POP NOISE VS NOISE POP GIG OFF: My Bloody Valentine (Tivoli, 20th Feb 2013) VS. Deerhoof (Zoo, 1st Mar 2013)

It's a gig off everyone! Who will win between two bands I don't know enough about: veteran adored noise shoegazers MBV and quirky noise pop tunesters Deerhoof? GUITAR SOLOS OF ANTICIPATION!

My Bloody Valentine

source: thequietus.com

Every indie music fan has to respect and hopefully love this band to have any credibility (it seems), since Kevin Shields and co. propelled the shoegaze genre with their airy, wall of fuzz creations. I've only listened to Loveless a handful of times and of course the song in Lost In Translation; all enjoyable listens, all with something to come back to. Shoegaze as a genre is something a tiny little lost on me, as repetitive fuzz is a little....repetitive and fuzzy, for me. Nevertheless, I was happy to see them for their first live Brisbane show in  a million years, joining my companion after a day of excess due to my uncle's wedding.
We arrived not long before the band came onstage, greeted by a Tivoli audience not as filled out as I expected. Kev and the Gang, all looking a little old and weathered but not distastefully so, started their set with the blaring feedback filled drones of "I Only Said". We were given earplugs when we went in, and I didn't really expect to have to use them as we weren't very close, but Great Odin's raven I came close. All I could really hear was the distorted reverberating guitars, and really not much else. Even as "When You Sleep" started, the only song I proudly recognised off the bat, I still could only imagine the vocals rather than actually hear anyone sing. I know MBV is a noise band and there was definite noise, and in that manner they delivered, but due to the distortion, whether you want to blame it on the Tivoli or the band, it was difficult for this casual listener to differentiate song from song. After a tiring day, I needed more to stimulate me than just blare. 
I kept my feelings quiet until my companion shared the same ones... and sadly, during the repetition of one thunderous note during "You Made Me Realise" which could only be described as eardrum rape, we caved into our feelings and made to leave a little early. Ahh, quiet bliss. I know it's what fans of the band probably jizzed over, and reading a few reviews suggest this last (apparently TWENTY MINUTE LONG) one note session called "Holocaust" was incredible and thrilling and 'had to be there' type stuff, but for me it was more like a real holocaust, which I assume is similar to what hell is like. 
Speaking of hell, I'm probably going to reviewer hell for this, but it definitely wasn't the most enjoyable show of my life. Unfortunately MBV you get like maybe one star for being so influential to begin with. 

Really too cool to give a fuck about what I think anyway.

V.S. !!!!!!!!!!!!

Deerhoof

It turns out I have had an album by Deerhoof on my itunes for a while, but didn't pay enough attention to know how I felt about them. Turns out, I would probably dig them. This time, said companion scored some free tickets from the shop The Outpost (Save all your money and go there sometime). We headed over in time to check out a little bit of support acts Primitive Motion and all of Blank Realm. I had seen Blank Realm at Black Bear Lodge a while back and really enjoyed their sonically shifting sound, and tonight was no different. Their set was warming and empowering, a great mood setter for the night ahead. 
Deerhoof are fronted by one of the cutest ladies to hold a bass guitar, Satomi Matsuzaki. Satomi with her sweet upbeat vocals and energetic jumpy stage behaviour, held a lot of the presence onstage. The jangly pop of the band was instantly attention grabbing, and got the crowd, again quite small, moving along in time quickly. Jovial, harmonic poppy numbers accompanied noisier synthy jams, with entertaining results. Deerhoof definitely have a distinctive style, and though there were some brief change-ups in the pace and mood, it was all of a similar high energy. However, the best way to tell if a band are any good live is if you can enjoy it without knowing any of their music beforehand, and in that way they were definitely a solid live act. Knowing that neither Satomi nor a few of the other band members had any real musical background before becoming Deerhoof, also makes me want to join a band more than ever... and in that way they were also inspiring. 
Listening back, the cutesiness of the Japanese-poppy voice of Satomi is a little overpowering, but they're a band I can definitely get into. Their live show is however something you really have to see, and I was disappointed to see so few people there. Having said that, the Stone Roses were playing that same night... a band I really wish I hadn't missed (look, I'm too poor). But another defining feature of the band is how much they seemed to really enjoy just feeding off each other onstage to put on a show for us anyway, which is another thing I didn't really get from MBV. So, for an unexpectedly excellent experience, Deerhoof gets 7.5 out of 10 flashing kanye sunglasses.

