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: 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

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.

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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

Concert Review: Bruce Springsteen & The E-Street Band

Brisbane Entertainment Centre, February 14 & 16, 2017

My first Bruce Springsteen concert was on March 25, 2003, five days after the start of the Iraq War. They were nervous times, and we were all frisked by security as we walked into the Brisbane Entertainment Centre, an outdated venue even back then. 

I was in my final year of high school, where being a Bruce fan had hardly put me at the centre of coolness. My mates either didn’t know who he was or thought he was a bit crap and something your dad might listen to.

Actually my dad did listen to Bruce Springsteen, which is how I became a fan in the first place. The Boss soundtracked many evenings in our home (The Ghost of Tom Joad, The Rising and Greatest Hits  albums especially), and it was with mum and dad that I went to the show.

Bruce Springsteen

The concert was unbelievable, with a contagious energy that tore through the crowd like a bushfire. Hearing songs like ‘Born to Run’, ‘Jungleland’ and ‘Badlands’ played live with the passion and fervor of Bruce and the E-Street Band had me completely hooked. Straight away I went from casual fan to fanatic.

February 14

14 years later, I find myself back at the Entertainment Centre, twice in one week for my fourth and fifth Springsteen concerts (I’ve previously written on this blog about the 2013 and 2014 concerts) as part of his Summer 2017 tour across Australia and New Zealand.

I’m older, Bruce is older and the E-Street Band are older, but some things haven’t changed. I still have to explain to people who the hell ‘The Boss’ is, although now they’re office colleagues instead of  schoolmates.

The first shows falls on Valentine’s Day, and begins with Roy Bittan tinkling away on the ivories, signalling the opening strains of ‘New York Serenade’ from The Wild, the Innocent & the E Street Shuffle. Backed by a string section, it’s a gorgeous reminder of the lashings of blues and jazz that sometimes appeared on early Springsteen songs, although I think a song like that works better later in the set in lieu of a more energetic opener.

Next comes ‘Lucky Town’ from the album of the same name, before a run of rarities: ‘Janey Don’t Lose Heart’, ‘Rendevouz’, ‘Be True’ and, because it’s Valentine’s Day, ‘Back In Your Arms’. The latter (from 1998’s Tracks compilation of B-Sides and unreleased songs) stretches out for 15 minutes and forms the backdrop to a Bruce Springsteen Valentine’s Day monologue. “Get your flowers on”, he says. “Don’t forget the flowers! One shitty rose is all it takes!”.

Four non-album tracks in a row blunts the momentum just a little, but not for long as ‘Better Days’ sets the course for a journey through the Bruce Springsteen archives, featuring the likes of ‘Hungry Heart’, with Bruce crowd-surfing over the pit, the shotgun wedding and recession of ‘The River’, and ‘Because the Night’, during which Nils Lofgren lays down a blistering solo while spinning around in circles on the spot.

Once Nils stops spinning, the main set comes to a close with ‘Badlands’ (still in my opinion the best live Springsteen song. The album version is good but it goes up to 11 when they play it live), ‘The Rising’ and the ultimate E-Street party jam, ‘Rosalita (Come Out Tonight)’.

The encore begins with another Valentine’s Day special. ‘Secret Garden’ with its lush, orchestral synths is played live by the band for only the sixth time. With the crowd bathed in pink lights, it’s a lovely way to start the encore.

‘Dancing in the Dark’ is up next (festuring audience members invited up on stage to dance with the band, a staple of Springsteen concerts and a nice throwback to the song’s video clip), before signature anthem ‘Born to Run’ and ‘Tenth Avenue Freeze Out’. The latter features a big screen montage of fallen E-Streeters Clarence Clemons and Danny Federici and a saxophone solo by Clarence’s nephew Jake who himself has become a fan favourite after first stepping in for his uncle five years ago.

By now, every one is on their feet (“get off your asses!”) in time for a stomping cover of the Isley Brother’s ‘Shout’ and ‘Bobby Jean’ from Born in the USA to finish the night and release the Bruce faithful into the night.

