Live Review: Gryffin

Live Review: Gryffin 

170 Russell 

September 17, 2025

 

Gryffin’s long-awaited return to Australia for his first-ever headline tour is nothing short of spectacular and his Melbourne stop at 170 Russell proves why he’s one of the most exciting names in electronic music today.

From the moment doors opened, the energy in the venue was electric. Local support act Jacknife warms up the crowd with a gritty, bass-heavy set that set the tone perfectly. But when Gryffin takes to the stage, the night truly ignites.

Backed by a dazzling light show and a crisp sound system, Gryffin delivers a high-octane performance that blends live instrumentation with his signature melodic house sound. As a classically trained multi-instrumentalist, he doesn’t just DJ — he plays live guitar and keys, adding a rich and exciting organic layer to his electronic beats. 

The setlist is a journey through his discography of songs he has produced including fan favourites like ‘Tie Me Down,’ ‘Feel Good,’ and ‘Nobody Compares to You,’ as well as newer tracks from his 2024 album ‘PULSE’, which showcases a more experimental and cinematic side of his artistry. He also mixes in other popular songs and his own remixes. The crowd erupts during ‘Woke Up in Love’ and swayed emotionally to ‘All You Need to Know.’

What stands out most is Gryffin’s connection with the audience. He frequently steps out from behind the decks onto the podium to engage with fans, creating a communal and intimate performance. The visuals are a mix of dreamy landscapes and pulsing geometric patterns which elevates the experience into something immersive and unforgettable.

Despite the venue and date change, fans still show up to pack-out the venue and 170 Russell proves to be an ideal venue for this kind of show for it is intimate enough to feel personal, yet large enough to accommodate the booming sound and light production for a club-style show. 

His setlist is a whirlwind of genres all blended into one and is filled with euphoric energy and emotional highs as he gives a masterclass in live electronic performance – it’s emotional, energetic, and expertly executed. Whether the audience came for the dancefloor anthems or the heartfelt melodies, we all leave with a full heart and ringing ears.

Gryffin is blown away by the audience’s reaction and feeds off their energy. He shares his brand-new song ‘Deep Water’ released last week and for an extra special finisher he shares an unreleased song called ‘The Feeling’ which is another stunning anthem to add to his impressive electronic dance music catalogue.

Words by Michael Prebeg

Live Review: LeAnn Rimes

Live Review: LeAnn Rimes 

Margaret Court Arena, Melbourne 

16 September 2025

LeAnn Rimes makes a triumphant return to Melbourne, delivering a nostalgic, powerful, and deeply personal performance. The sold-out show marks the final stop of her three-city Australian tour. 

Starting off at the grand piano solo with ‘Remnants’ Rimes is a vision in a long white dress and flowing golden hair. From the moment she opens up to sing her incredibly rich, emotive, and technically flawless voice soars across the arena, reminding fans why she remains one of the most celebrated vocalists of her generation.

“It’s been 22 years since we’ve been here and I’m so honoured and excited to be back. I was over here a lot last year as I as I filmed The Voice, which was a blast, and it just made me fall in love with Australia all over again,” Rimes exclaims.

The band joins in for ‘Life Goes On’ and a stirring rendition of ‘Blue,’ the song that launched her into stardom at just 13-years-old. Fans of all ages – many who grew up with Rimes’ music, sing along, sway and shed tears. 

From country ballads to pop anthems, her setlist spans three decades of her music journey through her evolving artistry, performing tracks from her recent albums with newer songs that added depth to the show and revealing a matured artist unafraid to explore vulnerability and growth. The production is simple yet understated, allowing Rimes’ voice and presence to take centre stage with lighting and visuals subtly complementing the emotional tone of each song.

Rimes acknowledges that today also marks three years since she released her latest album ‘God’s Work’. She describes the record as being deep and laced with a lot of joyous melodies that’s a rollercoaster of human emotions from rage to grief to terror to hopefulness to hopelessness. She shares one of her favourite songs on this album called ‘Awakening.’ 

Rimes then launches into a song that was her very first number one when she was 14 – ‘One Way Ticket,’ that she performs at a more mature and down-tempo version mixed with a cover of Tracey Chapman’s ‘Fast Car’.

“Coyote Ugly just celebrated 25 years. The film has now been passed down to another generation, it is because of this crazy cult following this music has lived on. And not just, hung around, but people are still obsessed with this music, which is just so incredible to see. But this film, and this music has been such a gift. And if you’re a coyote, this is your karaoke moment,” she says before launching into a medley of songs from the movie including the biggest pop hit ‘Can’t Fight the Moonlight.’

