Category: Music

  • Live Review & Gallery: Simple Plan and The Offspring ignite Qudos Bank Arena in a full-throttle punk resurrection 11.05.2025

    It’s a Sunday night in Sydney, but inside Qudos Bank Arena it feels like the start of a long weekend. As I’m walking through Olympic Park, I pass a pub where “Song 2” and “Smells Like Teen Spirit” are being blasted so loud they’re echoing off the side of Accor Stadium — it’s clear: tonight is going to be big.

    Simple Plan are first on stage, taking their cue from pop culture royalty — the Star Wars theme soundtracking their entrance. The crowd roars. Lead singer Pierre Bouvier beams: they were here last year and they’re thrilled to be back, especially because they “love the accents.” Then comes a question that lights up the room: “Who wants to go to the beach with Simple Plan?” Cue “Summer Paradise”, and suddenly massive beach balls bounce across the pit. “I can’t believe we get to come to Australia and get to watch them play with our balls,” Bouvier laughs.

    They dive into “What’s New Scooby Doo” and a parade of Scooby Doos flood the stage in a scene that’s as surreal as it is joyous. Bouvier reflects on their Aussie connection, telling us they’ve been coming here since 2002, playing alongside Green Day and The All-American Rejects, and that even though they’re Canadian, they’ve always felt at home here. That sense of belonging powers them through “Where I Belong.”

    When “I’m Just a Kid” hits, Bouvier notes the song is now 23 years old — “it can drink in every country in the world.” In a moment of chaos, drummer Chuck Comeau swaps places with Bouvier and takes to the crowd, crowd-surfing as if 2005 never ended. They wrap with “Perfect”, which, on a night like this, kind of is.



    As their set ends, a giant blimp begins circling the arena ceiling, flashing The Offspring’s logo, hyping up the already buzzing crowd. Then it fades, the lights drop — and the familiar crackle of AC/DC’s “Thunderstruck” tears through the room.



    The Offspring burst on stage and launch into “Come Out and Play” without missing a beat. They barely pause for breath, thrashing through hit after hit. It’s almost impossible to keep track — a medley of snippets, from “Smoke on the Water” to a searing rendition of “Back in Black”, makes this feel less like a setlist and more like a jukebox on fire.

    The new additions — Todd Morse on bass, Brandon Pertzborn on drums, and Jonah Nimoy on guitar, keys and congas — fit in perfectly, locking in behind Dexter and Noodles like they’ve been here all along. At one point, they rip through a raucous version of “Blitzkrieg Bop”, with giant holographic skeletons flashing on each side of the stage like a dystopian Day of the Dead.

    After a thunderous drum solo, the lights go black. A kid in earmuffs turns to his dad and says, “Where is the light?” Actually, there are a lot of kids here tonight — seven, eight years old, discovering punk rock for the first time through the lens of their parents’ nostalgia.

    When they return, Dexter takes a moment, sipping from a drink and offering a simple, heartfelt “Cheers.” He sits at the piano and delivers a stripped-back, emotional version of “Gone Away”. “Loved ones are the lights in our lives,” he says, asking everyone to light up their phones for someone special. The arena glows in tribute — and then, just as suddenly, the band launches into the original version, fireworks of sound, stage lights and catharsis.

    Suddenly, the beach balls are back, the crowd bouncing them wildly as “Why Don’t You Get a Job?” and “Pretty Fly (For a White Guy)” get rolled out — the cartoon graphics from Americana bursting on the video screen in time with every beat.

    They close with “The Kids Aren’t Alright”, and it’s a reminder: pop punk never really dies — it just waits for nights like this.

    And while Sydney gets the riot tonight, the Supercharged Worldwide in ’25 tour now heads into its final run: two huge shows in Brisbane to close it all out. If tonight’s any indication, Queensland better buckle up.

    OFFSPRING/SIMPLE PLAN NEXT SHOWS

    WEDNESDAY 14 MAY 2025 – ENTERTAINMENT CENTRE, BRISBANE SOLD OUT!
    THURSDAY 15 MAY 2025 – ENTERTAINMENT CENTRE, BRISBANE NEW SHOW!

    Head HERE for ticketing information.

  • News: The witches are coming: Burning Witches launch their Australian tour this month

    The cauldron is bubbling, the riffs are razor-sharp, and the leather is laced — Burning Witches are about to scorch Australian soil for the first time ever. Kicking off on 22 May, the Swiss heavy metal coven are bringing their spellbinding brew of ‘80s-inspired shred and power metal fury to stages across the country. Formed in 2015 by axe-wielding mastermind Romana Kalkuhl, the band — now a powerhouse five-piece featuring vocalist Laura Guldemond, bassist Jeanine Grob, drummer Lala Frischknecht and ex-Iron Maidens shredder Courtney Cox — are on a mission to ignite a new wave of metal madness.

