Sydney’s Zeahorse kindly warmed up Brisbane’s Tivoli, and did so with precision and mass enthusiasm.
So, the gates opened at 6.30, but the doors didn’t open until closer to 7.45. If you have been to Eatons Hill Hotel, you’ll know that gigs at the venue are set up like a festival. You progress through one part of the venue and wait in the next for those doors to open. The rain is drizzling gently and the protestors out the front are being quiet and fairly respectful of the hundreds of 18-20 year old white people. Yes, protestors. There were probably thirty of them, with signs such as ‘No means No’ and ‘Have you actually listened to the lyrics?’ Despite all this they didn’t really have any effect on the night other than becoming an attraction for kids and their instagram accounts.
Josh Homme has always been the quiet achiever of 90s rock idols. Unlike the rockstar status of Dave Grohl, the hot mess that is Courtney Love, the brooding pandering of Billy Corgan or the Oscar-winning compositions of Trent Reznor, Homme has kept to himself, steadily building up an excellent discography of alt-rock anthems with Kyuss, Them Crooked Vultures, and most famously, Queens of the Stone Age.
This tiny rock called Earth that we inhabit is becoming increasingly louder whether we like it or not. Looking at the evolution of popular music over the last 50 years, we can see that our music preferences are becoming rowdier and more complicated then ever before.
On Sydney’s first winter night this year, a crowd ranging from neat and tidy families to your typical, rough-around-the-edges musos, politely filed into the Metro Theatre, escaping the slippery conditions on George Street to see Something For Kate (SFK) perform live.
City and Colour – the recording and touring alias for Canadian folk-rocker Dallas Green – return with their fourth album, following 2011's critically-acclaimed Little Hell.