Album Review: Arctic Monkeys – Tranquility Base Hotel & Casino

Anyone who expected Tranquility Base Hotel & Casino to be AM 2 was always going to be disappointed. After all, this is the band that went from desert rock on Humbug, to 60s guitar pop on Suck it and See and arena riffs and hip-hop beats on AM. But while they’ve always gone from A to B via Z, they’ve really bamboozled us by releasing an album of lounge music from outer space. 

With no singles released ahead of the album, pre-release impressions were mostly limited to the cover art, which depicts a cardboard model of a hotel (built by Turner himself and inspired by the lunar Hilton in 2001: A Space Odyssey) sitting on top of a tape machineIt’s a shame that album covers nowadays are mostly experienced through a 5cm x 5cm square of pixels, because the cover on Tranquillty looks great emblazoned over an LP sleeve. 

Tranquility is a concept album that finds Turner sitting in a smoke-filled 70s era hotel on the moon in a dystopian near future, tinkling on the ivories and crooning his way through a sci-fi laced stream-of-consciousness exploring themes of technology (“I got sucked into a hole / Through a handheld device?”), religion (“Emergency battery pack just in time for my weekly chat with God on video call”) and politics (“The leader of the free world / Reminds you of a wrestler wearing tight golden trunks”). 

Arctic Monkeys - Tranquility Base Hotel & Casino

At times recalling Bowie, Bolan, Nick Cave and Phil Spector, Tranquility plays more like an Alex Turner solo record than an Arctic Monkeys album. The infectious hooks of past albums are gone; guitars and drums are used sparingly to make way for pianos and moon-landing era synthesisers (it will be interesting to see how this sound translates to upcoming scheduled shows at the O2 Arena and festivals like Lollapalooza).

This is a significant departure from the ‘Arctic Monkeys sound’ (whatever that even means), and fan and critical reaction has been mixed. Releasing it as a solo album might have dodged some of the criticism the album has received, but credit to Turner and the group for being bold enough to try something completely unexpected, even if it doesn’t always hit the mark.

As an album dominated by Turner, Tranquility is a record that rises and falls on the back of his wordsmanship. At times it hits the mark and listeners will buy into the concept (the hairs on the back of your neck will stand up during this creepily sung line on the title track: “Good afternoon. Tranquility Base Hotel and Casino / Mark speaking / Please tell me how may I direct your call?”). But at other times lyrics like “kiss me underneath the moon’s side boob” (what?) will have you reaching for the nearest copy of Whatever People Say I Am, That’s What I’m Not.

Anyway, by now you’ve probabky worked out that this is not an album for people who’s enjoyment of Arctic Monkeys usually only extends to cherry-picking the best songs off Spotify. ‘Four Stars Out of Five’ aside, the cupboard is bare for casual listeners. This is an album that has to be listened to as an end-to-end piece of music, not as a collection of individual songs.

A four star rating to match the song name would have been neat, but I can’t quite get there. Ultimately, the Tranquility Base Hotel & Casino is three-star hotel. More of a Holiday Inn than a Hilton. Neither the penthouse nor the outhouse, Tranquility is ‘nice’ without being much more. 

Best songs:  Four Stars Out of Five, American Sports, Tranquility Base Hotel & Casino

Concert Review: The Killers

Hisense Arena, Melbourne, May 6, 2018

You need to be a big band to fill an arena for a concert. To fill it two nights in a row you need to be huge. Three sell out nights… well, you have to be absolutely massive, especially if you’re a rock band in 2018. But that’s exactly what the Killers did over the weekend, filling out Melbourne’s 10,000 capacity Hisense Arena three nights in a row as part of their Wonderful, Wonderful world tour. 

As the crowd of mostly thirty-somethings file into the venue (having endured the tight security that’s seemingly now part of seeing a major concert in Melbourne), Jack Ladder & the Dreamlanders kick off proceedings with a  short set of Nick Cave or The National sounding songs that don’t cut through the crowd chatter at all. It just isn’t the right sound for a night like this.