    Known for channelling the theatrical energy of Judas Priest and Iron Maiden with a touch of hellfire, Burning Witches don’t just honour metal’s past — they set it ablaze with sky-splitting solos and banshee vocals that could summon the dead. Their debut Australian run promises molten riffs, denim, spikes, and a whole lot of headbanging.

    Australian Tour Dates:
    THUR 22 MAY – SYDNEY – MANNING
    FRI 23 MAY – MELBOURNE – CROXTON
    SAT 24 MAY – BRISBANE – CROWBAR

    Head HERE for ticketing information.

  • Album Review: Arjuna Oakes – ‘While I’m Distracted’: a lush, sophisticated contemporary pop soundscape, rich in soul-jazz understanding.

    Even if you’ve picked up on any of singer-songwriter/pianist Arjuna Oakes’s previous offerings, it’s unlikely you would have predicted the scale and ambition of his debut album ‘While I’m Distracted’. Not that the New Zealander’s earlier EP’s lacked flare or impact. His first release ‘The Watcher’ from 2019 stirred things around with its exquisite blend of sultry soul-jazz which led to LA Indie label Innovative Leisure snapping up the much-praised follow ups ‘First Nights’ and ‘Final Days’. Here was a lush new voice making eclectic pop without fear or boundaries, laying the foundations which underpin the ‘While I’m Distracted’ soundscape.

    The debut album has seen the London-based Oakes switch to that city’s very own Albert’s Favourites as a new home although his close collaborator Serebii (aka Callum Mower), producer, beat-maker and sounding board on those first EP’s, remains a crucial contributor. Oakes and Mower have a friendship made way back as session players, touring Aotearoa in a surf-rock band. From this world of twang and tom-toms they’ve intriguingly evolved into a partnership which makes singular music that skirts easy definition. ‘While I’m Distracted’ therefore feels like a culmination of their phase one and a signpost to their next destination, a voluminous, unabridged double album of soul-jazz seeking excellence where layers of electronica, soundtrack grandeur, smooth funk and even post rock shadows converge.

    It’s an expansive proposition from the get go, the space age ambience of So I don’t Forget granulating softly into a gently padding house piano pad and looping choral shivers. This leads you onto the immense, shimmering beauty of Nothings Gonna Fill You Up, where Oakes’s low-key vocal entry is spine tingling. It’s a steamy, night streets/lost love epic, nu-soul dream music with emotional, quivering strings, subtly propulsive beats and wafting sax curls. A cut that’s in sync with Axelrod sonic dramas.

    There’s certainly no limit to Arjuna Oakes’s musical topology. No Joke gushes with ideas, a song which takes any tangent it pleases. Beginning almost vaudevillian on a Tom Waits down-beat trudge, Oakes’s voice slides between a crooner’s warble and a more scuffed and edgy earthiness. The song takes surprising twists from hazy trip-hop to sassy r n b, and onto a nu-jazz swing. “Take me to that fateful day it all changed for me” Oakes sings as the synths get spooky and the track descends into an eerie Serpent With Feet conclusion. Then there’s Before It’s All Over where the reversed beats slap and jangling guitars crank up into a rootsy Fat Possum/ Black Keys work out, with the added cloak of 4AD sub-gothic voices to throw you off any over-familiar scent.

    Such quirky experimentation and delicate disruption also fills Pocket Full Of Paranoia, disturbing the broken beats and old soul hook with bubbling psychedelic loops while Harrison Scholes burbling bass cranks up the desperation. “All the shit that I devour holds a gun up to my head” Oakes tells us in an urgent falsetto. It’s a reminder of the lyrical depth and insightfulness which is fundamental to his work. Oakes is digging into identity, loss, separation, hope and isolation in his song-writing with a natural voice in place of faux-poetry. Perhaps this is most striking in the more pared back tunes like the bravely honest ballad Lay Low, where he admits “I am cursed with the weight of a dream I will never find”, or on the raw exposure of the acoustic Get Me Some Grief.

    Of course, it wouldn’t be an Arjuna Oakes recording without some warming jazz-toned vibes. Catch Me sees him following a more familiar song structure, comfortable in that cosmic soul-jazz vibe he’s developed with co-producer Serebii. Meanwhile The Love That I Feel redresses a sultry bossa into a contemporary, typically nu-London sound with smoochy sax, slippery warm toned guitar and some cascading keyboard fluency echoing Ezra’s Joe Armon-Jones. Oakes also brings the funk with an easy going pazzaz. Motel has one eye on Thundercat and the other on Defunkt with its nimble bass fills, clenched horn stabs, angular melody and a pin-sharp guitar break from Jo Jenkins.

