Music writer Andrew McMillen’s 2025 gig diary, part one: The Roots to Killing Heidi
The Australian’s music writer goes to lots of shows — more than is reasonable or even healthy, perhaps. Here are some edited excerpts from his 12,000 word gig diary about some of the 60 concerts he’s seen this year, from Luke Combs and Gracie Abrams to Charli XCX and New Order.
The Roots @ Eatons Hill Hotel, January 3. Rating: 9/10
Extremely satisfying at all musical levels across two hours. An unashamed band of showy entertainers, these guys are the real deal, and none more so than Black Thought, who turned in one of the single most impressive vocalist performances I’ve ever seen. The man simply spits fire, with apparently effortless rhythmic and rhyming eloquence his natural state of being, while also retaining a clarity and cohesiveness to his voice that was never less than striking. The most accomplished rapper I’ve ever seen in the flesh. What a beast.
Mayday @ Singapore National Stadium, January 11. 7/10
Highly entertaining as a spectacle, particularly with the hilarious and unexpected arrival of them performing atop an actual full-size bus halfway through. But at 3.5 hours or so – including plenty of extended banter between all five members – this show had major pacing issues, notwithstanding my lack of understanding a single word of Mandarin.
Rufus Wainwright @ The Tivoli, January 14. 8/10
Ended with a gorgeous version of Hallelujah featuring Melbourne band Folk Bitch Trio, who each took a verse and absolutely slayed with their sublime contrasting voices. One guy yelled out “Holy shit!” after one of the women stepped up through two or so octaves during her lines, and it was kind of annoying but also funny, because for real: holy shit. Genuine, tear-jerking music, the best kind.
Idles @ Riverstage, January 18. 8/10
The most exciting rock ‘n’ roll band I’ve seen this side of Queens of the Stone Age, in terms of being able to keep me fully engaged, compelled and energised across two hours. I knew not a single chorus or melody or anything, and so walked in a blank slate – and walked out fully closed. Great songs and performances, and in Joe Talbot, one of the most magnetic front-people I’ve seen in any band ever. Complete command and poise, and clarity of what he wanted to say between songs with conviction.
Andy and the Odd Socks @ The Fortitude Music Hall, January 22. 8/10
One of the best kids’ shows I’ve seen, maybe the best. Pure entertainment across 80 minutes: highly talented musicians, full commitment, silly humour, crowd engagement, a giant soccer ball, and a reasonably coherent and not-too-outrageous storyline (recording an album “live” during the gig to meet a deadline). I loved it, and so did my five-year-old, Hunter, who asked immediately afterwards, “Can we go to more shows?” Absolutely, son.
Luke Combs @ Suncorp Stadium, January 25. 7/10
Essentially the same show as I saw in an arena 18 months ago, but now stadium-sized, and importantly he has the songs and rare charisma to carry a show of that scale. I don’t know his stuff very well but I was impressed, particularly by the sound mix, which was loud and clear throughout.
Amyl and the Sniffers @ The Tivoli, February 1. 7/10
Impossible not to rate Amy Taylor as one of the great frontpeople in Australian music, leading a band that knows how to play both tight and loose. I appreciate how she’s brought women into punk rock – often a blokey space, but on this night there was plenty of women happily getting into what she, and they, were serving up.
The Flaming Lips @ The Fortitude Music Hall, February 5. 7/10
Hard to have a bad time or be in a bad mood at this band’s shows. Possibly the biggest, longest high-vibe I’ve witnessed at a gig, with few lulls. Wayne Coyne’s preamble to Do You Realize?? was five minutes long, and a huge guy near me was filming and hoping to catch the start of the song. People behind me were sledging the big fella for minutes on end, until one of them finally reached across and said something like, “Put ya f..king phone down, ya dick!” Which he did. Hilarious to find such a negative interaction in the crowd for a life-affirming, positive, loving band! I live for this.
Charli XCX @ Laneway Festival, February 8. 8/10
The most jam-packed crowd I’ve seen for the main stage at Brisbane Showgrounds. I was the oldest person near me in the crowd. I went in blind and was impressed by how engaging she is. One person on stage, zero band, playing to track and singing live, and occasionally playing up to an on stage camera which follows her backstage and into the pit in front of the crowd barrier. She played a solid hour only, which for mine is perfect for a pop headline set. Many young women in the crowd singing every word, I reckon she’s a great role model for them in some songs, particularly Brat era: she portrays high self-worth, sex positive, knowing your value etc, and also how to navigate friendship with other women.
The Prodigy @ Brisbane Riverstage, February 16. 6/10
Very similar to the last time I saw them in 2018. I’d forgotten – because I didn’t take notes back then – that main man Liam Howlett can’t structure a coherent set. Every time the vibe lifts he kills it with a minute or two of dead air build-up. Insane that he hasn’t figured this out after 30 years of performing live. They also have this terrible habit of only playing half-songs, ie the intro, first verse and chorus, then cutting it off. Total buzz kill.