Adding to the night’s magic are guest performances by Reuben De Melo, Rimes’ winning contestant from The Voice Australia 2024. They share their soulful harmonies for a heartfelt duet on a cover of Coldplay’s ‘Fix You’ and also joined by Tori Darke for a cover of Fleetwood Mac’s ‘The Chain.’

“To think that I have been woven into so many incredible memories for all of you, from weddings to the funerals to births. Hearing these stories has touched my heart so deeply, and I think that’s my favourite part of my job, is to know that I’ve made a bit of a difference in your world in some way, shape or form, and that we’ve connected. And it’s just a such a beautiful gift. So, thank you very, much from the bottom of my heart, I truly appreciate you,” she says graciously before dedicating ‘How Do I Live’ to her fans. The audience lights up the arena with their phone torches swaying.

Rimes leaves us with a final performance of a cover of Elton John’s ‘Rocket Man.’ Her stripped-back interpretation is met with a thunderous applause and a standing ovation. Even after all this time, Rimes reminds us why she’s a rare musical icon and for those lucky enough to attend, it’s a night they won’t soon forget. 

Words by Michael Prebeg

News: Chappell Roan to Headline Massive Laneway 2026 Lineup

Chappell Roan to Headline Massive Laneway 2026 Lineup

Celebrating its 21st anniversary, Laneway is coming back bigger and better than ever in February 2026

The Laneway 2026 lineup has been revealed.

Confirmed on next year’s bill includes headlining act Chappell Roan, as well as Role Model, PinkPantheress, Wet Leg, BENEE, Gigi Perez, Wolf Alice, and Teen Jesus and the Jean Teasers.

Celebrating its 21st anniversary, Laneway Festival 2026 is coming back bigger and better than ever next February, with a refreshed route across Australia and New Zealand.

Danny Rogers and Jerome Borazio, co-founders of the festival, said this week: “It’s incredible to be celebrating 21 years of Laneway. What began as a little street party in a Melbourne laneway has grown into a summer ritual across Australia and New Zealand.

“Every year we’re blown away by the response from the artists, fans, and community that make Laneway so special — 2026 is about honouring that history while looking to the future.”

2025 was Laneway’s biggest year yet, drawing over 200,000 fans to sold-out shows across Auckland, Brisbane, Sydney, Melbourne, Adelaide, and Perth, with an additional 40,000 at sideshows. Headliners like Charli XCX, Clairo, BICEP, Beabadoobee, Olivia Dean, and Remi Wolf made it a standout year, and the festival’s have confirmed its return next year.

The Laneway Festival pre-sale opens Tuesday, September 23rd with staggered release times across each city. General on-sale follows on Wednesday, September 24th from 10am AEST. Click here for more details.

Laneway 2026

Dates

Thursday, February 5th (18+)
Western Springs, Auckland/Tāmaki Makaurau

Saturday, February 7th (16+)
Southport Sharks, Gold Coast/Yugambeh Jagun

Sunday, February 8th (16+)
Centennial Park, Sydney/Gadigal & Bidjigal

Friday, February 13th (16+)
Flemington Park, Melbourne/Wurundjeri Biik

Saturday, February 14th (16+)
Adelaide Showgrounds, Adelaide/Kaurna Yerta

Sunday, February 15th (16+)
Arena Joondalup, Perth/Whadjuk Boodjar

Lineup

Chappell Roan*

Wolf Alice*

Role Model

PinkPantheress*

Wet Leg

Yung Lean & Bladee*

Lucy Dacus

Alex G

BENEE**

Cavetown

Mt. Joy

The Dare

Malcolm Todd

Oklou

Jensen McRae**

Geese**

Wisp**

Gigi Perez

Teen Jesus and the Jean Teasers^^

Blusher^

Shady Nasty^

Armlock^

The Belair Lip Bombs^

Djanaba

9lives”

Lontalius”

MOKOTRON”

Ringlets”

Womb”

*Only playing Laneway 
**Auckland, Gold Coast, Sydney, Melbourne only
^Gold Coast, Sydney, Melbourne only
^^Australia only
“Auckland only

 

 

ATLAS FRANKLIN ALEXANDER SHARES ETHEREAL NEW SINGLE + VIDEO ‘DOLPHINS’

Painting a sonic universe equal parts dreamy, ethereal and fluid, the new single Dolphins out today from Tasmanian-based psych pop artist Atlas Franklin Alexander also takes full flight with an elusive accompanying music video, and will equally enamour at a run of special single launch shows in Newcastle, Sydney, Melbourne and Wollongong this October.