Next up is Alex Cameron (who incidentally co-write five songs on Wonderful, Wonderful), with a sunnier indie-sound and cheeky faux-ego that is a much better fit. The crowd in particular like Cameron’s “saxophonist and business partner” Roy Molloy (more about him later). They only play five or so songs, but it’s enough that I make a mental note to listen to them later on.

Some party tunes to prime the crowd between Cameron and the main event would have been nice but instead we wait for half an hour before the Killers emerge, with Pink Floyd-ish instrumentals segueing into the brooding ‘Wonderful, Wonderful’. It isn’t the most obvious song for a band like the Killers to open with, but it works, building anticipation and hinting something big is about to happen.

The party starts for real with the next song, ‘The Man’. The Vegas Strip comes to Melbourne as confetti rains down and front-man Brandon Flowers struts around in front of enormous triangular video screens emblazoned with neon cowboys.

It’s all very impressive. This is a no expense spared production, with lasers, pyrotechnics and wall-to-wall video screens filled with images of everything from the Nevada desert to  geometric hearts and even boxer Mike Tyson.

As for the band, Flowers is a magnetic front-man with an incandescent smile and endless stamina marking him out as the rockstar love child of the Energizer bunny and a Vegas showman.

He fist pumps and prances around the stage all night, but it isn’t enough for some around me in GA who seem motionless and disinterested, even during  songs like ‘Somebody Told Me’. It’s no fault of the band. If the Killers playing a Hot Fuss classic isn’t enough to make you at least tap your foot, well sorry but I don’t know what to tell you..

The set has a real ‘Greatest Hits’ feel to it, with 14 singles from across all five studio albums featured. Obviously the new album is well represented, with five songs, but I’m particularly happy to hear a few older favourites of mine: ‘The Way it Was’ from Battle Born and ‘Read My Mind’ and ‘For Reasons Unknown’ from Sam’s Town (still their best album if you ask me).

During the latter a teenage fan from the crowd is invited up on stage to drum. It’s good fun and the crowd love it although I’m going to be selfish here and say I wish they’d got him up for another song instead of one of my favourites.

The main set comes to end with ‘All These Things That I’ve Done’ and a giant “I’ve got soul but I’m not a soldier” singalong as red, white and blue streamers fall down onto the crowd.

A few minutes later Flowers returns to the stage in a gold metallic suit and aviators (it’s like a mashup of George Michael and the Tin Man) for an encore that begins with ‘The Calling’ from Wonderful, Wonderful, a song that recalls the better parts of Queen’s Hot Space.

A cover of Men at Work’s ‘Who Can it be Now?’ is next, with Alex Cameron again returning to stage along with a now shirtless Molloy on saxophone, who for some reason increasingly reminds me of this video. It’s kind of fun, but for a band with much better covers (such as this or this), it does feel out of place in the encore.

Any doubts about the song choice are immediately obliterated the moment ‘When We Were Young’ begins. A pyrotechnic waterfall provides the backdrop as the crowd scream out the words before the arena lights up with lasers for—what else—‘Mr Brightside’. That one even manages to jolt the most comatose punters around me into life.

Flowers disappears into the night (it’s all a bit ‘Elvis has left the building’), leaving the last word to drummer Ronnie Vannucci Jr (the only other original band member touring these days), who delivers a volley of drumsticks into the crowd—or as he calls them, “flowers”, this being the “third date” with Melbourne. All that’s left then is the now-traditional closing message: “oh… and remember to tell all your friends”.

With that, the house lights come up, a floor ankle-deep in confetti and streamers the only thing left behind from one of the greatest arena rock acts in the 21st century.


Wonderful Wonderful
The Man
Somebody Told Me
The Way It Was
Shot at the Night
Run for Cover
I Can’t Stay
Smile Like You Mean It
For Reasons Unknown
Tyson vs. Douglas
A Dustland Fairytale
Be Still
Read My Mind
All These Things That I’ve Done
The Calling
Who Can It Be Now (Men at Work cover)
When You Were Young
Mr. Brightside

Concert Review: Stereophonics

The Tivoli, April 28, 2018

I actually met Kelly Jones once. OK so ‘met’ is a bit of a long stretch, but some mates and I did run into him and Paul Weller drinking wine together in the car park of a Toronto Hotel where they–and us–were staying for Virgin Festival back in 2008.  