YOU KNOW WHAT THAT MEANS! DEERHOOF WINS!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

"Oh nice, cheers Steph!

A short and sweet Elbow Review: Saturday, 24th March 2012, The Tivoli.

I want to just briefly post about my last Elbow gig in March, as I've already reviewed them, and this performance was essentially song-for-song identical as the Enmore gig I first reviewed. Regardless, there are things to be said about this performance, and while I'm in danger of sounding like an obsessed and crazed band groupie, I have to tell you how good they were. 
I only caught the tail end of Bombay Bicycle Club, as gig buddy and I decided that the jazz band at Black Bear Lodge were good enough to sit through most of during pre-drinks. A little bit of research tells me they were the Low Down Jazz Quintet. They were really quite entertaining and their smooth sounds, coupled with the rustic feel of Black Bear, with corner tables and real candles, overlooking a bustling city, made me feel like I was in some 1950's lounge bar in New York. I also now want to be the singer of a jazz band. 

Anyway, Elbow. Oh Elbow. I was really excited to see them for the third time, and despite not trailing off the same setlist as last year's, they did not disappoint in the slightest. Frontman Guy Garvey was all charm as usual, perhaps telling the same stories as usual but with fresh spark and excitement to be there, and keeping us all amused. He also gave annoying hecklers (we heard you yell 'MANCHESTERRRR!' the first time) what for, not being afraid to tell them to shut the hell up. 
The weird thing about me and Elbow is I actually dearly love their earlier albums (especially 'Asleep In the Back', one of my favourite albums of all time), over their newer ones, while I do love them also. Over the past few years, none of these songs are touched on in favour of Mercury prize winning 'Seldom Seen Kid', and latest 'Build a Rocket Boys'. Remember, I love these albums as well, both are stunning pieces of work, they just lack the darker, more mysteriously complex and brooding side of Elbow that their first ones contain. Basically, Elbow are much happier lads these days and it shows. But what really helped me have the  ultimate best time at this concert, was that I am a much happier lady these days, and I can actually relate to the jovial, schmaltzier stuff that they are all about in their live show. It's of course not all love stories and 'today is grand!' moments, and those sweetly melancholic songs they go back to e.g. "The Night Will Always Win", and "Puncture Repair", are enough to bring a little moisture to the eyes. So ending on the uplifting "One Day Like This", is a necessary move, because it ensures their audience leaves with an ultimate high and smile on their face, and that they reflect on the night as a performance to remember.
I haven't even mentioned how GOOD the band is, how precise and delicate and moving their musical performance is, and how fucking emotive and delighting Guy's voice is. It's this, combined with their obvious love of performing, which completely gets me, and even if I'd probably die of joy if they played "Newborn" or "Asleep in the Back" from their debut, I'm still enamoured by their performance every damn time. They're not hip hop or indie rock or ambient-electronic aficionados go-to band by any means, but dammit they're probably the best live band I've ever seen and should be rewarded as such.
Anyway, here are some piccies!

'Mirrorball'. Schmaltz.

oh heavens.

'Weather to Fly'. Still much better than on record.

probably some audience participation bizo or whatev

If you love Australia so much why don't you marry it.

9... and a half... armpits out of 10. 

Bon Iver (with Sally Seltmann), The Tivoli, Friday 16th of March

Riding well off the back of his recent grammy win, in which even One Direction fans want to know who Bonny Bear is, Bon Iver came to Brisbane for a rare three (3) shows, to appease all the new and old fans that have multiplied tenfold in the last year. The shows were announced way back in December last year, at which time I was pretty excited, until Justin Vernon and co.'s 'flavour of the month' status overshadowed everything else.
It was easy to get back into excitement mode when a Thursday night concert goer friend raved about how great he was, and also went and met him not a kilometer from where I was doing nothing in my house. DAMMIT!

