THE SUPERJESUS MOLO Live (ANU) (Live Review)

Twenty years ago The Superjesus smashed their way into public airspace with debut album Sumo. Fronted by the extraordinary Sarah McLeod, they formed part of the mid-to-late 90s explosion of Australian rock n roll music that included Regurgitator, Powderfinger, Spiderbait, Grinspoon, Machine Gun Fellatio and countless others.
In hindsight, it would probably be easy to contextualise them within the phenomenon that was Garbage, Shirley Manson and the more palatable post-grunge period where women less overtly threatening than the L7 and Bikini Kill types were enjoying some radioplay. Doing so drastically undersells just how well this band understood how to combine heavy riffs with super catchy melodies and addictive vocal hooks.
Returning to the ANU to play the hallowed Refectory’s temporary replacement, Superjesus were on fucking fire. Having gone back through the records before the show one thing became instantly clear from the first track in; the album sound had heavily softened what it is they do when they play live. As a frontwoman, McLeod is so completely compelling; she is vocally on top of her game and her stagecraft renders her larger than life. As a band they are unmistakably tight throughout the entire set. This might in some ways be attributed to the addition of Travis Dragani on drums and the return of Jason Slack on lead. McLeod references some of the band’s internal discontent but none if that is present for this show. The double guitar sound is brutally aggressive and held together by the constancy of Stuart Rudd’s bass.
In tribute to Sumo the entire first half of their whopping two and a half hour set is dedicated to playing that album from start to finish. After a short break they come back and play an eclectic set beginning with McLeod taking a seat at the keyboard and knocking out a ballad, making its way through a track or two from the debut EP Eight Step Rail and settling on a charged cover of Kylie Minogue’s ‘Confide in Me’. It turned out to be one of the most satisfying performances in the Territory this year and really demonstrated just how responsive Canberra can be to acts like this who lay their heart at the foot of the stage.
Uniquely on this tour Superjesus played with a support act for the Canberra show; all girl Sydney based four-piece Rackett. If ever you were inclined to think that gutsy riff driven rock n roll was for nostalgis alone, this was the band to reset your perspective. Fronted by Rebecca Callander, who channels a New-York-in-the-70s, CBGB vibe like nobody else, Rackett do a pop punk dirty rock n roll thing and they do it really really well.  Think Deap Valley with a fuller sound. Musically, it’s raw and gritty; stylistically they’re much less of the serious and more of the fun. Callander’s overt displays of sexuality seem more playful than anything else and do nothing but endear her to every person in the room. If they can maintain the kind of enthusiasm they showed in this performance they’re likely to be a band we hear a lot from.
The nostalgia of the 20 year anniversary tour is great for old 90s heads like me, and there’s been a few in the last few years. Grinspoon did their ‘Guide to Better Living’ tour last year, as did Pennywise with their ‘Circles’ show. But, in truth, I hope this show was more than that. I hope this is a sign tha

Lost Picnic @The Domain (Live Review)

I never thought I’d find myself reviewing a festival, let alone the renowned Lost Picnic Festival at The Domain in Sydney. With a line up so impressive, no wonder it was a sold out event. Upon arriving, there were already queue’s stretching down the streets, a mixed crowd of families with young children, teenagers and elderly couples, all in line and waiting for the long day ahead. Before any acts hit the stage, I decided to have a wander around the site to see what other entertainment they had to offer besides the music.
I had heard that previous Lost Picnic events didn’t have a substantial amount of food or drinks stalls to offer, yet at this event they had a huge variety of stalls selling a mixture of foods and drinks to cater for all (absolute praise to the organisers for fixing the issue this year). The extra entertainment was great too, sticking with a circus theme, there was mini golf, people dressed up in extravagant colourful costumes and a circus tent had been set up and a range of acts were performing in there throughout the entirety of the day (perfect for families with children).

Within half an hour of doors opening, the crowds had flooded through the gates, setting up their picnic blankets and waiting for the first act to grace the stage. Sons of the East opened the event, a three piece band from Sydney Australia; They are a classic Australian country-folk band, with husky vocals and clean guitar. Sons of the East’s sound suited the Sydney crowd perfectly, the band’s audience engagement was great and their set was a perfect way to start the day. The band also debuted brand new music to their hometown crowd, performing their single ‘Come Away’ which was definitely the highlight of their set.

