Love him or hate him, mgk (formerly Machine Gun Kelly) has cemented himself as one of the most talked-about figures in modern pop culture.
Setting aside a catalogue that has traversed genres – from hip hop to pop-punk – his fame (and infamy alike) has solidified him as a modern icon.
On the second-to-last leg (and last Australian show) of the Lost Americana tour, mgk takes to Brisbane Entertainment Centre (16 April) after an evening out on the town the night prior, gracing The Valley with a cheeky guest DJ set to punters lucky enough to be in the right place at the right time for an intimate experience (Valley institution Ric's).
It's often a blessing being the final leg of a national tour as there are (rarely) any surprises to what is going to transpire. The artist is well and truly warmed up and acclimatised, we've seen reel after reel online, and set lists are readily available to see whether your favourite tracks have made the cut.
The anticipation has built, the bar has been set, and there's nothing left but to attend, embrace, and enjoy – and if there was one thing this evening was, it was electric.
To front-load this review, mgk has assembled a genuinely enormous set list for the Lost Americana tour – thirty-three tracks spanning seven albums across a two-hour runtime. It's one of the most ambitious live offerings I've personally experienced, and my intrigue was piqued from the moment I saw the numbers.
Unc-jokes aside relating to such a marathon set list on a school night (thank you for the seats, Live Nation – ya da realest), tonight has proved to be of a higher quality than I could have anticipated or imagined.
Between production, performance, energy, and engagement, there's very little to fault in mgk's performance; unless you're a hater, in which case, why'd you click this link?
As a Lost Americana-styled guitar descends from the ceiling and the Marlboro-red stage design flickers to life, the set opens powerfully with three tracks from his latest release. mgk launches in with vigour and dramatic presence, setting the tone from the first minute.
'Outlaw Overture' promptly turns into 'Starman', which quickly escalates into 'Don't Wait Run Fast' – a surprising highlight for the evening – before a further shift in gears as he rapidly delivers a medley of 'Maybe', 'Wild Boy' and 'El Diablo' (a personal favourite of mine – if only I'd been lucky enough to receive a full delivery of).
This early and rapid shift from his guitar-driven recent catalogue into some of his more hip hop-styled tracks is exciting, and sets the tone for what's to come over the next dozen or so tracks.
A clear visual identity runs throughout the night – cigarettes, specifically Marlboros. From the custom NASCAR jacket, to the bent cigarette mic stand, to the fallen Statue of Liberty head with a cig poking out from her lips, there is absolutely a strong Americana vibe – at least for now.
There's a surprisingly restrained use of pyrotechnics that, while unexpected, only heightens their impact when they do hit, warming fans even from the bleachers. If that's not enough heat for the evening, add a couple of oh-so-enthralling backup dancers to the mix and everyone in the building is feeling at least a little hot under the collar.
Without discrediting his most recent musical endeavour that stands on its own – evident in the commercial success and ongoing continuation of his legacy – as a 'Hotel Diablo' and 'Tickets To My Downfall' fan, I was ecstatic to see some representation of the earlier releases, and significant from the latter.
With nearly a third of the night pulled from 'Tickets To My Downfall', it's clear just how pivotal this record remains to his ascent. Proudly, mgk pulls the iconic pink Telecaster out and welcomes it to the stage indicating the vibe is about to shift as he enters the emo-era of his set list.
'Bloody Valentine', 'I Think I'm Okay' (sadly, without the live Yungblud), 'Forget Me Too' (also sadly, without the live Halsey feature), 'My Ex's Best Friend' (again, sadly without the live Blackbear feature) and 'Title Track' all made the cut and the response from the crowd is second-to-none.
With the success this album and these tracks saw, it's of no surprise at all the ecstatic enthusiasm of those revelling in his bandmates presence. Hearing the mass of pop-punk fans screaming back at the tall, lanky (although now slightly leaner thanks to new-found sobriety) Cleveland native rivalled some of the largest acts in the world I've experienced in some of the biggest venues, truly showing the near-cult following that has been amassed over the last 20 years – I did not realise just how long this man has been on the music scene.
In what truly shocked me for the evening, there were some b-sides, deep cuts and covers that I don't think anyone could have anticipated. 'Daywalker' (without live feature of Corpse Husband, to absolutely no one's surprise), 'F... You, Goodbye (from Australia's own Kid LAROI) and even 'Misery Business' (by Paramore) all serve as highlights without detracting from his own carefully curated catalogue.
mgk shows maturity in the dynamism of his performance, taking minutes and moments away from the fast-paced, bass-heavy, and sometimes abrasive tracks; creating space for some of his slower and more emotional moments.
Transitioning from the large main stage front and centre of the room, mgk runs around the crowd to a small, intimate stage by the sound desk with no more than a mic stand, acoustic guitar, stool, and of course, another packet of cigarettes.
Here, he capitalises on the longer-than-most set list, showcasing tracks that may otherwise be overlooked in a live setting, and giving them their moment to shine while allowing the crowd a chance to recoup from the ever-bouncing moshpit.
As he leads into some of his most genuine and heartfelt pieces in both 'Glass House' – an ode to many icons before him who are no longer with us – and an emotionally charged 'Play This When I'm Gone', a track dedicated to his daughter; I'm certain there were more than a few tears shed across the sea of fans.
To bookend the evening's performance, fans are treated to some of the catchiest, dance-worthy and energetic tracks of the evening from the tour's namesake by way of 'Cliche', 'Sweet Coraline', and, of course, 'Vampire Diaries'.
Tonight has shown a deep respect and adoration for his fans down under. Hell, even 'Euphoria' star Sydney Sweeney stepped out to ensure she didn't miss this huge evening.
Where mgk could have comfortably leaned on a handful of hits alongside promotion of his new record and called it a night, he instead delivered a sprawling, career-spanning performance that felt intentionally crafted for his fans.
It's a level of effort and scale that not every artist commits to – and one that firmly reinforces why his audience continues to show up in force (when given the opportunity).
Love him or hate him, he is a hit-making machine that in my opinion, has done wonders for the modern rock, pop-punk, and guitar-forward genre.
From introducing the genre to younger generations and forcing critics to re-examine their resistance to his particular spin, he's helped reinvigorate a genre and bring some fun back into a world where nonchalant is cool, and being authentic, enthusiastic and a bit dorky is a cardinal sin.