Old Sal

My gig buddy tonight was my dear brother who had joined in on the Bonny bandwagon around the same time I had. We rocked up in time to see New Buff... I mean Sally Seltmann. I could be biased, but Sally didn't have quite the same stage presence that she did a fair few years ago under the moniker of New Buffalo. Now that she is riding off the back of female supergroup Seeker Lover Keeper, I guess the audience wasn't as excited as they would have been had SLK been onstage, and hence she played a lot of their songs. She also gave us a few new songs from her self-titled solo album, as well as a couple I recognized from her later New Buffalo repertoire. Despite the disconnect, she sounded lovely and I very much enjoyed it- her angelic voice still comes across well onstage. Sally's also definitely migrated from her days of pressing play on a backing track while singing into a microphone, as she did the first time i saw her in 2005 supporting Bright Eyes. Somehow I just remember more people being a little more transfixed by her back then.

The stage for Bon Iver was made up quite ruggedly with hessian draped around as if we were in a cabin in the woods. He's come a long way since those 'For Emma, Forever Ago' days, as he came on amid huge cheers. Everyone wants a piece of Bon Iver now, and I guess three sold out shows are testimony to that. As predicted by my brother (with a very accurate imitation of the opening chords), Justin and the band started off with the first song, "Perth" from the latest album 'Bon Iver, Bon Iver'. Live, it was a spot on, moving interpretation of the record, which is what I imagined it to be. From the quiet, building opening notes, to it's crashing crescendo, every sound filled the theatre, leading into the second song "Minnesota, WI". It was quite magnificent, and when Justin started to sing, I didn't expect it to sound quite so hauntingly beautiful. He sounded so true to recording, strong and echoey, I wondered if there were any effects going on. And even if there was it was still impressive.
The excellence went on from there and he played a wonderful selection of all the fan favourites, including "Blood Bank" off his title EP, and even "Brackett, WI" which he did for the brilliantly compiled 'Dark is the Night' compilation. 

The musicians were fantastic, and you really couldn't fault them for a second. As they left and Justin took the stage solo for "Re: Stacks", it was a delicate, gorgeous and sniffle-inducing moment. The only thing you could fault was that I realized just how similar their songs sounded and how much of a style Bon Iver have created. It is a style that is is not to everyone's taste, and can at times be in danger of getting old. In fact, there were a couple of moments where i did find my mind wandering... but to be honest that does happen at gigs, and it's not necessarily a bad thing. Sometimes I can think through an entire problem situation at a gig; it can be a nice place to reflect. (Unfortunately I cannot count gigs toward psychological professional development).

Old mate

Coupled with the brilliant music was the band's, and particularly Justin's, laid back manner. Despite the opportunity to be high and mighty, there is no pretension with this man, and he engaged the crowd as a genuine, down to earth fellow who could be your mate, just doing what he loves and having a good time. 


I have to mention the worst part of the show however. I became so mad about a group of metrosexual-appearing guys behind me that I wonder if i am actually getting quite senile, bitter and twisted. In addition to one of them doing the '*tap shoulder*, *look the other way*' routine to me before the performance, these guys nattered and laughed through the whole performance (because obviously Bon Iver is also a comedy group???). It reached breaking annoyance point when one of them said 'Where are we going afterwards?' and another asked 'Who is this guy again? He's good.' This happened while "Skinny Love" was being played. I was looking forward to hearing the ultimate sad times/break up/depression song transcending onstage and letting it wash over me, but I COULDN'T thanks to their giggling and chatting. I detest that feeling of someone laughing behind you; you wonder if they are laughing at you, know it's probably ridiculous, but continue to be unsettled anyway, and want to punch them all in their collective face. Instead of doing this however, I looked around and glared at them evilly. It did nothing, but I felt slightly more satisfied than if I had just stewed in my spot.