Odette was up next on the Lost Picnic line up; earlier I saw Odette wandering around the Lost Picnic site, minding her own business and meeting her beloved fans, just from seeing this I knew she would be a humble and personable performer, and I was correct. She joined her three piece band on stage, taking her place behind the keyboard before showing off her powerful and extraordinary voice. Personally I was blown away by her talent, especially when she performed songs off her debut album ‘To a Stranger’, demonstrating her incredible vocal range without fault. The English born singer, raised in Sydney’s suburbs had a vibe that suited this crowd, she had the growing audience dancing to her groovy beats and minimalist piano ballads all set long.

Next to enter the stage was Hot Potato Band. How do I describe this energetic 10 piece brass band? Simply amazing in every single way, from their timing, their show performance to their impressive crowd involvement, I felt like I was watching a scene out of a Broadway musical. They gave the Lost Picnic audience a performance so unique and entertaining, personally their set was definitely one of the highlights from the entire event.  Let’s talk about Ben Goldstein’s smooth vocals (and incredible dancing), which complimented the army of instruments which joined him on stage. He’s an entertainer, he knows how to put on a good show, and he had the entirety of Lost Picnic on their feet, jumping along to their humorous lyrics. “This song is about the green stuff we all love….avocado” Goldstein announced before breaking out into the lyrics “You got to spread it on thick” (I couldn’t agree more).
For a 10 piece band they put on a faultless performance, and if you want to be entertained, go and check out the Hot Potato Band, you will not be disappointed.

Marlon Williams and his band brought it down a notch with Marlon’s soothing vocals paired with the bands 50’s inspired instrumentals. The entire set I couldn’t help but think he was a modern-day Elvis, similar vocal style with a contemporary twist. They attracted a certain type of audience and let just say not many kids could be seen in the crowd. Marlon Williams and his band brought a different energy to the stage, I appreciated their musical talent and faultless vocal range, especially during their performance of their new song ‘Make way for Love’. Couple’s could be seen slow dancing and singing along to their heartfelt lyrics.

An act that the audience were undoubtedly looking forward to, was the phenomenal Meg Mac. A large crowd started to form at the barrier, cheering and chanting for the Sydney singer, Meg Mac to come on stage. Despite the weather taking a turn and raining on and off during her set, it did not dampen the spirits of Lost Picnic crowd. Seeing this was my first time seeing Meg Mac live, I did not know what to expect. I have been a fan of Meg Mac’s distinctive vocals and powerful lyrics for a while, and I was curious to see how she would portray this live. In saying this, I have nothing but positive feedback to give about her performance. Meg Mac is simply fascinating, she owned the stage with enthusiasm and confidence. Meg Mac’s lyrics are like listening to a story, each verse and chorus is captivating and pleasant to listen to. Meg Mac gave the audience a range of songs, new and old and even debuting her latest song ‘Give Me My Name Back’ to her hometown crowd.  Meg Mac also performed her Triple J Like a Version cover ‘Let it Happen’ which the audience went crazy for.

The final act that I can safely say everyone was waiting for, a dynamic solo multi instrumentalist who gained world attention from her home made music videos and busking in the streets, Tash Sultana. Often described as a ‘one-person band’, the stage was set up with a variety of instruments, loop pedals and quirky items that undoubtedly represent Tash herself. The crowd were waiting for this moment, to finally hear Tash Sultana create her music live. How would you describe her sound? It’s a strong progression of 70’s reggae, mixed with modern day looping and incredible guitar solos, all combined with her soft and soothing vocals. Her talent and passion for music is powerful, her sound is real, raw and authentic. Watching her perform live is mesmerizing, you can see on her face that she not only creates this music, but she feels it also. Throughout her set she was switching between instruments constantly, and I couldn’t help but think that she has a pure talent, unlike any other musician I had ever seen. Tash Sultana performed a array of her well-known songs, from ‘Jungle’, to ‘Notion’ to performing her latest single ‘Free Mind’. Tash’s hour and fifteen minute set slowly came to an end, and the crowd chanted for “one more song”, It was undeniably the perfect set to finish the night and to conclude Lost Picnic Festival 2018.