 

Straddling immersive nostalgia and dreamy soundscapes, Dolphins finds Atlas channelling elements of iconic sonic dream-weavers Massive Attack, Radiohead, The Smiths and Brian Eno, with his new single also seamlessly capturing a rare moment of connection that transcends time and space in a modern setting, as he elaborates, “Dolphins is about the rare, eerie sensation that you’ve known someone longer than your life allows. Like their presence kinda predates your birth. Like you borrowed each other’s names in a past timeline and forgot to give them back. Dolphins is a hazy fragment – a song about a rare kind of bond. Some connections aren’t meant to be understood, they arrive, they shimmer, and disappear again.”

 

An entirely DIY affair as always, with Atlas producing, engineering, mixing and mastering in his home studio, Dolphins further burrows into your soul via its accompanying music video, with long-time collaborators and friends Harri Gilbert and David Fulham joining forces with Atlas to weave storytelling with compelling imagery, and balancing a fever dream quality with real-world relatability. “I directed the video, Harri was DOP, and Dave managed the lighting department as the project’s gaffer,” shares Atlas of the music video. “Those boys always help me bring my concepts to life.”

 

“The video is like the song’s visual counterpart,” Atlas continues. “It’s fragmented, elusive, and a little unsettling. I wanted it to feel like you’re watching something familiar but distorted – kind of like how you remember a face you haven’t seen in years.”

 

A purveyor of kaleidoscopic hues and exhilarating sonic landscapes, Atlas Franklin Alexander has spent the past few years expanding his compelling and entirely DIY trademark sound. Capturing attention performing at BIGSOUND in 2018, Atlas went on to release his debut EP Enter Echo in 2022, going on to command triple j and triple j Unearthed airplay, community radio support and coverage across the likes of Rolling Stone Australia, Pilerats, Life Without Andy, Tone Deaf, The Music and VICE. A gifted musical alchemist, Atlas has also had music videos air on MTV and ABC’s RAGE, and his magnetic live presence has led to him sharing stages with the likes of Boo Seeka, Art VS Science, Surely Shirley, Velvet Trip and Raave Tapes. Releasing his sophomore EP Flexible New Replica earlier this year, Atlas continues to push his sound into new and ever-engaging new heights, woven with modern yet nostalgic sensibilities, hooks, vocoder-laced vocals, angular guitar riffs and syncopated rhythms, ultimately leading to his style being perfectly dubbed as “the love child of New Order and Daft Punk”.

 

Ticking off a string of East Coast performances to accompany the earlier release of Flexible New Replica, Atlas is set to bring the magic to stages in Newcastle, Sydney, Melbourne and Wollongong this October, and, as Atlas reveals, fans can expect evenings of pure magic. “We are touring in October in support of the new Dolphins video release,” shares Atlas, “and the live shows will focus on atmosphere—lots of layers, both sonically and visually. We’ve been working on creating something that feels immersive, like stepping into the world of the music itself.”

 

“Dolphins” has always been one of those songs that felt intangible to me, like a fleeting moment,” Atlas concludes of his brand new single. “Releasing it feels like finally sharing a wacko weird lucid dream. The whole vibe of it is similar to a misremembered memory — not quite real, but familiar in the way certain dreams echo long after you wake.

 

 

Dolphins is out today.

 

 

Stream: DOLPHINS

Watch: DOLPHINS

 

 

ATLAS FRANKLIN ALEXANDER – UPCOMING TOUR DATES:

Tickets available from http://www.instagram.com/atlasfranklinalexander

 

SUN 05 OCT | WESTBEST BLOCFEST, NEWCASTLE NSW

THUR 09 OCT | PLEASURE CLUB, SYDNEY NSW

FRI 17 OCT | CHERRY BAR, MELBOURNE VIC

FRI 31 OCT | TBH FRIDAYS TOWRADGI HOTEL, WOLLONGONG NSW

 

 

 

Live Gallery: Mayday Parade

Mayday Parade

Margaret Court Arena, Melbourne

September 12

Mayday Parade (US), supported by Jack’s Mannequin (US) and The Home Team (US) entertained a nearly full arena crowd on Friday night with their Three Cheers for 20 Years tour.