Anyway, being the least cool person ever in situations like that, I was so star struck about bumping into Weller that I barely noticed or cared about seeing some bloke from Stereophonics. Weller was super chatty (and pissed),  posed for photos with us, and asked if we wanted Kelly in the photos. I think we were just too excited at being in the presence of the Modfather because we were all pretty much like “nah it’s alright”.

Anyway, fast forward ten years, and I now really like Stereophonics. I first saw them live at that Festival the day after, and they were really, really good. I’ve been a fan ever since. So Kelly, if you’re reading this (Do you reckon he’s one of my approximately 5 regular readers? Probably), sorry about blanking you that day.

Last Saturday at the Tivoli was my third time seeing them, and their first Australian tour in five years during which time they’ve released two new albums: 2015’s Keep the Village Alive and the album they’re currently touring, last year’s Scream Above the Sounds.

Like most things they’ve done over the years, those albums have had fairly mixed reviews. Critics have never really been fond of them; Mojo magazine once labelled Jones one of the worst vocalists in rock. Also not a fan is my wife, who gasped “God, what is THAT you’re listening to?” at me while I was listening to Decade in the Sun the other day.

My wife didn’t accompany me at Stereophonic’s Tivoli show on Saturday night, however Brisbane’s entire Welsh community seemed to be there, decked out in all manner of Welsh flags, rugby jerseys and scarves. Lush.

As usual for concerts with older crowds (at 31 I must have been one of the youngest people there), the venue was packed soon after the doors opened, and so support act Halcyon Drive had a near full house to play to.  The Melbourne three-piece made the most of it, playing a brand of drum-heavy electronic-laced rock which seemed to greatly impress the bloke standing next to me.

Shortly after, allowing just enough time of course for the obligatory 7 foot tall beanpole to stand directly between me and the stage, Stereophonics came on, opening with one of their heaviest songs, ‘Bartender and the Thief’before going on to deliver a two-hour career-spanning set featuring songs from nine of their 10 studio albums.

Sometimes when a band is as deep into their career as Stereophonics you can nod off during the new songs; thankfully that’s not the case here though, with the new songs as welcome in the set as the earlier material. ‘Chances Are’ and ‘Caught by the Wind’ from Scream Above the Sounds in particular strike a chord, both benefitting from the rasp of Jones’ live voice, elevating the songs above the recorded versions.

Naturally, the likes of ‘Local Boy in the Photograph’ and ‘Thousand Trees’ get huge full-throated singalongs from the adoring crowd, but the highlight for me was finally hearing ‘Handbags and Gladrags’ (the Mike d’Abo song made famous by Rod Stewart) as part of a short acoustic set. I can’t work out why, but after hearing it I had an overwhelming urge to get a job with a Slough paper merchant?

The night finished with Stereophonic’s now-traditional set closer, mega-hit ‘Dakota’ which featured stage-invading Welshmen and the biggest singalong of the night to close out the evening. They may not be to everyone’s tastes, but for fans Stereophonics in 2018 remain at the top of their game.


The Bartender and the Thief
Vegas Two Times
Mr Writer
Chances Are
Same Size Feet
Have a Nice Day
Caught by the Wind
Maybe Tomorrow
I Wouldn’t Believe Your Radio
Handbags and Gladrags (Mike d’Abo cover)
Step On My Old Size Nines
Graffiti on the Train
Mr and Mrs Smith
A Thousand Trees
Just Looking
Local Boy in the Photograph
C’est La Vie

Concert Review: Paul McCartney

Suncorp Stadium, December 9, 2017

It seems like the world has gone to the dogs these days. Don Burke has been outed as a sex pest, the president of the USA drinks 12 diet cokes a day, and there are lunatics out there doing stuff like this. Stop the world please, I want to get off.

On Saturday night though, the world was good again as I joined 40,000 of my closest mates to see Paul McCartney perform at Suncorp Stadium as part of his One on One tour. Walking back up Caxton Street after the show, I had a thought: thousands of years of human history and I got to be alive at the same time as Sir Paul freakin’ McCartney and see him play live. Maybe things aren’t so grim after-all.