The Corrs @ Brisbane Riverstage, February 19. 7/10
One of those shows where I made the trip purely to hear a single song performed live for the first time – in this case The Corrs’ 1995 hit Runaway, which was so f..king beautiful. The crowd sang the first verse, in what must be a tradition, but its wonderfully stacked chorus vocal melody is irresistible. As a group they’re superlative entertainers, and that’s how they’ve built and maintained an audience across the years despite not having a chart hit in 20 years: they make, and play, really uplifting music, and it’s a joy to see them do it.
Drake @ Brisbane Entertainment Centre, February 24. 7/10
A unique stage set up featuring a raised, see-through catwalk that was positioned around the entire arena floor so that he could jog around and address every corner of the room. I don’t know his stuff very much but I was entertained for the first hour or so of the show. My attention span certainly wasn’t helped by him being 45 minutes or so late – the show didn’t actually start til 9.50pm. Artists who don’t respect their audience by acting like that – plus the late soundcheck arrival which delayed gates opening for 90+ minutes – I find extremely boring and tiresome. Essentially holding a fanbase hostage with zero care for the reality of it being a Monday night. Yeah, he’s a superstar artist, but the real ones show up on time.
New Order @ Brisbane Riverstage, March 11. 9/10
Nothing less than a brilliant band playing a clutch of timeless songs with passion and vitality, while accompanied by a perfect sound mix – one of the best I can recall at this venue. Loud and clear at 110db from the first note, and the sound tech did an excellent job of sliding in feature instruments – “lead bass” and keyboard flourishes – at the appropriate moments. Totally impressed by how commanding and precise the whole band was, and although I haven’t paid them much direct attention in my life, it was amazing to hear so many familiar songs that have been in the culture for 40 years. Much respect!
Kneecap @ The Triffid, March 12. 6/10
This felt like a proper subcultural immersion: Irish hip-hop, with most of the lyrics in a language that’s unpopular in their hometown, let alone on this side of the world. Novelty factor was high, and lots of up-for-it Irish folk kitted out, but the music itself left me … flat. The beats and arrangements were basic and largely one-dimensional, there weren’t many hooks to speak of, and as I watched the 65 minute show I was reminded that hip-hop is one of the hardest genres to enter blind in concert. If you don’t know the artists’ stuff, it’s just a blizzard of fast-paced noise, in this case made all the more difficult because of the language barrier built into their music. I do wonder whether this group is long for the world, or if the meme/novelty factor will explode/implode within a year or two.
PJ Harvey @ Brisbane Convention Centre, March 15. 5/10
Kicking myself for staying 90 minutes. The first half of the show was diabolically dull. I’m all for artists believing in their new material, and committing to playing it in full, but these songs are not good. At the start I was about to shoosh some loud talkers/laughers near me at the front GA section, then decided to change position rather than be that guy. Within half an hour, half the crowd around me was mumbling and muttering to their neighbour. When your own paying audience is massively disengaged from what’s happening on stage, there’s a problem, and it’s your music.
Sex Pistols feat. Frank Carter @ The Fortitude Music Hall, April 9. 8/10
Totally enjoyable in a way I couldn’t have anticipated. Three original band members playing the songs they wrote about 50 years ago with passion and precision, led by a 40-year-old frontman whose vocal tone and stage command were both absolutely perfect. This was a complete performance, all done in 70 minutes. Shout-out to Steve Jones for using the same Les Paul all set and not changing instruments or even checking tuning once. This was a fun Wednesday night — an exercise in pure nostalgia but one played with plenty of heart and full commitment.
Delta Goodrem @ Sydney Opera House, April 14. 7/10
This was a full play-through of her second LP, Mistaken Identity, with mixed results. The highs are high – Electric Storm is easily one of her best songs – but the back half dragged a little, and she also joked about how she hadn’t listened to Miscommunication since she wrote it. Oof. She’s a great performer, completely at ease and charming, and her band was uniformly strong without ever overwhelming her as the lead. As if anyone could outshine Delta on stage.
Tom Morello @ Enmore Theatre, Sydney, April 16. 8/10
A highly enjoyable show taking in songs from across his work with Rage Against the Machine, Audioslave and beyond. Tom is a pure showman, as exemplified halfway through when he realised his guitar was out of tune. “Traditionally this would be seen as a ‘lull’ in the show” he said to the audience. “But for the next 15 seconds, I want you to make the most noise that’s ever been made in this room!” etc. In a nice coda, I spotted Tom walking into the Qantas lounge the next day all by himself, and decided to go up and quietly thank him for the show. He thanked me, asked my name, shook my hand. I wished him all the best for Bluesfest – and that was it, I walked away. In my mind this is the best kind of interaction for a semi-famous musician, where they’re recognised but not drawn attention to; asking for a photo would have been the next logical step but I’ve never been that guy and I wasn’t about to start that day.