Jack’s Mannequin prepped the crowd with tracks for their 2005 EP Everything in Transit, and the fans at the barrier didn’t disappoint during their most popular The Mixed Tape and Dark Blue tracks.

Mayday Parade gave it their all for their opening show on tour, opening with By the Way and Just Say You’re Not Into It to screaming fans. As a long-time fan of the band, it felt surreal being next to the barrier of similar-age fans screaming the lyrics back to the band.

They continued the night with other key hits like Bruised and Scarred and Piece of Your Heart, before ending their Melbourne show with their most popular and loudest from the crowd, Jamie All Over.

Photos by Matthew Ling

Jack’s Mannequin

Mayday Parade

THE SEED FUND RETURNS WITH ESTEEMED MUSIC MANAGEMENT WORKSHOP FOR 2026

“Life changing, soul shaking, awe inspiring – you come in one human and leave as another with 30+ other humans by your side.”

Jamila Grace – GRXCE, Kitschen Boy, Salary Men

“The Seed workshop was a formative experience that reshaped my understanding of what it means to be an efficient, empathetic, and successful artist manager—teaching me that true leadership in this role lies in balancing strategic thinking with deep emotional intelligence and unwavering support for the artist’s vision.”

Chris Bettiol –  Telenova, George Alice, Edward Quinn

“This workshop was a total game-changer. It cracked me open and gave me a whole new perspective on my music career, helping me develop the tools, mindset, and connections to approach the business side with the same creativity and clarity I bring to my songwriting.”

Joe Mungovan –  self-managed artist

“The Seed is an intensive music industry survival skills program that embodies the spirit of sharing, generosity, vulnerability and resource swapping. It shows by example that we are better together, and instills a sense of common purpose and connection in a notoriously siloed industry. I wish I could do it every year.”

Tyler McLoughlin – Bobby Alu

 

“Working in the music industry can be an incredibly isolating experience. The seed fund provides a critical avenue for us as self-managed artists to build connection and community to fracture this isolation.”

Charlotte LeLievre – self-managed artist

Powerfully advocating for artists and managers, The Seed Fund has become a cornerstone in the contemporary music landscape. Starting life in 2005, The Seed Fund, spearheaded by directors John Butler and Danielle Caruana and managing director Stacia Goninon, has spent decades raising vital funds and advocating for the artistic community; and today, The Seed Fund is proud to announce another round of its flagship Management Workshop Program once again in 2026.

 

Applications for The Seed Fund’s Management Workshop will open this Friday, the 19th September fromhttps://www.theseedfund.org/management, and will close on Friday 31st October.

 

Created by artists for artists, The Seed Fund Management Workshop Program began in 2006 as a way to bring emerging artist managers and self-managed artists together with industry leaders to share resources and impart wisdom, creating new national networks.

 

The Seed Fund’s Management Workshop Program is a NSW based, national professional development training for up to 35 emerging managers and self-managed artists. The program is holistically designed; a 5 day workshop immersion, followed by 12 months of mentoring. Participants develop interstate and territory networks with alumni, peers and industry leaders and practical skills to propel their careers.

 

The Seed Fund has shown an unwavering dedication to shaping the industry through practical, peer driven support and importantly, is the only national management program catering to self-managed artists. Over the space of 19 years, The Seed Fund has delivered 13 management workshop programs, kickstarting a horde of careers along the way, marking a triumphant return in 2025 following a hiatus against the pandemic years.

 

“It was amazing to be back in 2025,” shares managing director Stacia Goninon. “From the applications opening to the workshop we felt the surge of what was out there waiting for us. It was nice to be able to feel that even after a break we could just pick up where we left off.”

 

“I think what COVID offered was a chance to really reflect on how we spend our time and energy,” Stacia continues. “So, deciding to bring the program back was a decision we did not take lightly at all.  I think our workshop intensive in 2025 was the best yet. I would expect them to get better every time we delivery them (or why bother right?), but there was a level of commitment and intentionality in the cohort that felt particularly alive, the program was sharp, our delivery is always improving and we have no doubts about who we are, what we are doing, why we are doing and where we fit and serve in the eco system of the industry and music community.”

 

Spanning some of the biggest behind-the-scenes names in the Australian music industry, The Seed Fund’s Management Workshop Program alumni includes Katy Steele, Van Picken, Andrew Stone, Jen Cloher, Jodie Regan, Luke Girgis, Maggie Collins, Fred Leone, Jake Mason, Melody Forghani, Anthony Zaccaria, Monique Rothstein, Scott Mesiti, Leah Flanagan, Jess Beston, Katie Besgrove, Nick Lynagh, Rick Chazan, Nicole BZ, Rowan Brand and many more.