I’ve been waiting for this concert ever since I first got into the Beatles (easily the greatest band ever despite what some killjoy hipsters claim) back in high school. Lots of people had been waiting even longer–McCartney last played Brisbane with Wings in 1976, and hadn’t been back since (the New World Tour visited Australia in 1993 but skipped Queensland… tsk tsk, Paul).

The wait finally came to an end on Saturday, with the instantly recognisable opening chord of ‘A Hard Day’s Night’ signalling the start of a three-hour, 40-song journey through the McCartney songbook, spanning from the Quarrymen through to 2015’s ‘FourFiveSeconds’, with 26 (!!!) Beatles songs and half a dozen Wings songs along the way.

Speaking of Wings, the concert proved again just how good their best songs were (just ignore this atrocity). An explosive ‘Live and Let Die’ (literally explosive... there were enough fireworks and flames shooting out of the stage to defeat ISIS) was arguably the highlight of the night, while songs like ‘Band on the Run’ and ‘Jet’ went shoulder to shoulder with the Beatles classics.

Each Beatles song made Suncorp Stadium a time machine back to 1960s Liverpool. Paul’s band have been playing with him for 15 years, and they’ve nailed the Beatles sound in a way that would make George and John proud. Paul himself sounds pretty damn good for 75 as well. He might not be able to reach the odd high note but he’s still got it and sounds better than many performers decades younger.

There was plenty of Liverpudlian humour and story-telling throughout the night. At one point he pulled out a ukulele-George Harrison’s ukulele, no less-telling us how George gave it to him before plucking his way through an emotion-charged ‘Something’.

There were shoutouts to other characters from the Beatles universe as well. John was there in spirit with a snippet of ‘Give Peace a Chance’ and ‘Here Today’, the song Paul wrote for him after he died. ‘I Wanna Be Your Man’ was prefaced with a story about how the Beatles gave the song to the Stones to record – it became their first hit single. ‘My Valentine’ was dedicated to Paul’s current wife, Nancy, while Linda was eulogised with the gorgeous ‘Maybe I’m Amazed’.

Songs like ‘Love Me Do’ and ‘Can’t Buy Me Love’ took us right back to the early days of the fab four, Sgt Pepper songs got the live treatment they always deserved, while the crowd became a choir for ‘Hey Jude’ as a sea of waving mobile phone torches lit the stands up like a starry night.

Strangely, while most of the crowd were singing along during ‘Hey Jude’, the bloke behind me (who seemed permanently pissed off all night) looked about as stoked as someone queuing at the post office to pick up a parcel. You don’t have to go apeshit mate but at least tap your foot or something to show you aren’t clinically dead. PS. standing up during the encore isn’t a war crime.

But that’s enough talk about Mr. Grump. A monumental eight-song encore finished the show, beginning with ‘Yesterday’, taking in ‘Get Back’, ‘Mull of Kintyre’ (complete with an impressive pipe band), the near-metal ‘Helter Skelter’ and concluding with ‘Golden Slumbers / Carry the Weight / The End’ from the Abbey Road medley.

Those last words from ‘The End’–“and in the end / the love you take / is equal to the love you make”–has there even been a better lyric to finish a concert with?

It’s 24 years since Paul last came to Australia. If he waits that long again, he wouldn’t be back until he’s 99. I know it’ll likely be the first and last time I’ll ever see him. I am happy with that. Number one on the concert bucket list, seeing Paul McCartney live: completed it, mate. 


A Hard Day’s Night
Junior’s Farm
Can’t Buy Me Love
All My Loving
Let Me Roll It
I’ve Got a Feeling
My Valentine
Nineteen Hundred and Eighty-Five
Maybe I’m Amazed
I’ve Just Seen a Face
In Spite of All the Danger
You Won’t See Me
Love Me Do
And I Love Her
Here Today
Queenie Eye
Lady Madonna
Eleanor Rigby
I Wanna Be Your Man
Being for the Benefit of Mr. Kite!
A Day in the Life / Give Peace a Chance
Ob-La-Di, Ob-La-Da
Band on the Run
Back in the U.S.S.R.
Let It Be
Live and Let Die
Hey Jude
Get Back
Mull of Kintyre
Sgt. Pepper’s Lonely Hearts Club Band (Reprise)
Helter Skelter
Golden Slumbers
Carry That Weight
The End

Album Review: Noel Gallagher – Who Built the Moon?

