Phoenix Brisbane Review @ The Tivoli Theatre

Picture yourself ripping open a bag of mixed lollies and sifting through the sugary assortment.

That variety of colours, flavours, shapes and sizes is exactly the metaphorical comparison I’d make to describe Phoenix’s gig at The Tivoli Theatre in Brisbane (28 February).

The band promptly entered and dived into ‘J-Boy’, the leading track (and my pick of the bunch) from their 2017 album, ‘Ti Amo’, warm and sparkly.


2009’s ‘Wolfgang Amadeus Phoenix’ underdog ‘Lasso’ was instantly uplifting, opening with a passionate percussion solo, drummer on his feet. ‘Entertainment’s Asian-sounding synths emerged next, rounding off a strong start.

Click here for more photos from the show.

‘Lisztomania’ was surrendered surprisingly early, almost ten-years old yet lyrics still fresh in the minds of fans; the band paused to offer their hellos and welcomes before rolling out the lesser known (too new) ‘Tuttifrutti’ and ‘Role Model’.

Hard to believe ‘Rally’ was released in 2006, its bouncy beginnings contrasted with the smooth-crooning bridge; vocalist Thomas Mars next stopped to announce: “I want to hear everyone singing along to these ones, it’s kind of a mix between two,” blending ‘United’s ‘Too Young’ with ‘Girlfriend’.

While Phoenix produce their indie-pop ballads well their synth-pop bangers deserve equal recognition. ‘Sunskrupt!’ beautifully merged the electronic musings of ‘Love Like A Sunset’ and ‘Bankrupt!’.


The title track of their recent record marched in, ‘Ti Amo’s fierce bassline matched by bouncing feet; fan favourite ‘If I Ever Feel Better’ next proving the band’s musical aptitudes extend to funk.

‘Armistice’ was a stranger to my ears though glowed with their 2009 album’s charisma; the band stayed put on the record by closing with the feel-good ‘Rome’.

It didn’t take long for Phoenix to return to the stage for an encore, Thomas flanked only by guitarist Christian Mazzalai. The duo performed acoustic renditions of ‘Countdown’ and ‘Goodbye Soleil’ back-to-back, captivating even without their trusty instrumentals.

The entire band played ‘Telefono’, and props to them for using props; Thomas adorably speaking into a retro red telephone. He next asked the crowd nicely: “Can you sway your arms in the chorus?” Though it admittedly made ‘Fior Di Latte’ feel a little corny.


The well-awaited ‘1901’ was eagerly welcomed by the audience, another shining (perhaps the shiniest) star from ‘Wolfgang Amadeus Phoenix’.

The set had seemingly reached a comfortable close until ‘Ti Amo Di Piu’ (the introduction of ‘Ti Amo’ played in repeat) unexpectedly began. Chiming “thank you, thank you!” Thomas bounded into the crowd, the microphone cord his safety line as he pushed through the pack.

He surfed his way to his feet, standing tall but unsteady, proudly sipping a punter’s beer at the top. On the hands of fans, he cheekily gestured for all to cheer, nimbly climbing onto the railing before gliding his way back to the stage.


The band closed the riff in perfect sync with the moment his feet safely returned to solid ground.

With a career spanning 20-plus years I’m surprised I didn’t better expect band members to be the silver foxes they were. Middle-aged by number perhaps but not by energy and enthusiasm; of all the live gigs I’ve seen Phoenix might take the cake, in terms of dynamism.

It was fascinating hearing songs released so many years ago and knowing that surely, listeners were initially taken aback by their new wave sound.

2000 record ‘United’ especially was miles ahead of its time, demonstrating an impressive amount of creative risk and forward-thinking in composing. Though my favourite element of the gig was Phoenix’s incredible musical versatility, showcasing an unbelievably broad discography, shifting from pop, to funk, to dance/ electronic, to rock.

If that kinda talent is what’s rising from the ashes it almost makes me more inclined to start lighting fires.