February 16

Some artists criss-cross the globe and play the exact same songs night after night after night. Not Bruce Springsteen. The setlist changes every night (and during the night too!) sometimes catching the band off guard as they suddenly have to play a song for the first time in 30 years. With sign requests, deep album cuts and live covers, any concert you could hear any one of the 300 plus songs he’s recorded.

He doesn’t disappoint at the second Brisbane show, playing 15 different songs (!!!) that we hadn’t heard on Tuesday night, adding up to 41 unique songs over two nights from 14 different albums.

After starting with ‘New York Serenade’ and ‘Working on a Dream’, it isn’t long before something amazing happens.

Bruce spots a sign in the audience held up by a teenage fan. “Missed school”, it reads, “in the shit now, can I play ‘Growin’ Up’ with you?”.

“You know this song? You know it on guitar? Come on up!”, Bruce says, before sharing vocals and guitar duties with the youngster. He does know the song. Perfectly, actually. I told you you never know what you’re going to hear at a Springsteen concert.

(I saw something similar a few years ago at a Neil Finn concert. He’d held his microphone out to the crowd and picked up the voice of a bloke who happened to be a trained opera singer. Next minute this random bloke is up on stage delivering a mind-blowing version of ‘Fall at your Feet’ while Neil plays along on piano. It was stunning.)

The next day I read on Brisbane Times that this kid had been on stage with Bruce before, so maybe it wasn’t as random as it seemed. Credit to my (notoriously cynical) father for picking up at the concert that it was probably planned.

Even if it was completely scripted, it was bloody brilliant, and revved the crowd up for a set that added songs like ‘Fire’, ‘I’m on Fire’ and ‘No Surrender’ that we didn’t hear on Tuesday.

The encore is a little different too, this time starting with the epic ‘Jungleland’ and finishing with ‘Thunder Road’, the perfect somg to end two nights of Springsteen in Brisbane.

Bruce Springsteen was 25 when he wrote ‘Born to Run’. He’s 67 now, but somehow defies time; somehow seems to get better with age. But it’s most just about him, it’s Bruce Springsteen and the E-Street Band, and they’re all still at the top of their game. You won’t find a better live band on earth.


February 14

New York City Serenade
Lucky Town
Janey Don’t You Lose Heart
Be True
Back in Your Arms
Better Days
The Ties That Bind
Out in the Street
Hungry Heart
Wrecking Ball
Leap of Faith
The River
Candy’s Room
She’s the One
Because the Night
The Rising
Rosalita (Come Out Tonight)
Secret Garden
Born to Run
Dancing in the Dark
Tenth Avenue Freeze-Out
Shout (The Isley Brothers cover)
Bobby Jean

February 16

New York City Serenade
Working on a Dream
Roll of the Dice
Jole Blon (Harry Choates cover)
Long Time Comin’
Growin’ Up
Out in the Street
No Surrender
Hungry Heart
Mary’s Place
Follow That Dream (Elvis Presley cover)
The River
American Skin (41 Shots)
The Promised Land
Downbound Train
I’m on Fire
Because the Night
She’s the One
Rosalita (Come Out Tonight)
Born to Run
Dancing in the Dark
Tenth Avenue Freeze-Out
Shout (The Isley Brothers cover)
Thunder Road

Concert Review: Guns N’ Roses

QSAC Stadium, February 7, 2017

After Guns N’ Roses finally went nuclear in the 90s (the entire band were either fired or quit – except for Axl Rose), Elvis headlining Glastonbury seemed more realistic than the Gunners ever getting back together. 

But if ever there was a year for the impossible to become reality it was 2016 – yes, the year of Trump and Brexit was also the year that the GN’R nightrain hit the tracks again.

And so, last Tuesday night at Brisbane’s QSAC Stadium I found myself watching Axl, Slash and Duff sharing a stage in this city for the first time ever (“Guns N’ Roses” had visited Brisbane before, but the quotation marks are there for a reason; they were really Axl Rose solo shows under the GN’R name).

