Paramore, You Me At Six, Twenty One Pilots @ The Sidney Myer Music Bowl, Melbourne (12/01/2014)
Paramore is one of the incredibly rare cases in which I’ve known a band before they exploded into popularity and frankly I still don’t think I’m used to it. This feeling is only heightened when I walk into Sidney Myer Music Bowl, confused at the fact that I wasn’t filing through into the doors at Billboard again instead. The line stretches from the gates to the other side of the gardens into the site of the Midsummer festival and out the other side, but luckily the line moves fast, and we’re all ushered in quickly and safely.
Despite the minute space held at the Music Bowl stands for a standing crowd, an incredibly large chunk manage to squash their way in even before the first band begins. Despite a string of unfortunately timed technical failures with the backdrop the first act, Ohio bred duo Twenty | One | Pilots make a punctual appearance. As vocalist/pianist Tyler Joseph crones his way through the intro track, few people realise when the drummer takes his place behind the kit. This didn’t last for long though, as shortly after arrival let loose a battering array of crashing cymbals and pounding skins.
For the next half hour, the duo performed an emotional mixture of hip-hop and pop-punk melodies, with Joseph introducing each and every song played. It was a personal touch that really left the crowd quite interested, as well as the stage performance. This included such stunts as flipping off the grand piano onstage, and an incredible call-repeat session on a set of three snare drums. The only real complaint falls on the mixing of the drums, which overpowered the softer parts of the bands set.
Following the energy filled opener was British alt-rock act You Me at Six, who seemed to cause a crowd crush every time their name was said. Their appearance onstage was earlier than thought which caused many a few folks to pull a mad dash from the drink stands as not to miss a moment. To be fair, they probably could have waited, as it wasn’t until Little Death that the band really hit their stride. Joking around and commencing a group shirt swinging, the band seem much more relaxed than when they first stepped onstage the “giant metal shed”.
Just when it seemed the crowd had hit a plateau in their excitement, Franceshi lets loose he news that while this is their final song, they’ll be back come September. Instantly the already unruly pit explodes into a frenzy, just in time for closer Underdog. Though, as soon as they leave the stage, a hush fills the bowl in anticipation. Still, it’s a performance that will linger in people’s memories long after this night is over.
At 9pm, with the drop of a curtain, the bowl is bathed in bright lights and the blaring guitar of Taylor York welcomes Paramore to the stage. The band stands for a brief moment as silhouettes against the bright white backdrop before exploding into action with the opener of Grow Up. Vocalist Hayley Williams appears very much like a young Karen O, clad in leather jacket and tights as she prances around stage. Meanwhile, bassist Jeremy saunters his way to the crowd, face stretched into a massive grin, a pose he would keep for near the entirety of the gig.
As the lights fall once more, a spotlight hits both Williams and York as he sheds his guitar for a much quainter ukulele for the first of three Interludes. Each was one of the most memorable and well received parts of the set, almost as much as the fan choir during gospel inspired Ain’t it fun?. After a lighter and phone-light fuelled rendition of the Only Exception and b-side In the Mourning, the band takes on some of their older hits with Pressure and Misery Business.
With the opening chords, a few well informed fans unravel messages asking to “pick” them. Despite the obviousness of what is about to occur, it still is quite exciting to see Williams pull out a young lass from the crowd as a twentieth birthday present. What was more surprising, however, was how well the two managed to work together and feed off each other. After a short final chorus, the band makes its first exit from the stage.
As they make their way back for the encore, York begins to hobble and reveals that he has twisted his ankle, but still he stays standing for the entirety of the encore. Closing with Still Into You off their new self-titled record, the bowl erupts in a display of confetti and cheering. The six-piece gather up to give a bow to the screaming arena, and then leave with the promise of a new album on its way. The crowd is hesitant to leave, still chanting the band’s name, but as what would be considered the house lights came on, they dutifully complied and filed out of the venue.