I just DON'T UNDERSTAND, if you don't know who a band is and you'd rather go pick up chixx at the Met, then why are you paying $65 to see a musician at a venue full of his fans? If you're not a fan, and are going to talk the entire time, then go away. I know this may sound hypocritical, because I did do this at Gareth Liddiard's show a year ago, but I was at the window rather than in the crowd, and he was a complete dickhead and sounded like shit. Sorry Drones fans, but not really. Bon Iver on the other hand were amazing, and I felt they were disrespecting the band by doing this. Support acts can suffer from the audience talking through their set, but that is kind of expected since people aren't there to see them, but during the main act... there is an exit. 
Now that rant is over, I feel dirty and like I should be writing to mX or A Current Affair. I just think there should be some mosh pit etiquette to follow. Why don't we list some etiquette rules now since we're in this mind funk?? No? Too bad. 


1. Don't fart. Hold it in. Go to the toilet. Don't fart. For the love of god. 
2. Keep your laughter and loud chats and stupid opinions to yourself. If you want to say a lot of things, use the text on your phone.
3. Don't lean on me, I'm not a pole, or a chair.
4. Do be expected to have your personal space ratio go out the window, and expect it to be somewhat smaller. Don't get too bothered when people accidentally touch you. Having said that, you are entitled to a bit of breathing space..
5. If you want to jump/dance/go mad, please be respectful of people who don't want elbows in their chins and their face on the floor.
5. If you want to drink, buy a couple beforehand. Don't try to go to the bar and get back to the exact same spot you were before, unless you're happy to be cursed by a lot of people. 
6. Putting your arm up in the air and pointing throughout the entire song is not only bad for your arm health but I don't want to watch/ take a photo of your arm. Feel free to point it up and down though, I can kind of work with that.
7. If you have diabetes, take your insulin. If you don't have your insulin shot, and you're about to faint, get the fuck out of the mosh pit. Don't eat my lollies out of my hand with your slimy tongue. I don't care how big of a Björk fan you are. 


I'm sure there are many rules that you, reader, could come up with and share with me. So maybe you should!!


Bonny Bear gets 8.5 "wanna be combovers and Minanite beards" out of 10.

Fleet Foxes, Tivoli Theatre, 11th of January 2012

Well folks, I was all set to transfer this blog over to Wordpress when either I clicked something to make it better or Blogger just suddenly got better. I am currently using an interface which doesn't suck and this is making an already satisfactory week even better. Congratulations for reading my thoughts blogger! (We'll see how long this lasts, and if I've broken the internet by typing the word 'blogger' into blogger.).

Now, remind me never to use the word 'folks' again, folks. 

Wednesday night was the second night of Fleet Foxes' Brisbane tour, on the back of their critically favoured second album, 'Helplessness Blues'. I'd heard just enough of the new one to discern a few enjoyable favourites, although I would describe the new one as "very Fleet Foxes", without quite as much magic as their 2008 self titled debut. Anyway, I arrived with gig posse just in time for support act Grand Salvo to start his slot, being a bearded folk singer with naught but his acoustic. As he commenced I noticed that the crowd was a quite distinct mix of old and new, with a fair serving of black-framed-glasses hipsterosity. So much so that the lady in front of us walked up to a black-framed stranger, thinking he was her black-framed husband for a few too many seconds until she found him standing on the other side of her. 

Grand Salvo with a boat

Back to the performance! While showing obvious talents on the strings of his guitar, and a sweetly tuned voice to accompany it, the consistently themed tunes he played us were also consistently melancholic-ally dull. It was clear he was chosen for the finger plucking melodic sounds that the Fleet Foxes share, but the interest value was very lacking, and I felt lulled to sleep more than pumped for the headlining band. Perhaps I'd enjoy him better as background music on a wintry afternoon. 