If you listen to Noel Gallagher’s third solo album hoping to hear ‘Wonderwall’  or ‘If I Had a Gun’ redux, you’re going to be disappointed. There is nothing like that on Who Built the Moon?—there are no stadium-filling anthems, no recycled Oasis offcuts… nothing for the parka monkeys.

Instead, you will find sounds including a ringing alarm clock, a French musician playing a pair of scissors, and a tin whistle sampled from an obscure sixties pop song (“don’t try and Google it, it’s beyond obscure, you’ll never find it”, says Noel, but dig deep enough and you will).

Some of Noel’s most interesting music has come when he’s deviated from the script and tried something different (his collaborations with the Chemical Brothers or the piano-driven ‘AKA… What a Life!’ to name a couple of examples). While he teased us with flourishes of experimentation on his first High Flying Birds records, both still had Oasis’s fingerprints all over them. On Who Built the Moon? he’s broken out of the shackles completely to create something entirely different.

Much of the credit for this lies with the album’s producer, David Holmes (an Irish DJ and Producer – you’ve likely heard his work on film  soundtracks such as Ocean’s Eleven and Logan Lucky), who persuaded Noel to enter the studio without any songs in tow, and to build the album from a clean slate. Writing and recording this way allowed Holmes to put Noel back on track whenever he ventured too close to familiar sounds.

In a recent interview Noel told Rolling Stone magazine how he would sometimes play songs in the studio, only to have Holmes to stop him and say, “That sounds a bit like Oasis… try something different.” It seemed to work, with Noel recalling that, “Eventually, something different would come.”

The result is an album that is rich, diverse and intriguing, but not as immediately accessible or enjoyable as its predecessors. It is an album that needs time invested in it before it clicks. Thankfully, when it does the pay-off is solid.

The album opens with ‘Fort Knox’, a surging, psychedelic instrumental that Noel has likened to Kanye West’s ‘POWER’, before ‘Holy Mountain’, a song more contagious than the bubonic plague which sounds like Plastic Bertrand singing Ricky Martin in the style of Bowie’s ‘Diamond Dogs’ (I told you this album is different!).

The unexpected influences don’t stop there, with Noel also citing inspiration from the likes of Marvin Gaye, Can and Blondie. Touring with U2 has obviously rubbed off, too — the gorgeous ‘It’s a Beautiful World’ (complete with a spoken word French monologue) has some serious Acthung Baby! vibes, while another highlight is the New Order-esque ‘She Taught Me How to Fly’, complete with guitar notes that Bernard Sumner would be proud of.

The record-crate digging and experimentation doesn’t always work, though. Different’ isn’t always synonymous with ‘good’, and there’s the occasional miss,  like the plodding ‘Be Careful What You Wish For’.  Similarly, while the two instrumental interludes on the second half are pleasant enough (and do work well in the context of the album), part of me wonders if another ‘If I Had a Gun’ might have added more to the album.

To that point, one of the best songs on the album is one of it’s more conventional Noel Gallagher songs, ‘If Love is the Law’, a joyous affair resplendent with sleigh bells and strings.

Ultimately, Who Built the Moon? is a better album than the sum of its parts suggest. It isn’t Noel’s best collection of songs. But as an end-to-end piece of music, it is his best solo record to date and a resounding success.

Best songs:
Holy Mountain, She Taught Me How to Fly, If Love is the Law

Album Review: Liam Gallagher – As You Were

The last time I saw Liam Gallagher he was on stage with Beady Eye (his post-Oasis band) at the last ever Gold Coast Big Day Out. A scorching Queensland sun and a lifeless crowd of a few hundred people completed the scene. Knebworth, it was not.