OCEAN ALLEY @ UC REFECTORY (Live Review)

Seeing Ocean Alley previously in festival settings, I thought I knew what I was expecting. This rock/reggae rooted 6 piece band was truly memorable to watch and totally blew my mind. From their 70’s/ hippie vibe to the exceptional union of each band member and their instrument, Ocean Alley has easily become one of my favourite bands since the show on Sunday.
Canberra locals Young Monks set the scene at the UC Refectory, although I couldn’t catch them they are most definitely the perfect support choice for the Canberra leg of Ocean Alley’s tour. The indie rock band is fantastic to watch, their music alongside their visuals is a show on it’s own.
Although the experience was so positive, it didn’t start off that way. Ocean Alley started 20 minutes earlier than advertised set times, it was quite a bummer for the attendees like myself still waiting outside getting our id checked hearing the band perform. Finally in, I appreciated having access to the upstairs section of the UC Refectory as it gave me freedom to move, take pictures and enjoy the band without having to worry about the crowd.
The next situation was the fire alarm that caused the entire building to evacuate. Although usually a huge inconvenience in the middle of a show, Ocean Alley and security handled the situation very well. I technically shouldn’t be complaining as I exited through same doors as the boys and managed to take a picture on my film camera of frontman Baden and bassist Nic (if I’m not mistaken).

We made it back inside for some reggae groove. Ocean Alley’s sound is so accurate to recordings –  if not better live. Baden’s voice is so full of emotion which echoes throughout the room, soaring reaching to your soul. The dude on the keyboard is absolutely fantastic, I enjoyed a lot of the brass that was incorporated. All three guitars and bass were of such worked in cohesion and the visuals were also fantastic – complementing the music and setting the scene right for the night. Not too flashy with very calm and ambient lighting.

Highlights were of course ‘Yellow Mellow‘, which starts off with a dreamy synthesizer accompanied by a soft beat that then hits with a heavy reggae beat that instantly got the crowd grooving and ‘Freedom Lover‘ off their Yellow Mellow EP. The song ‘Feel’ was definitely a favourite of mine, Baden’s vocal rippled through everyone’s bodies with this one, you could feel the energy during this song. Ironically during  ‘Feel’, Baden whipped off his guitar to take a moment to put all his passion into this track. Following, was their cover of Player’s ‘Baby Come Back‘ which proved to be the crowd favourite. They covered the 70’s hit on Triple J’s Like A Version earlier this year and like ‘Feel‘, the song had such an impact on the crowd, not one person was not singing.
I feel so blessed to have been apart of the presence of such an incredible group of musicians who take their craft seriously. Their performance and overall energy was so admirable and it made all the little inconveniences literally go away. Incredible show, truly.

WILLARIS. K @ THE TRIFFID (Live Review)