There was very little time to wait before the Fleet Foxes followed his departure, luckily, and frontman Robin Pecknold and company graced the stage with a visual image of stars trailing behind them. A bit of a fumble and they launched into "The Plains/Bitter Dancer" from the new record. Suddenly we were all awake, awed by the powerful crescendo of lushness, and amazingly strong harmonies, broken up by the perfectly synchronised verse chants. Another bit-too-long fumble later and they continued with "Mykonos" from their 'Sun Giant' EP. The band's pauses between songs were a little longer than expected, probably due to their preparation for each special arranged tune, as some members switched from mandolin to guitar, from double bass to flute, and so on. This was noticed by a few crowd douchebags who screeched out songs for them to play as they got ready, and most embarrassingly boganesque "YEAHYEAHH!!!"'s, dog calls, and the kind of yelling reserved for Rage Against the Machine gigs. I don't know if the perpetrators did this to be ironic or as a joke on the band, having been dragged there by others perhaps, but it wasn't funny and it even lead to Robin saying something like "That's not the way to behave in such a tasteful venue as the Tivoli theatre". Robin, drummer Joshua, and other guitarists (view fail.) were pleasantly engaging during these pauses, with relaxed banter and conversation about badly treated cymbals and the Brisbane heat. 

Christian Wargo (bass) and Robin Pecknold (beautiful, beautiful vocals)

Skuler Skjelset (lead guitar) and Morgan Henderson (most other things)

The sensational music continued with highlights from 'Helplessness Blues', including "Sim Sala Bim", "Battery Kinzie", and the lovely opening track "Montezuma". I can't express enough how perfect their harmonies and intricate instrumentals interacted together to create the most fantastic replications of their album songs. It was pristinely clear and completely un-faultable, and in combination with Robin's earnestness in his performance, was even better than on record. An array of visual patterns were projected to support the songs from time to time, and the continual rising of stars made the band look as if they were floating towards us, powered by their music. (I'm a wank.)
My favourite moments were their selection of songs from their first album, including harmony heaven "White Winter Hymnal", the brilliant "He Doesn't Know Why" (with that all powerful bridge "THERE'S NOOOOOOOOOOOOOOOTHING I CAN DOOOOOOOOOOOO..." projected to utmost satisfaction) and rollicking "Ragged Wood". To finish off before their encore, they decide to replicate the end of the new album, firstly "The Shrine/An Argument", in its layered, almost schizophrenic glory, and the quiet "Blue Spotted Tail" preluding the energetic "Grown Ocean". 

Circle of Robin

It didn't take long for them to come out again for a bit more fumbling and then a nicely packed encore. They treated us to  a lovely bunch of self-titled album songs, including constantly requested "Oliver James", (you lucky pesks), "Sun it Rises", and "Blue Ridge Mountains". Finally, as I had predicted to myself, they left us with their title song, "Helplessness Blues", which powered along fantastically leaving me slightly bittersweet that it was all about to end. Naww.
The crowd trudged out of the Tivoli with great difficulty, and a kind of speechless cloud was over me as I exited. What an amazing start to the year this performance was! Exclamation! The bar is totally set high by the FF's, and it's going to take a lot of perfection to beat this gig. My bittersweet thoughts appear to be shared, as a fellow gig attendee reported on facebook later "That was inspirational and upsetting. Acceptable and infuriating." Agreed.


9 snow topped trees out of 10. Please imagine these trees as we embrace this searing hot summer. Ahhh.

The Kooks, The Tivoli, Monday 2nd January 2012

The Kooks are a band I only just got into last year, namely their 2006 debut album 'Inside In/ Inside Out', which I bought on a $10 whim, and became quite acquainted with. They're a band I got very late on the bandwagon of, being UK indie pop darlings since their breakthrough. I get the feeling they are very loved among the Britons, if only from personal experience, as when I put "Naive" on at a friend's party largely attended by members of the UK, it resulted in a rather epic singalong. Did I mention how hip with it I am...

Anyway the Kooks were performing at the Tivoli in support of September 2011's album 'Junk of the Heart'. You may have already heard the incredibly adworthy (it may already be in an advertisement?) title song "Junk of the Heart (Happy)". It's their biggest single off it so far, and to be honest the only song I really could remember off the new album, having bought it a week before this performance. I'm the hippest.