 

“The workshop really is an intensive, there’s no doubt about that, the fact that we get to take people away from their everyday lives and put them in a room with others who are on similar but distinct paths really reminds them that they are not alone…they get to build an instant community,” says Stacia.

 

“It is an example of who we can be as a community, shown in real time.  It is model making of how we are better as a collective than a bunch of competing individuals.  It capitalises on our most important assets – the energy of our shared passion for music and the innate generosity of us as a collective of professionals,” adds Danielle.

 

“Watching the cohorts all become their own network and then finding ways to support and uplift each other is my favourite light bulb moment, the moment where they have the  – aha…I thought I was coming here for me.. but this is an “us” situation, shares Danielle.

 

With over 300 managers and self-funded artists coming through the program since its inception, and the distribution of over $1.8 million dollars through grants and initiatives, The Seed Fund’s legacy is only set to grow with its 2026 iconic Management Workshop Program return, fostering and invigorating the future of the music industry, and bringing together like-minded yet silo-ed individuals into a thriving eco-system.

 

“To me – magic is the first word I always use when telling people about the workshops,” says Danielle. “And The Seed Fund is a collective effort. We are constantly surprised at the alchemy when you intentionally bring people together.

 

“The thing I love the most is the legacy of connection,” Stacia concludes. “Every time I see a festival line up, or I go to a music conference I can spot seed alumni (and speakers) all over the place, and more so, they spot each other. I’m at BIGSOUND right now and ran into two people who were at the first ever workshop in 2006, it’s a very humbling legacy! So the fact that we are able to keep growing this community is so special and important to our values as an organisation.”

 

Applications for The Seed Fund’s Management Workshop are open now from https://www.theseedfund.org/management, and will close on Friday 31st October.

 

The Seed fund thanks Sound NSW for their support.

 

For more information, visit https://www.theseedfund.org/

My Dream Rider: Mama Kin Spender

Hi, Mama Kin here of Mama Kin Spender.  We are a garage/folk duo flung to either ends of this great red land.  We have just released our new album PROMISES.  This album is a shotgun ride through the the glee, collapse and transformation of love.  It was carved from stories extracted from our own chests, and it now stands as our apology, our medicine and a manifesto. 

 

10 items on my fantasy rider:

  1. A Masseuse with a massage table with a head hole that is super comfortable!
  2. Kinny and fresh lemon served on ice (Kinny is the Maltese version of Chinotto)
  3. A thermal hot spring for a post show soak
  4. A ping pong table to stir up my competitive spirit, and get me shit talking
  5. 10 different types of WHOLE hazelnut chocolate with AT LEAST a 40% hazelnut to chocolate ratio.
  6. Someone making me AMAZING margaritas/or medicinal hot toddies depending on my vibe
  7. Can the back room have a traveling machine so I can go straight from the gig back home and just walk in the door and be like “hey babes.. Just did a gig on the other side of the country.. Pop the kettle on, run the bath.. The night is YOUNG!”
  8. Maybe Adrienne from Yoga with Adrienne – I got really into it over COVID days and I think we would be great friends, she made me yoga and laugh at the same time and I do like the combo.  SO yeah a quick check in with Ads would be great before a show. 
  9.  Horse so I can breathe in their smell and get nuzzled but also remember that I TOO AM CALM AND WILD AS I NEED TO BE!
  10. Wish I could take my dog to every gig so I could cuddle her before I play and that she would be there with her soft brown eyes ready to tail wag and love hard when I finish.  Maybe she could also help with merch. But also maybe great if the back stage was also a great doggo beach or a forest that her and the horse could frolic in while I am on stage.

 

Stream: PROMISES

 

MAMA KIN SPENDER – UPCOMING SHOWS:

Tickets available from mamakinspender.love

FRI 03 OCT | PADDINGTON UNITING CHURCH, SYDNEY/GADIGAL NSW
SAT 04 OCT | MILTON THEATRE, MILTON/BUDAWANG NSW
SUN 05 OCT | DASHVILLE SKYLINE, DASHVILLE/WONNARUA NSW

Live Review: Bigsound Brisbane

BIGSOUND

Fortitude Valley

2nd – 5th of September

BIGSOUND 2025: Brisbane’s Loudest Week in Music Delivers an Optimistic Future for Australian Music

BIGSOUND has long occupied a unique space in Australia’s live-music ecosystem — part conference, part discovery fest, part creative incubator — and in 2025, it has arguably never felt more vital. Over four nights and across some of Fortitude Valley’s best music venues, this year’s iteration showcased not just growth, but a confidence in what the next generation of Australian & Aotearoa music can be.