His works have received nothing but praise, with heavy support from Triple J and Unearthed helping to launch him into the limelight. Since the release of his first few singles, his fan base has been steadily growing. Now with (equally as well-received) EP Alchemy under his belt, Jack McAllister has gone from working a trade, to midday festival slots, to selling out sizeable venues across the country as Willaris. K.
Tonight’s first support act, Beatrice, is quick to warm up the stage. She presents a sound that is cinematic in an entirely entrancing way: her soundscapes are wonderfully vivid and wholly encapsulating. It doesn’t take long for Beatrice to impress as she effortlessly adds and strips layers of synths, beats, and bass with a dream-like fluidity bridged over by her own echoed vocals. It’s a delicate set up that has the artist manning several components at any one time as she builds, deconstructs, and rebuilds sound. But Beatrice flaunts her music with a nonchalance that feels much more casual than her work demands. While the venue remains fairly empty, it gives those who came down early room to fully enjoy the show with eccentric movements unencumbered by other bodies.
The constant pulse is soon picked up by DJ Theo Kottis. His set is a slightly more upbeat affair in comparison to the other acts on tonight’s bill, but it provides a subtle contrast to both Beatrice and Willaris. K. Kottis also brings with him a more vocal-focused set, keeping things pacing perfectly as the rest of tonight’s crowd begin to file in. Shoulders begin to rub as punters grow increasingly impatient for tonight’s headliner, the growing suspense for the big reveal becoming increasingly unbearable.
At 10.20pm, the bar is empty and front of stage is tightly packed, so it goes without saying that Jack McAllister’s much anticipated entrance doesn’t go unnoticed. He’s the man who needs no introduction, so there is none. McAllister launches straight into his set, and while our expectations are perched precariously high, he still manages physically take hold of your entire body through the bass reverb alone. Willaris. K has announced his presence, all we can do is hold on tightly as we fly full force into the next hour and a half.
While McAllister only has an EP to his name, tonight he has his entire world on offer. It’s a constantly shifting universe that feels dangerously close to an apocalyptic brink at any given moment, but never quite loses control. Flashing strobes and a constant rainbow of lights keeps the artist’s face illusive, but you can tell from the shapes behind the smoke that no one is going to enjoy the night with as much enthusiasm as WK himself. While he never speaks, Willaris. K is incredibly expressive. You would only notice it if you were looking closely, but McAllister quickly flashes a beguiling smile before dropping the opening sample of Catch Phrase. He doesn’t need to look up to know  that the crowd is going absolutely wild.
The following 90 minute mix of sounds are discernibly techno, but there’s an emotion that runs deep within each track. Even the bridges of extended plays that weave the set together are heavy with an ominous intensity that evokes an almost indescribable feeling: an orphic pleasure that somehow feels foreign yet familiar, all while forcing you to surrender yourself to dance.
It’s all too easy to be washed away by the overwhelming mayhem of it all, but as much as McAllister throws you into the deep end, he also exhibits a sophistication and maturity that stops it all from being drowned by it’s own hand. Whether it’s an intrinsic knowledge of the genre or a stroke of pure genius, Willaris. K’s delicate sense of when to hold back and when to let go has the crowd salivating for his touch. Every beat, loop, and flash of strobe works with surgical precision and purpose: it’s calculated but never forced, heavily textured and deeply layered but never messy or confused. McAllister presents a finesse other artists, regardless of genre, yearn for.
There are seemingly a thousand reasons why Willaris. K has risen to fame with such ferocity—reasons I still find hard to articulate with words the way Willaris. K articulates himself with music. It can take a while to comprehend the full extent of Jack McAlister’s talent, but when you do, it’s overwhelming. By the end of the night, the mosh is soaked with sweat, heads are pounding, and eyes struggling to adjust to consistent lighting. It seems impossible for a single man to inflict so much damage, but it’s the type of pain that given the chance, you would gladly endure over and over again.

THE FLATLINERS Transit Bar (Canberra) (Live Review)

Local label Arrest Records are responsible for some of the country’s most cutting edge music at the heavier end of the spectrum. With acts like Sumeru, Pitt the Elder, Tigers, Death by Stereo, Beaver and Ohm Rune on their roster, Arrest is a label constantly looking for, finding and building exciting and relevant new talent.
Tonight, Arrest went a little further afield and brought Canadian punk stalwarts The Flatliners to the Capital. Flatliners are a band whose sound has evolved over the 15 years they’ve been writing recording and performing together. From a ska-based pop punk act to a much more groove driven, riff heavy rock n roll sound they are a band whose music has matured with them.
They play a solid mix of older and newer stuff with a couple of brand-new songs thrown into the set and a couple of fan favourites rounding it out. Much of the success of the band can be attributed to the charisma and presence of Chris Creswell. Like a lot of bands of the melodic punk variety, what they do onstage is generally a lot more aggressive than what appears on the albums. This is unsurprising. What is surprising maybe, is just how fucking tight they are. As a unit they play together with a kind of workhorse-like professionalism that is striking in its execution. The other thing that endears about this band is that they are able to make serious fucking music without taking themselves too seriously. It’s an ethos a lot of heavier bands struggle with, but which this foursome manage admirably.
They bring with them two supports tonight. The first is a local act going by the name Sketch Method. They’re a three piece who play fucking loud and fucking hard but with just enough melody to maintain a kind of groove in amongst the screaming vocal, contributed to by all three members, and the menacing guitars and almost tribal drum work. They’ve been doing the rounds for a few years now but their debut album ‘Is it a Bird? Who Cares’ is available and worth a listen. They too have found a pretty satisfying way to make music that is tough as fuck but also fun and kind of stupid. It’s good. Look out especially for Self-Appointed Hipster Wannabe.
Sketch Method are followed by Stolen Youth. A hardcore band of the very traditional mould, they play hard from start to finish and are indefatigable. Their frontman/vocalist Sean spends almost all of his time off the stage and down on the floor among the audience who, at one point, join him on vocals for a Propagandhi cover.
The Flatliners have amassed a pretty loyal following in Australia and the Capital is no exception. Transit isn’t a huge venue but it was near capacity and everyone in the place was on their feet with fists in the air. In Canberra on a Sunday night that’s no small feat.