Being a stone's throw away from the Tivoli I lose a bit of motivation for getting there early, so I missed support band Toucan, and hence got a pretty average spot in the middle of the crowd. Still, my photos weren't as bad as they have been in past reviews. The curly haired gang appeared onstage not long after we got there and launched into a packed set, full of their perfectly timed 3 minute pop songs, guaranteeing that much of their catalogue would be covered. They started with a new album track, "Is it Me", and followed without much hurrah with "Always Where I Need to Be" from Konk, during which the crowd were pleasantly receptive. While I wasn't too familiar with the first track it was a great introduction to the Kook's very easy to enjoy style, and their prowess with their instruments. It was with the next selection "Sofa Song", that the crowd were really pleased, and they presented it with all the energy and angst as on record. They were extremely tight and entertaining, and frontman Luke Pritchard carried the show on his shoulders, exploding on the stage with arms and legs flailing, serenading the audience with each heartfelt song.

Even while jumping up and down in peak song moments, you could still hear Luke's voice articulating the lyrics clear as day. Which was quite interesting, as during the moments between songs, I couldn't understand a thing he said. Thanks to a distinct slur and mumble of a talking voice, even when announcing the songs, I didn't expect what I heard, it was so difficult to discern. This was the only issue regarding the sound, as The Tivoli wins again for clear and excellent audio projection. THANKS TIV, ILU.

Song highlights continued with the summerhappy "She Moves in Her Own Way", the seductive "Runaway", with an uncharacteristically funky bassline, and the rock explosion "If Only", a welcome favourite of mine. Then Luke got down to the bizness by taking up a solo spot on our left of the stage with his acoustic guitar, playing us the simplistic opener of their debut "Seaside", and "Tick of Time", then leading the rest of the band into "See the Sun".

It was at this point, where a few more from 'Junk of the Heart' were presented, that their songs kind of blended into each other, and I got a little bit bored. The thing with a band like the Kooks is that, while they are catchy, fun, and pleasing to the ears in their guitar and drum combinations, they don't really stray from their very obvious style. As a result, it felt a little long and repetitive and I couldn't help wondering when it would be encore time. After a few more from 'Konk', ending on the sexual invitation of 'Do You Wanna', they left the stage shortly for said anticipated encore. It's interesting, I don't see the band much as 'hot young things' brimming with sex appeal but more 'young fun things'; perhaps it's their look or Luke's voice, but their sexual invitations don't really work for me? (Whereas Jarvis Cocker... Yeah I can't explain it really).

Anyway their encore was very predictable, finishing up on non-album track "The Saboteur", their radio friendly "Junk of the Heart (Happy)", and then said singalong "Naive", rather an excellent way to end things really.

It was all very good, and as gig-buddy put it, a pure full bodied rockshow, but as far as memorable gigs go, this wouldn't be one of them. I don't think it had anything much to do with their talent as musicians or showmanship, you couldn't fault them on that, but really just the fact that their music is as samey as samey gets. And, as a result, I really haven't listened to their music since. Granted, that is probably half due to the dying down of my Watch the Throne phase, and focus on the plethora of gigs that are coming up for me in the next two weeks (Fleet Foxes, Arctic Monkeys, tune-yards, the Damned, and Asa, not to mention the festivals!).

So I give the show 7.5 but minus a point for being a little uninventive as a band. Not that I could do any better. 6.5 David Bowie references out of 10.

The Dandy Warhols, The Tivoli, Tuesday 31st May 2011

Happy first day of winter everybody! I am celebrating it with a cough and sore throat and day in bed. Hooray. :(

Before that however I celebrated by seeing the Dandy's live for the first time in my life. This fact is quite silly as they have had many tours and I have had many chances to see them, who I have always had a great love for. Better late than never. And being my first time, my expectations were pretty high along with my excitement level. It was also my first valley gig since moving there and I was keen to take advantage (actually being able to walk home in less than 10 minutes, what!).

What followed was a gig that totally exceeded my expectations beyond belief, which is a hard feat. My group and I got caught up with food and drink and hence missed the support act, Los Huevos, which I was a little looking forward to checking out, but being a Brisbane band I'm sure I'll have the chance to see them again. Before long, the main act arrived; Courtney Taylor-Taylor, still very doable even with his hair in a bun, Zia McCabe, similarly doable enhanced by her rock chick long hair, epicly teased-haired Brent de Boer on a low to the ground drum kit, and shy on the sidelines guitarist Peter Holmström. They began with a long wall of sound which then became "Be-In". from 'Come Down'. Having 'Be-In' as an opener was literally the best thing they could have done (to me imo) and I was thrilled. It is such a perfect opening for that album and one of my favourites of theirs. I expected the crowd to be just as thrilled but I felt a little dorky jigging around and fist pumping while the rest around me just stood and watched. It's not a big

thing but it is really awkward getting into a song when no one else is... it's so much more fun when others are (safely and not rudely!) going mad for it with you. GUYS, AREN'T YOU AS EXCITED AS ME! IT'S THE DANDY'S! Oh that's right you've all probably seen them three times already. Sigh.