To watch a band morph from a club band to a stadium act is a rarely seen process, and even more rarely seen is a case where one of these acts actually manages to make the transition successfully. Perhaps this is why tonight’s show feels somewhat more special than usual. Either way, it’s a night many won’t forget for a very long while.
Ben Spencer
Check out our photos from the night here!
Despite the minute space held at the Music Bowl stands for a standing crowd, an incredibly large chunk manage to squash their way in even before the first band begins. Despite a string of unfortunately timed technical failures with the backdrop the first act, Ohio bred duo Twenty | One | Pilots make a punctual appearance. As vocalist/pianist Tyler Joseph crones his way through the intro track, few people realise when the drummer takes his place behind the kit. This didn’t last for long though, as shortly after arrival let loose a battering array of crashing cymbals and pounding skins.
For the next half hour, the duo performed an emotional mixture of hip-hop and pop-punk melodies, with Joseph introducing each and every song played. It was a personal touch that really left the crowd quite interested, as well as the stage performance. This included such stunts as flipping off the grand piano onstage, and an incredible call-repeat session on a set of three snare drums. The only real complaint falls on the mixing of the drums, which overpowered the softer parts of the bands set.
Following the energy filled opener was British alt-rock act You Me at Six, who seemed to cause a crowd crush every time their name was said. Their appearance onstage was earlier than thought which caused many a few folks to pull a mad dash from the drink stands as not to miss a moment. To be fair, they probably could have waited, as it wasn’t until Little Death that the band really hit their stride. Joking around and commencing a group shirt swinging, the band seem much more relaxed than when they first stepped onstage the “giant metal shed”.
Just when it seemed the crowd had hit a plateau in their excitement, Franceshi lets loose he news that while this is their final song, they’ll be back come September. Instantly the already unruly pit explodes into a frenzy, just in time for closer Underdog. Though, as soon as they leave the stage, a hush fills the bowl in anticipation. Still, it’s a performance that will linger in people’s memories long after this night is over.
At 9pm, with the drop of a curtain, the bowl is bathed in bright lights and the blaring guitar of Taylor York welcomes Paramore to the stage. The band stands for a brief moment as silhouettes against the bright white backdrop before exploding into action with the opener of Grow Up. Vocalist Hayley Williams appears very much like a young Karen O, clad in leather jacket and tights as she prances around stage. Meanwhile, bassist Jeremy saunters his way to the crowd, face stretched into a massive grin, a pose he would keep for near the entirety of the gig.
As the lights fall once more, a spotlight hits both Williams and York as he sheds his guitar for a much quainter ukulele for the first of three Interludes. Each was one of the most memorable and well received parts of the set, almost as much as the fan choir during gospel inspired Ain’t it fun?. After a lighter and phone-light fuelled rendition of the Only Exception and b-side In the Mourning, the band takes on some of their older hits with Pressure and Misery Business.
With the opening chords, a few well informed fans unravel messages asking to “pick” them. Despite the obviousness of what is about to occur, it still is quite exciting to see Williams pull out a young lass from the crowd as a twentieth birthday present. What was more surprising, however, was how well the two managed to work together and feed off each other. After a short final chorus, the band makes its first exit from the stage.
As they make their way back for the encore, York begins to hobble and reveals that he has twisted his ankle, but still he stays standing for the entirety of the encore. Closing with Still Into You off their new self-titled record, the bowl erupts in a display of confetti and cheering. The six-piece gather up to give a bow to the screaming arena, and then leave with the promise of a new album on its way. The crowd is hesitant to leave, still chanting the band’s name, but as what would be considered the house lights came on, they dutifully complied and filed out of the venue.
To watch a band morph from a club band to a stadium act is a rarely seen process, and even more rarely seen is a case where one of these acts actually manages to make the transition successfully. Perhaps this is why tonight’s show feels somewhat more special than usual. Either way, it’s a night many won’t forget for a very long while.
Ben Spencer
Check out our photos from the night here!