Walking into BIGSOUND 2025 was like stepping into a sprawling soundscape where every alley, dive-bar room, rooftop and street corner pulsed with music. The festival’s layout is spread across venues like Crowbar, Black Bear Lodge, The Brightside and Honky Tonks, allowing you to drift and roam, chasing new discoveries and running into old favourites. The sheer scale of programming — over 120 artists, dozens of showcases, a free stage in Brunswick Street Mall, and immersive First Nations-led programming through places like The Goolwal Garden — makes BIGSOUND feel like a journey.

This year’s lineup up spanned from punk to R&B, folk to electronic, country to experimental pop. BIGSOUND spans a sweeping spectrum without feeling unfocused. There’s a generosity in the curation; artists from across geography, gender, age, cultural background get space.
Part of the magic of BIGSOUND is hearing new voices in small rooms, seeing crowd connection being built by the end of a single set. These are moments you don’t get on larger festivals or headline tours. Most artists had multiple sets across the week, meaning you could catch them in a different environment and tailor your week to the feel you want.

The integration of conference, workshops and panels ensures it’s a festival both for lovers of music and makers of music.

Even at smaller fringe venues, sound design and atmosphere were top-notch: crowds were intimate but enthusiastic, and I didn’t have to lineup once to get into a venue.

Artist Highlights

  • Inkabee, just 12 years old, commands attention far beyond mere novelty. His hip-hop set — sharp, bold, full of potential — was some of the moments that made BIGSOUND feel alive with possibility.

  • WAFIA and Azure Ryder both delivered endearing energy to meet their honest songwriting: you sensed both crowd-pleasing and introspective moments.

  • Among the scene discoveries, there are serious names to watch: Coastal Arcade, Serendipiti, Cheeky Leash, Charli Needs Braces, The Southern River Band, Tyla Rodrigues and Dogworld among them. These acts bring distinctiveness of voice and style — whether that’s in vocal tone, stage presence or songwriting.

  • More established artists like Polish Club, DASTE and Eliza and the Delusionals didn’t miss, captivating large crowds at their sets.
  • Letters to Lions brought jangly indie precision, Mid Drift layered sharp hooks with restless energy, and emerging act Emeree turned heads with incredibly confident sets and choreographed dance moves.

BIGSOUND 2025 didn’t just deliver — it reminded. It reminded us why Brisbane continues to matter, why emerging music in Australia and Aotearoa is in such a rich moment, and why community, risk, diversity and curiosity are the lifeblood of live performance. For fans, for artists, for industry — this year’s BIGSOUND is a high watermark: inspiring, surprising, inclusive, full of moments that linger.

For anyone passionate about where music is headed — BIGSOUND is an unmissable time we can’t wait to get back to in 2026.

                           

Photographer: Tim Ludlow (Astray Photography)

Live Gallery: Telenova

Telenova

The Night Cat

September 13

Telenova played a sold out show to The Night Cat on Saturday night with support from effe, celebrating the release of their EP ‘BITCRUSH’ along with playing some new songs from their forthcoming release.

 

Behind the lens

Joshua Braybrook

Live Review: ILL NIÑO

ILL NIÑO

Max Watts

After eight years away from Australian stages, ILL NIÑO’s return has generated genuine excitement among fans of Latin-infused metal, and fans line the barrier ready for the show to kick off.

Opening for the band are not one but two bands- Rise From Ashes and Verona Lights, opening to an impressive crowd turn out. Both give solid performances and blood is pumping by the time ILL NIÑO hit the stage.

ILL NIÑO has built its reputation on emotionally and physically intense live shows, and tonight is no exception. After a long hiatus, fans are hungry and limber up on as they prepare for the onslaught. The nostalgia factor is large and the crowd is amped and ready; the pit proves to be a hectic place for bodies to connect and smash together.

ILL NIÑO’s Melbourne show promised to be one of the more hyped metal events this year in Melbourne, and it delivered.  For longtime fans, it was a chance to relive and reconnect; for newer listeners, a chance to see how a band with a solid legacy still pushes forward. For a band that keep announcing they had only slept for three hours, they gave a solid performance, the audience going wild for each and every moment.

MUSIC ARTS MEDIA