HANDS LIKE HOUSES + PLTS @ MAX WATTS (Live Review)

Usually when one prepares to write a review, whether it be of the live act or their recorded music, it’s pretty universally agreed upon that you need to 1) know the act 2) do your research and 3) -perhaps the most important- take notes of your experience – this is especially important when reviewing a live act, in order to have account of memorable moments, interesting quotes, notes on the atmosphere, all that jazz… this time around the latter was not the case, because I was just having too good of a time…sorry not sorry.
Byron Bay-based boys PLTS (pronounced ‘pilots’) kicked off the night right on time (which, as a stage manager let me tell you, that is a dream come true), with such a well-developed sound it was hard to believe they were live and not playing with a full backing track. At first look, one might expect to hear something of a more surf-rock vibe, but it was clear once they started playing that they’re well and truly established under the alt-rock umbrellas. Lead vocalist and guitarist Kit Bray piloted (geddit?) the performance with bold and confident vocals, with Byron Carney (rhythm guitar) and Harry Deacon (drums) – and some seemingly unnamed fourth member – bringing together essence of the PLTS sound .

“Having worked with JP Fung (Birds of Tokyo, Art VS Science, Josh Pyke) and Nick Didia (Powderfinger, Pearl Jam, Bruce Springsteen) to produce their take on energetic indie-rock, PLTS have quickly cemented their status through powerful, anthemic song writing.”

It’s honestly no wonder these guys scored support on the Hands Like Houses bill, considering their previous success touring with heavyweights such as The Amity Affliction and The Jezebels, and just how good they are, both recorded and on stage. Their songwriting creates a fantastic, warm and nostalgic feel, keeping you hooked on the lyrics and instrumentals all the while. As an independently releasing group, these guys know how to perform – and just as a side note, can someone give the night’s techies a kiss for me? Because the sound was ON POINT. I can’t stress enough how much of a difference a decent sound guy/gal makes, and they certainly found one.
“Weaving warm melodies over strong and stirring guitar lines, PLTS are converting new friends and fans as they turn studio creations into energetic, nostalgic anthems. 2018 sees the band expand their discography once again with the release of their latest offering ‘Maelstrom’.”

 Having won ‘featured stars’ for one of Triple J Unearthed’s Local’s Stage spots at 2016 Splendour in the Grass alongside Alex Lahey, and playing at BIGSOUND 2017, the alt-indie-rock 4 piece have been slowly but surely gaining limelight interest. I keep finding it crazy that I hadn’t heard of them before now, because seriously, they’re SO good. My personal favourite tunes would have to be ‘On & On’ and their latest single Maelstrom, both holding catchy guitar and lyrics that I can’t get out of my head. Their slight but lively archive has clocked up over 3 million streams online, attracting a steady following both locally and across the country, and rightly so. If you get the chance, definitely go see them.

“Ridiculously huge!” – THE AU REVIEW
“Swelling, anthemic vocals and muscular instrumentation.” – HAPPY
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“I DIG THIS HARD!” – Bridget Hustwaite, TRIPLE J
“PLTS have crafted an energetic slice of indie-rock that’s another example of their fantastic versatility in the Aussie indie/punk/rock scene.” – Pilerats
And now on to the main event…Hands Like Houses might just be my favourite Australian band – and so, of course, this review is already going to be biased – I’m okay with that, I hope you are.

“Born and bred in Canberra, Hands Like Houses – comprising of Trenton Woodley (vocals), Alexander Pearson (guitar), Joel Tyrrell (bass), Matthew Parkitny (drums) & Matt “Coops” Cooper (guitar) – are one of the most famous rock exports ever to emerge from the nation’s capital.“

As soon as it came time for their set, any plans for note-taking went out the window. As I said, I failed to take notes while being squashed amongst the sweaty passionate fans who accompanied me second-from-barrier, and yet this is looking to be my longest written review thus far. The Canberra-based experimental alt-rock heavyweights started their slot a few minutes late – but if anything, this only amped up the crowd’s anticipation. The band came out on stage to a screaming sold-out room. As always, Trenton and the guys know how to work the stage and the crowd – though sometimes I find myself happily confused and slightly concerned with Joel’s crazy stage-to-crowd antics. Personally, it had been a while since I’d had a proper dirty, sweaty, jump-around and head-bang show experience, and it was SO MUCH FUN.