On the topic of going mad for it I cannot avoid talking about the middle aged lady who was in front of me the whole gig. First she introduced her weird thing by thinking that my (well it was oversized, I had come straight from work), handbag was a dog. Ummmmm. Then for the rest of the gig anyone that came within any sort of proximity to her was moved aside, by her. When the crowd DID get into it, and others' space were being invaded (NOT hers), she made it her business to butt in and have her say, to the point of harshly pushing someone right through the crowd, which was more damage than he was doing at the time (and again, NOT TO HER).

It was pretty brutal and distracting and further reinforces my view (which I am often reminded of while accompanying my parents to gigs) that if you have big issues with having yours or others' space invaded at shows/festivals, then there are probably better places for you to stand. And the Tivoli has a perfectly good balcony where she would have enjoyed herself more. There aren't so much 'rules' at gigs as expectations, and while people pushing through is annoying, of course, to most people, there is really nothing you can do about it, as in a General Admission gig, no piece of space is rightfully anyones. All personal space boundary rules are totally broken in mosh pits, and they always will be. And there is always that annoying drunk idiot who dances around completely unaware of other people in their wake. It happens, we get annoyed (as do I), but it's to be expected, and if it's not for you, there are better places to view the show.

Speaking of the show, back to it. The set was absolutely epic. They played a huge stack from 'Come Down' and '13 Tales from Urban Bohemia' and won the crowd with their hits from 'Welcome to the Monkey House' (namely "You Were the Last High" and "We Used to be Friends"). The earlier two albums I completely adore so I was ecstatic to hear so much from them. It's fantastic when a band picks a setlist that seems to echo completely your personal favourites, and it sounds wanky, but it was as if the band went into my brain and picked out the songs I had really been enjoying and decided there was a good selection there and went with it. And with that, played the songs extremely well, with full passion, power and harmony.

There were a few new songs there which sounded really good and appeared to hark back to their rawer earlier sound, moreso than the synth driven songs of their later offerings. Courtney decided to break up the momentum a little by leading the audience into a softer, slower acoustic version of "Everyday Should Be A Holiday", which worked really well even though it would have been just as fun to rock out to with the full band. Where horns were present in songs such as "Godless", the band sang 'ba-ba-ba's' to make up for it, and with the audience going along as well, it didn't feel like anything was missing.

The last of the set was a real highlight, with "Pete International Airport" blissing me out until it lead into "Boys Better" which was a super crowd pleaser and topped off the musical euphoria. As a 'final' song they went with "Country Leaver", which was an odd but cute choice that in the end I was glad for, as it is the type of song to put a cheeky smile on your face and leave me with a sweet memory to take home with.

Courtney's cheeky smile

It had been such a long set, at least over an hour and 45 minutes, so I wasn't expecting an encore. But soon after exiting, the band returned for "the only encore of the Australian tour", although I may need confirmation from other concert goers... If it was true, we were the lucky ones treated to a cover of "Hell's Bells" by AC/DC. I am by no means a fan of AC/DC but they did an excellent take of it, and I enjoyed a final helping of their sound before heading home.

I couldn't really speak about it afterwards as it was so much to take in. A culmination of years of Dandy fandom all in an epic 2 hour explosion of music, left me a bit speechless. God knows what I'm going to be like if I ever see something like Radiohead. I'll probably have an aneurysm.

Nine unzipped bananas out of ten, and a serious contender for gig of the year.... but we'll see about that, there's Pulp and Elbow to yet see.........

.... and i also got tickets to Steely Dan. Bet you can't wait for that post.