You Am I @ The Fortitude Music Hall, April 26. 9/10
I’ve seen them maybe a dozen times and last night felt like best of the lot. Brilliant performances, passionate and precise, with a nice blend of proudly playing two albums “as recorded” with a few tweaks. Most notable was the band inviting wheelchair rapper MC Wheels to join them for Minor Byrd and She Digs Her. Quite a confident move on the band’s part to invite him to add to their work – both were well received, and Tim Rogers still sang his parts. It was just a case of giving the spotlight to another artist, which reminded me of Midnight Oil inviting Tasman Keith to add a new verse to Beds Are Burning on their Makarrata Live tour back in 2021.
Gracie Abrams @ Brisbane Entertainment Centre, May 6. 7/10
Great to see her step up from theatres to arenas in a little more than a year, and absolutely own the bigger space with a confidence that’s surprising for a 25-year-old. There’s an unshakeable sense of her being born to do this thing she’s good at: writing songs that connect, then delivering them to the masses. This was one of the rare arena shows where I thought the slower, quieter songs worked better than the faster, louder indie pop numbers. Gracie solo at a piano in her reconstructed “bedroom” – complete with a queen-sized bed – in the centre of the floor, surrounded by adoring fans, was far more effective and persuasive than when backed on the main stage by her four-piece band, whose mix was muddy and indistinct for much of the show.
After my plus one pulled out at late notice, I went to the venue solo, and my guest for this show turned out to be a 15-year-old named Ashleigh, who’d travelled to the venue with her mum, Kim, in the hope that she’d be able to find a resale ticket on the day. They failed, and the teenager was looking miserable when I went up to the two of them near the box office and asked if she wanted to go inside using my spare ticket. Many tears ensued. I went inside while they figured it out, then met Ashleigh again later at our seats. Many more tears of thanks, to the point where one of the ushers brought her some serviettes to wipe her eyes!
I asked if we could take a picture together just before the lights went down – poor timing. Ashleigh was on her feet for most of the show, singing along to every word and going hoarse, and filming every song, and calling her awed friends on FaceTime mid-song, and generally having the best night of her life. She asked if I knew any of Gracie’s songs, and the answer, truly, was no – but I was happy to be there, and to watch a room full of ebullient young people enjoying themselves while a great young artist played her songs for them.
I gave my card to Kim on the way out, and told her that she was a badass mum for making the trip for her daughter, on a hope and a prayer, without a ticket. Ashleigh texted me after 11pm that night, which I didn’t see until the next morning: “Hi Andrew it’s Ashleigh, thankyou so so so so so so much I had the best night of my life. I’m sorry we didn’t get that picture. Thankyou so much you literally made my year I had such a great time because of you thankyou”. Oh, I forgot to mention: Ashleigh and Kim live in Cairns, 1687km north of the Brisbane Entertainment Centre.
Tommy Emmanuel @ QPAC, May 18. 8/10
Always a joy to see one of the world’s best at something doing what they excel at, and what they love, and in Tommy there’s such a childlike pleasure in his performance that it’s impossible not to be bowled over by him. A pure showman, not just in what his hands do, but in the combination of the lighting show (sublime) and in the ease with which he carries the show between songs, with some top-notch one-liners and banter. (Sample, after five songs: “I’ve had a request … but I’m going to keep playing.”) What’s most stunning about his guitar playing is how cleanly he frets every note, even at top speed. The dexterity, co-ordination and forethought required to move his digits as he does is next-level. Aren’t we lucky to live in a world where people like him find what they love early on, then decide to dedicate the remainder of their time to playing for the rest of us, for as long as they’re able?
Tina Arena @ QPAC, May 20. 8/10
The QPAC concert hall is a wondrous space with a band in full flight, as was the case here, with Tina doing Don’t Ask in full – though not in order, with a couple of the bigger songs saved for last, and a few diversions into other material near the end. Hers is a crack band, led by MD Dorian West, and I love watching her drummer Jason Heerah play. The guy always seems to be having the most fun of anyone, singing along to almost every line; just to himself, not into the mic most of the time. Tina’s voice was spectacular, as always, and carried an excellent 105-minute show.
Sigur Ros @ QPAC, May 27. 9/10
The fourth time I’ve seen them and totally different to the other shows, in a bunch of good ways. Backed by the Brisbane Philharmonic Orchestra, they eschewed almost all of the post-rock bombastic maximalism in favour of quieter, delicate, more spectral songs from their catalogue, and it worked really well. This was an exquisite concert and the only thing that stopped me enjoying it more was unfamiliarity with some of the material.