    ‘While I’m Distracted’ may on the surface feel weighty but it never sounds self-indulgent. There’s very little filler here. Even I Am Alive, a power ballad with all the usual ingredients, gets elevated by a stark lyrical bite. “I check for a pulse so I know I’ll survive” and “so much is lost to the hollow screams” are snippets which remind you that Oakes is chasing a different moment. Ultimately though this is an album of shifting highlights: the astonishing vocal expression of the intimate No-one; the infectious rolling closer Mallet Groove where Oakes and band stretch out before drifting off symphonically; and the elegant completeness of Won’t Let This World Break My Heart, all synth arpeggios, restless rhythms and a Cinematic Orchestra dreaminess.

    Arjuna Oakes has made a massive leap with ‘While I’m Distracted’ but it’s a set which comes across as being significant without drowning in self-importance. In interviews he’s said that he wants his music to “ask questions rather than give answers”. Well here’s an album that will keep you inquisitive and involved for a long time to come…

    [bandcamp width=100% height=120 album=1143255900 size=large bgcol=ffffff linkcol=0687f5 tracklist=false artwork=small track=2554980307]

    Get your copy of ‘While I’m Distracted‘ by Arjuna Oakes from your local record store or direct from Albert’s Favourites HERE

  • News: Blue w3rD Returns With Bold New EP ‘Gods Amongst Men’

    Philadelphia-based Blue w3rD returns with the new EP Gods Amongst Men.

    Spanning nine tracks, the project delivers a compelling mix of elegant alternative musicality with a blend of lo-fi electronics, well worked sampling and live instrumentation to create track with depth and beauty under the sharp lyricism and elegant rap flow.

    From the stripped piano, distant vintage hisses, lo-fi beat and field recordings of the opening title track, to the neo-soul, psychedelic feel of ‘Hibiscus Blue’, to the vinyl crack and elegant sampling of ‘No Enfafa Mas’ the album offers some inventive and musically rich backdrops for the restless, fast paced, emotive rapping that Blue w3rD delivers effortlessly above.

    Far from a conventional drop, Gods Amongst Men arrives as a multidisciplinary effort. Each track is accompanied by a visual art piece created by Blue himself, presented collectively in a digital album magazine. With production by Kayin, the EP marries sample-driven instrumentation and experimental flair, establishing itself as both a musical statement and a work of visual expression.

    Blue explains: “‘Gods Amongst Men’ brings supreme lyricism and sample-driven instrumentation. To me, this is fine art: hip-hop and spirit rap, blending the essence of street knowledge and spirituality to present an exploration expressed through beats and rhymes.

    Within the project, each song is married to an art piece with song lyrics in the form of a digital album magazine. All of the art was made by me, with the beats courtesy of Kayin”.

    Listen below:

    [bandcamp width=350 height=470 album=4085796295 size=large bgcol=ffffff linkcol=0687f5 tracklist=false]

  • EP Review: Cie – Adventures II

    Cie embarks on a new sonic expedition with ‘Adventures II‘, the successor to the original journey, continuing the musical quest with great intensity and energy. As the music begins, ‘Reichenstein‘ rises on the horizon like a majestic mountain peak, growing ever more imposing as you draw closer. Upon arrival, the towering presence of the castle welcomes you with its raw power. The beat pulses like a force of nature, its multi-layered rhythms and vibrant sounds pulling every dance enthusiast into its depths, much like an adventurer scaling the heights of the mountain itself.

    The journey continues through the mystic halls of the castle, leading to ‘Der Turm‘. Here, hypnotic synths scale the tower’s heights, while deep pulsating basses push against every wall.

    From there, the mountain ‘Stenzelberg‘ comes into view, casting its groovy shadows ahead as the next stop on the adventure. Upon reaching the summit, you are immediately drawn into the mountain’s spell by the power of its percussive sounds. But the journey doesn’t end there – deep within the winding gorges, Mar io awaits, leading you through hidden corners and secret paths of the mountain with his powerful remix, finally releasing the soul of the mountain.

    Four electrifying tracks – perfect companions for any club adventure – are ready to carry you on your own journey. Vinyl only.

    Verdict Deep rolling lush beats lead the way on ‘Adventures II‘, and are the solid foundation that everything is set upon throughout the EP. The three originals are pure minimal techno bliss that build the percussive layers perfectly while the deep bass and staccato synth grooves hold the flow. ‘Mar io‘ is on remix duties and ends the show in style with an acid drenched remix that kicks. In short, a solid follow up to its’ predecessor ‘Adventures‘, and once again CIE doesn’t disappoint.

    Track List:

    • Cie – Reichenstein
    • Cie – Der Turm
    • Cie – Stenzelberg
    • Cie – Stenzelberg (Mar io Remix)

    Out April 4th @ https://formnterra.bandcamp.com/