OK so it isn’t the complete classic lineup – there are some notable MIAs meaning it’s more of a blend of eras: The ‘classic’ trio of Axl/Slash/Duff joined by Dizzy Reed (keyboards) of Use Your Illusion vintage, Richard Fortus (guitar) and Frank Ferrer (drums) from the Chinese Democracy years, and new member, Melissa Reese (keys, synths, backing vocals).

Old school GN’R alumni Izzy Stradlin (guitar) and Stephen Adler / Matt Sorum (drums) are absent, but hey, considering Axl once said “not in this lifetime” about a reunion (incidentally, this is called the Not in this Lifetime tour), we’ll take it.


But anyway, you haven’t come here for a Guns N’ Roses history lesson, have you, so I’ll cut to the chase and answer the question: is 2017-Guns any good?

Yes. Very good.

Sure, Axl looks less like the sinewy, whippety rocker of yesteryear, and more like a melted candle (with oddly white teeth), but he can still scream like a banshee. There might be the odd high note missing, but he sounds better than he has for a long time.

His vocals, together with the Slash-Fortus twin guitar attack and the tight rhythm section come together for a massive sound that fills the cavernous QSAC.

Some concerts have one or two ‘holy shit’ moments where the audience collectively loses it and a sea of mobile phones emerge. This was full of those moments.

The opening strains of ‘Welcome to the Jungle’. Axl bathed in a sea of light tinkering away at the ivories on ‘November Rain’. A NYE’s display worth of fireworks during a climatic ‘Paradise City’. Slash’s guitar solo segueing into that iconic ‘Sweet Child O’ Mine’ riff. It’s basically a live greatest hits show set to fireworks.

The set is dominated by Appetite songs, glued together by half a dozen UYI tracks, two songs each from GN’R Lies and The Spaghetti Incident (Duff taking vocals for ‘New Rose’), a trio of covers and oddly, three songs from Chinese Democracy. 

I’d love to have been a fly on the wall when Axl told Duff and Slash they’d be playing Chinese Democracy songs (for those not in the know – these were recorded years after Slash and Duff had left in bitter circumstances). It probably went something like this:

Axl: oh yeah, we’re playing Chinese Democracy songs on the tour.

Duff: err no.

Slash: no.

Axl: we are or this tour’s over.

Somehow though, ‘Chinese Democracy’, ‘Better’ and ‘This I Love’ make it onto the set list. They’re decent songs from an album better than it’s given credit for, but they’re also songs no one wants to hear and for most they’re no more than the chance to grab a drink.

Despite this olive branch from Slash and Duff, I am not sure if Axl and Slash have really patched things up. They’ve said in interviews that they have, but theres no chemistry between the two. During Axl’s band intros, his tone is decidedly flat when he introduces ‘… Slash’.

Who knows what’s going on behind closed doors. Maybe everything is fine. Maybe it isn’t and they’re just tolerating each other for the money?

Honestly though, 2017-Guns N’ Roses are so good it doesn’t even matter. After two decades of acrimony and controversy, the Not in this Lifetime tour finally lets the Gunners’ music do the talking again.

Welcome back fellas.


It’s So Easy
Mr. Brownstone
Chinese Democracy
Welcome to the Jungle
Double Talkin’ Jive
Live and Let Die (Wings Cover)
Rocket Queen
You Could Be Mine
You Can’t Put Your Arms Around a Memory intro (Johnny Thunders cover)
New Rose (The Damned Cover)
This I Love
Civil War (with ‘Voodoo Child’ outro)
Guitar Solo (Slash)
Speak Softly Love (Theme From The Godfather, Nino Rota Cover)
Sweet Child O’ Mine
Used to Love Her
Out Ta Get Me
Wish You Were Here (Pink Floyd cover)
November Rain
Knockin’ on Heaven’s Door (Bob Dylan cover)
The Seeker (The Who cover)
Paradise City