Not long after, Beady Eye quietly disbanded, to no one’s great sadness. From there Liam went into a long hibernation, punctuated only by a messy divorce, a solitary live performance (singing ‘My Generation’ with Roger Daltrey on a British television show) and the occasional ‘potato’ insult directed towards his brother via Twitter.

While all this was happening, Noel released a number one album, wrote a song with Paul Weller, recorded one with Johnny Marr, and sold out concert arenas. Together their opposing fortunes set a narrative of Noel as the talented, clever one, and Liam as the hooligan has-been.

it was not a solid foundation from which to launch a solo career. Even an Oasis obsessive like me began to doubt whether ‘Our Kid’ had it in him to make it as a solo artist.

I am pleased to say that my doubts have been extinguished by Liam’s debut solo effort. As You Were is a fine record, and the best thing he’s been involved with since Oasis’ Don’t Believe the Truth came out 12 (!!!) years ago. The reward has been commercial success: not only did As You Were top the UK charts, it outsold the rest of the Top 20 combined. For good measure it’s also the highest selling vinyl LP of the last 20 years. As far as comebacks go, it doesn’t get much better.

When I reviewed Beady Eye’s BE, I saved my biggest criticisms for the songwriting and lyrics. I wrote that Liam would benefit from having someone else writing for him. My crystal ball must have been on point that day, for Liam has brought in professional songwriting help on  As You Were.

“I can’t write those fucking big songs”, he told NME earlier this year. “I’m limited. My verses are up there, but I just can’t do that next bit.”

Scrolling through Oasis fan forums, some have criticised the decision to bring in hired help. They’re talking bollocks. Sinatra barely wrote a song in his life.  Most of the few songs Elvis wrote were shit. The Stones wrote one song on their debut LP. Good enough for them, good enough for Liam. Besides, he’s still written six of the songs on the album (with co-writing credits on four more).

The first song released from As You Were was ‘Wall of Glass’. Written by enough people to fill a Toyota Camry (including Greg Kurstin, the Adele hit-maker), it’s slick and punchy with a radio-friendly sheen. The opening song on the album—and one of its best—it is a statement of intent announcing the return of one of the last remaining rock n’ roll stars: “you were sold a one direction / I believe the resurrection’s on”.

Elsewhere, highlights include the reflective, post-divorce ‘Bold’ (“you’re ticking all the dickheads off, you know what I mean?”, says Liam), the Black Rebel Motorcycle Club-style acoustic stomp of ‘Greedy Soul’, and the delicate and heartfelt ‘Paper Crown’ which features the best Liam vocals on the album.

There is a noticeable dip in quality on the second side of the record. ‘I Get By’ and ‘You Better Run’ are Beady Eye level plodders, while the pleasant ‘Chinatown’ struggles to be taken seriously with its awkward lyrics (“well the cops are taking over / and everyone’s in yoga” … err, what?).

Fortunately, the run home is saved by the last three songs, the Stones/late-Oasis sounding ‘Come Back to Me’, the dreamy ‘Universal Gleam’ (a bit of a ‘Tender’ by Blur rip-off, but hey – Noel’s been nicking tunes for years), and the most anthemic song on the album, ‘I’ve All I Need’, which should have been released as a single.

There’s another stand-out song buried away in the bonus tracks on the deluxe edition. ‘Doesn’t Have to be That Way’ sounds like Liam Gallagher fronting Tame Impala, and should definitely have been on the main track list.

All in all, As You Were represents a spectacular career resurrection for Liam Gallagher. While it may not be a perfect album—the second half is too patchy for that—it is undoubtedly (and unexpectedly) a great one. Put it this way: Noel has his work cut out to top it when he releases Who Built the Moon? next month.

Welcome back, Liam.

Best songs:
Wall of Glass, Paper Crown, I’ve All I Need

Concert Review: Midnight Oil

Big Pineapple Complex, Sunshine Coast, October 14, 2017

I was too young to see Midnight Oil the first time around (they broke up in 2002), so when I heard they were playing at the Big Pineapple as part of their Great Circle reunion tourI was keen as a bean to grab a ticket. 

