotic rock/punk sound. The lead guitarist was a tiny tiny axe wielding maniac, and the drummer looked like he was going to die of exhaustion by the second last song but managed to keep going. The lead singer, who looked like your average teenaged indie geek, didn't know what to do with his hands when he wasn't playing the guitar, and settled for trying to dance with his arms waving around loosely and uselessly. But they were definitely a new band to keep an eye out on.

The room started filling up properly for Kisschasy. Their set started with the lead singer doing a simple acoustic version of 'Black Dress' which was very well received by the crowd, and then the rest of the band came out. Their sound was more rock live than I'd expected from their almost pop singles from radio, and I found them very generic in sound; I kept waiting for the song to really interesting...by which time it was over and they went straight into another one that sounded about the same. After four songs I was ready to leave.

Fall Out Boy - 26 Sept 2007 - Acer Arena

I saw Fall Out Boy in March at the Big Top and really enjoyed it, but I was surprised then by how little they played from their latest record, the very good Infinity on High. So when I saw that they were coming out again, having gone triple platinum, and with Jack's Mannequin as support, I easily coughed up for a second go.

Jack's Mannequin - kind of Ben Folds Five gone pop punk with a detour around the lighter moments of Death Cab for Cutie - were on first, and they put on a really fun set, with an emphasis on the more upbeat songs from their one album to date (Everything in Transit). The crowd on the front floor were really into it, which resulted in a heavier crush than I expected that early in the night. Lead singer Andrew McMahon was adorably hyper, and sounded *great* live. I am a complete sucker for piano-tinged rock played with abandon, so the finale where he ended up marching up and down the piano and then on top of it was amusing.

I'm Ready
La La Lie
Bruised
Dark Blue
Holiday from Real
The Mixed Tape
MFEO

I was already dripping with sweat and completely dehydrated after JM, so I went to buy some overpriced water, checked out the merch (but was good and didn't buy anything), then went back to my spot on the floor for the Gyroscope set. Which was short, loud, energetic, and a hell of a lot heavier than the kids were expecting, considering the bemusement around me; they were much more in the rock mould. The set was a mix of old ('Doctor Doctor'), more recent ('Fast Girl', 'Beware Wolf') and really new (latest single 'Snakeskin').

Finally, Fall Out Boy came out to that instantly recognisable opening riff of AC/DC's Thunderstruck. Their set was ridiculously fun; three songs in I was already exhausted from jumping around so much, but I couldn't help myself. I ended up centre left a little way back, still within the happy moshers, but not close enough to feel crushed, and I barely needed to watch the big screens at the side because I generally had a decent view. Sound was not great overall, it was a little messy at times and Patrick's glorious voice seemed drowned out a bit from where I was but what they lacked in sound cohesion they made up with heaps of presence.

Pete was in an odd mood, not withdrawn, but rather introspective; a fair bit of his stage banter was musings on how fans react to them, and how they perceive that adoration and attention. For example, he prefaced the cover of Basket Case by talking about how people often tell him that FOB music has saved their lives, which he says he finds it difficult to respond to, but in turn they wanted to play "a song that saved our lives". How, I don't know, but it was a good cover of a great song.

Thriller
Grand Theft Autumn / Where Is Your Boy
Don't Matter (cover) - video -
Sugar We're Going Down
Our Lawyer Made Us Change the Name of This Song So We Wouldn’t Get Sued
Of All The Gin Joints In All The World - video -
Hum Hallelujah
I Slept With Someone In Fall Out Boy And All I Got Was This Stupid Song Written About Me
Basket Case (cover) - video -
I'm Like a Lawyer With The Way I'm Always Trying To Get You Off (Me & You)
A Little Less Sixteen Candles, A Little More ‘Touch Me’
Beat It (cover) - video -
Carpal Tunnel of Love
This Ain't A Scene, It's An Arms Race

Thnks Fr Th Mmrs
The Take Over, The Break’s Over
One and Only
Dance Dance
Power of Love (cover)
Saturday