Hands like Houses very clearly know their crowd favourites, opening with New Romantics and gradually making their way through their most popular songs, past and present – my personal favourites being their recent release Monster and of course older classics including Colourblind, Introduced Species, Perspectives, No Parallels, and I Am (see below for a full ordered setlist). Their stage presence holds up to one of any other, consistently coming out with an engaging, eye-catching, crowd-charming performance, with lyrics and instrumental talent to match.

“Here, the band have a definite Linkin Park influence that is palpable and deliciously enjoyable, but they go funkier, with distorted edges on rocker “Monster,” the album’s second single/video.” -CrypticRock

As I write this (13/10/18) Joel and Matt are doing a live Q&A on Facebook and I managed to ask for their favourite parts of last night’s show, Joel being particularly happy with their first-time-performances of 3 of their new songs – Bad Dream, Sick, and Tilt. I also got the chance to ask Trenton what the idea was behind the imagery of their album artwork for the new album ‘Anon.’ and he gave such an unexpectedly in-depth answer that I didn’t manage to get it all down quickly enough, but I’ll paraphrase;

“We were just thinking about different things that are sorta anonymous. Like with the chrysalis…we were just in a backyard and we saw these caterpillars, but nobody knew what the cocoons were. I think we get so stuck living in our constructed environments that nobody recognizes what a chrysalis is, even though they see and recognize the monarch butterfly everywhere, we often don’t recognize where it comes from, it was a lot to do with the stage in our progression, it just sorta felt right.”

As does every performance Hands Like Houses give. With tickets for the release shows being whisked up within 48 hours, and they boys already preparing to announce their next Australian tour, Hands Like Houses have potentially played these smaller venues for the last time, surely to move on to bigger and bolder for the future.

MICHAEL BUBLÉ @ ALLIANZ STADIUM, NSW (Live Review)

For the first time since 2014, Michael Bublé has made his way back to Australia in celebration of Allianz Stadium in Sydney. Supported by two of Australia’s most loved acts, Guy Sebastian and Busby Marou. It was a show that was not to be missed.
It was a miserable and rainy day in Sydney on Friday the 5th of October. However, that did not impact the excitement of the eager fans awaiting the global superstar, marking the closure of the Stadium.
Despite the intervals of heavy rain, Busby Marou was the first act of the night. The duo entertained the audience with their stunning acoustic sound as guests were entering the stadium. Second to take the stage was Guy Sebastian. As the rain increased, it did not stop the audience from standing up and grooving with Guy and his band.

At approximately 8:45pm, Richard Wilkins entered the stage for an acknowledgement of country as well as to take us on a trip down memory lane with flashbacks to all the events, concerts and memories that took place in the stadium.  Allianz Stadium will be demolished and will reopen in 2022.
Suddenly, there was a change in the weather and the clouds disappeared above the stadium. Michael Bublé entered the stage clearing the skies. Opening his one and only Australian concert with his iconic, well- known cover of Feeling Good, he captivated the audience with the climactic horn introduction. The following song was one of Bublé’s most well- known singles, Haven’t Met You Yet. Singing along to every word, the Bube left everyone awestruck, taking us back down memory lane. As the night progressed, Bublé entertained the crowd with Dean Martin’s original song, Sway. The Latin vibed song had everyone on their feet!

The show was extremely interactive. Bublé constantly engaged and included the audience by grabbing their phones and videoing himself on stage. He also passed the mic to an audience member so they could sing their go-to shower song. The evening was full of laughter and joy. Engaging the audience with an emotional speech at first, it suddenly took a turn as he humorously references the emotional and shocking result of the Bachelor Finale.

MICHAEL BUBLÉ // Photo – Amy Halpin
All eyes on Bublé as he stunned the crowd with Cry Me A River. Everything from his incredible vocals to the talented orchestra completely made this piece unforgettable. To conclude the show, he performed the gentle and heartfelt song, Always On My Mind. Leaving each and every audience member in awe and with goose bumps as he left the stage for the final time.

MICHAEL BUBLÉ // Photo – Amy Halpin.
A night full of jazz, punchy horn lines, an insanely talented band and a firework spectacular. It was a remarkable show to close Allianz Stadium. As fireworks slowly dimmed, everyone exited the stadium wanting more.