Having said that, as the rain tumbled down all Saturday, watching Netflix and staying dry inside started to become more appealing. Rain and outdoor concerts mix together about as well as Pauline Hanson and Halal Snack Packs, and as I drove up the Bruce Highway I didn’t know whether to expect a ‘raining at Glastonbury’ vibe or more of an Apocalypse Now-style muddy hell.

A post shared by Scott Russell (@scottrussell_1) on

Luckily it was the former. I hadn’t seen a concert at the Big Pineapple before, but walking into the venue it was immediately impressive. A huge, outdoor festival-style amphitheatre, with a big stage down the front which the band had had emblazoned with an extract from the UN Declaration of Human Rights:

“All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood.”

Not your typical rock concert!

Midnight Oil have invited different support acts to each leg of the tour, and with Jebediah and the Living End the Sunshine Coast crowd had lucked in (Brisbane got just one support act: the Jezebels).

I am not as familiar as I should be with Jebediah, but the Aussie alt-rock icons had the crowd rocking before the Living End came out and made me realise I’ve probably been unfair to them.

I think because they turn up at the opening of a garage door (is it just me or does it seem like they play literally every festival ever?) I’ve become almost immune to their existence. Seeing them in a field with half of the Sunshine Coast head-banging to ‘Prisoner of Society’ was a reminder how good they are live.

It was seriously bloody wet by the time the Oils took the stage. They began with the crunching industrial riffs of ‘Redneck Wonderland’, with frontman Peter Garrett cutting the shapes he’s famous for (fun fact: the Big Pineapple sits in an electorate where 23% of people once voted for One Nation. Redneck wonderland indeed..).

It was absolutely pissing down, and a near slip slowed Garrett’s dancing a little, but he still got right out amongst it in the rain, telling the crowd that “the more it rains the more we’ll stay to play our set” – or go down to the pub to finish it if the electrics fail.

The first half of the set was mostly album cuts and minor hits, with highlights including ‘On the Borderline’, ‘Dreamworld’ (“this one’s for you, the Queensland song!”), and ‘When the Generals Talk’. Garrett sounded note perfect on them all. It could just as easily have been  1997 as 2017.

The band came to the front of the stage for an acoustic set (highlight for me: ‘Short Memory’) before finishing the main set with ‘Read About it’,  ‘Blue Sky Mine’ and ‘Forgotten Years’. Before ‘Blue Sky Mine’ came a little spiel about stopping the Adani coal mine:  “Sometimes you have to draw a line in the sand, and say I love my country that much I’m gonna stick my neck out for it.”

Garrett’s political career might be over, but Midnight Oil are still very much activists. As well as Adani, there was talk of the Great Barrier Reef, the Traveston Crossing Dam (the construction of which Garrett blocked as Federal Environment Minister), anti-Abbott and Hanson ad-libbing, and at one point, a giant ‘Yes’ for Marriage Equality logo on the big screens.

(Side note: I saw Macklemore play ‘Same Love’ at the NRL Grand Final in Sydney a couple of weeks ago, and no one booed. Or if they did, it was drowned out by cheers. Same deal with the ‘Yes’ logos at Midnight Oil. It you can promote marriage equality at a Rugby League match or in a field outside Nambour without being howled down, then the argument’s already been won. Sorry Tony).

After ‘Forgotten Years’, droves of people had started to make a dash to the car park (always amazes me how many clueless people leave before encores – come on people, they aren’t going to reform and it play ‘Beds are Burning’!). I hope they turned around when the band returned to play an encore with a trio of their biggest hits: ‘King of the Mountain’, ‘Beds are Burning’,  and ‘Power and the Passion’.

During ‘Power and the Passion’, Hirst launched into his trademark drum solo, thumping a rusty corrugated iron water tank that the band have been dragging around on tour.

Corrugated iron, torrential spring rain, the Big Pineapple, the Oils… you couldn’t get more Aussie if you tried!



Redneck Wonderland
Lucky Country
Back on the Borderline
Safety Chain Blues
No Time for Games
My Country
When the Generals Talk
Short Memory
US Forces
Only the Strong
Read About It
The Dead Heart
Blue Sky Mine
Forgotten Years
King of the Mountain
Beds Are Burning
Power and the Passion