Clown Core @ Triffid, June 3. 8/10
Such a breath of fresh air, as this was unlike anything I’ve seen recently. Not least because I walked in knowing practically nothing about this band beyond a short clip I’d seen on Instagram that was captivating enough to get me in the room on a Tuesday night. Above all, this was a highly disciplined performance, because the two guys – dressed in three-piece suits, clown makeup and red wigs – are completely in character the whole time, and sit/stand stock still at various points, never engaging with the audience or making any attempt to “perform” in a traditional sense. Behind the musicians was a large screen showing a range of AI-generated imagery, including porn, surgery, food preparation and space stuff. They played for 45 minutes total, including a very short encore, then left with a message displayed on screen: “Please leave. Thank you for your money.”
Spacey Jane @ The Fortitude Music Hall, June 4. 8/10
I enjoyed my first viewing of this band, who I now count as among the most impressive and compelling rock bands working today. I’m glad I waited until this point in their career to see them, because this was a top-notch production in every aspect, from the stage design to the setlist. Spacey Jane is a complete band, led by brilliant songwriting, singing and musicianship, and they have the feel of an international act in a way that eluded the likes of Powderfinger, say, whose appeal never really extended far overseas.
Parkway Drive @ Sydney Opera House, June 9. 10/10
A Byron Bay band playing heavy metal music for outsiders was invited to perform with an orchestra at a cultural landmark, and once inside, it left nobody doubting its abilities as a trailblazing artistic force with an unmatched aptitude to extend and expand itself, all while continuing to rise. (To read the full concert review, click here.)
Supergrass @ The Tivoli, June 11. 9/10
They played their debut album in full (as advertised) and then followed it with every single song I wanted to hear, with no duds. Incredible wish fulfilment. They sound as good today as on record. Extremely innovative and compelling songs, played brilliantly. I thought this was the first time I had seen them, until my brother Stuart said he remembered us seeing the band previously. I checked my email history and found that yes, I had indeed seen them before … in 2008, at the same venue, 17 years prior. I reviewed it, too, for Rave Magazine. I guess that’s the problem with seeing 100+ shows per year – I can’t possibly remember them all, even the good ones, which is part of the reason why I’m keeping this very journal.
Kasey Chambers @ The Tivoli, June 14. 8/10
She and her band are sublime players, and she’s such a natural and engaging storyteller it’s impossible not to be captivated by Kasey. Her Eminem cover, Lose Yourself, is no longer the set closer on this tour but moved a few from the end; I found myself getting irritated by a couple of women in front of me who were texting during the first (slower) half of the song, which is a ridiculous thing to think – but also, this is one of the greatest artistic expressions of all time, how are you not giving it your full attention, you lunatics?!
Katy Perry @ Brisbane Entertainment Centre, June 17. 8/10
I turn up to shows in the hope of seeing something I’ve never seen before, and tonight I got that, because nearly two hours into the performance, Katy Perry rode a giant butterfly round while singing Roar. It was one of the most surprising effects I’ve seen, executed with effortless perfection, and capped an impressive show overall wherein Katy used the space very well, from the infinity sign mosh pit for VIPs in the centre, to doing a trapeze backflip move from near the sound desk back to the middle of the stage, and also acrobatically climbing inside a metal dome that was raised 10m above the crowd while 10 male dancers moved in sync beneath her. In terms of the sheer amount of moving parts and how superbly it was all executed, this was a fantastic show, although I couldn’t shake the feeling that a few major set pieces were designed to cover up some pretty average songwriting.
Jimmy Barnes @ The Fortitude Music Hall, June 21. 8/10
It’s interesting that Jimmy has arrived at a place in his life where he’s comfortable with his wife Jane standing and playing bagpipes at centre stage for a couple of songs. Where five years ago it was inconceivable that this bloke would want to do such a thing, he’s clearly been through so much in terms of his physical health that he wants to be surrounded by family members. On stage, he literally is, with son Jackie on drums behind, son-in-law Ben on guitar to his right, and Jane and daughter EJ behind and to his left. A Barnes force-field, as it were – with Jimmy at the centre. He remains undoubtedly lethal as a vocalist and is still absolutely in his element whenever there’s a crowd in the mood for a melody.
Killing Heidi @ The Tivoli, June 26. 7/10
It was worth leaving the house just to hear them play Weir – one of the great Australian rock songs, and certainly one of the strongest debuts. It retains a euphoric purity 25 years after its release, and it’s an excellent example of songwriters managing to bottle and capture childhood nostalgia; that feeling of being on the cusp of adolescence, looking around the corner into adulthood, and wondering what your life will become. So to hear Ella and Jesse Hooper, and their newer bandmates, run through it produced four minutes of goosebump-giving elation.
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