Last night in Brisbane, The Riverstage hosted Slash ft Myles Kennedy and The Conspirators. Despite the earlier gloomy weather, the atmosphere inside the venue is electric!
Rose Tattoo has already opened with with 'Rock 'n' Roll Is King', which lyrically sets the tone for the whole night (25 February)! Angry Anderson (vocals), Paul DeMarco (drums), Mark Evans (bass), Mick Arnold (guitar), and latest recruit Ronnie Simmons (guitar) give up 'One Of The Boys' and 'Scarred for Life'.They maintain the momentum with 'Rock 'n' Roll Outlaw' followed by two classic rock bangers and definite fan favourites, 'We Can't Be Beaten' and 'Bad Boy For Love', before finishing on 'Nice Boys', the crowd repeating the chorus line as loud as ever: "Nice boys, don't play rock & roll!"
The Struts are the next to lubricate our ears and what a perfect fit. Their concoction of glam rock-metal and hard rock is made possible by the combined talents of Luke Spiller (vocals), Adam Slack (guitar), Jed Elliott (bass), and Gethin Davies (drums) – the perfect potion.
Storming the stage with all the confidence of headliners in their own right, Spiller is over-dramatising his usual flamboyant gestures to give leverage to the title of their opening song 'Primadonna Like Me'.
Now if you are not familiar with Spiller, he not only gets clothing designed by Dame Zandra Rhodes, the same person Freddie Mercury engaged, but he has an unmistakable Mercury swagger and vibe. This aura is so obvious in the next song 'Body Talks' and boy, it's one of those catchy numbers that gets you dancing without even realising you are.
After 'Fallin' With Me', Spiller tells us if we "ain't sweating", we "ain't doing it right", then asks: "Are we ready to raise some hell?" We answer a thunderous yes and for our response, they play 'Too Good At Raising Hell' backed up by 'Kiss This' and 'Pretty Vicious'.
The Struts - image © Simone Gorman-Clark
The crowd are in a happy space, singing and dancing with themselves or those around them – this is the case when you are being slapped around the ears and copping a full-frontal view of the live sounds and sights of The Struts.
Spiller commands attention with his Freddie Mercury-esque charisma, igniting the crowd by inciting yet another call and response during their set, this one is for 'Put Your Money On Me'. We gladly oblige in very loud responses "oh yeah!" to his calls for the lines "I bet your body's so sweet. . . So, roll your dice at my feet. . . We're winning when our eyes meet. . . You've got that hand I can't beat."
Showing us how they can rock it hard and tight all the way to the end of their set, The Struts hammer out the highly charged 'Could Have Been Me'. Letting it go at full throttle, The Struts make damn sure they've done their job to get us warmed up for the headliners. From the heaving state we are left in, you could say that 'warm' is an understatement!
Brisbane just showed you the love, The Struts – and you said we are all family now, so don't leave us hanging too long before we can show you some more.
Random whistles and cheers are heard above the din of the crowd as Alan Howarth's 'The Thing: Main Theme (Desolation)' plays over the speakers; a huge backdrop is revealed and the stage has a swampy aesthetic as blue spots stream through the billowing swirls of artificial smoke.
I make out Brent Fitz (drums) sneaking up to the drum riser to take his place and the whistles and cheers multiply by thousands. Then I see Frank Sidoris (guitar), Todd Kerns (bass, vocals), Myles Kennedy (vocals) and finally, I catch a glimpse of Slash's misappropriated top hat adorned with silver buckle conchs that he has worn since 1985.
The band are in position, partially obscured in the blue wash, which is until we hear Fitz whack his sticks on the cymbals counting in the opening song as at the same time the stage bursts into life with powerful white lights, almost equivalent to daylight blasting our eyes.
We hear Slash's familiar tremolo picking of the first notes of 'The River Is Rising', Sidoris' playing the deep tones beneath them for the intro. It all morphs into waves of electrifying guitars ridden by the sublime crooning of Kennedy.
Slash ft. Myles Kennedy and The Conspirators - image © Simone Gorman-Clark
Yet the biggest wave to bowl us over is the supercharged main riff that hits hard, sweeping us off our feet. Luckily, the edgy hooks are there to pick us right back up again. What a killer opener – my heart is already racing but I am living in the moment, cutting loose and joining with the fans to sing the infectious chorus at the top of my lungs yet fighting an urge to play my air guitar when the intense guitar solo kicks – oh what a punch!
These punches of rock & roll bliss come at us more with 'Driving Rain'. The live sound of its dual-melody chorus is mint and one of my second favourites from the album, 'Apocalyptic Love', 'Halo' is next.
These are followed by 'Too Far Gone' (which sent the crowd hurtling into a spin) and 'Back From Cali', which drops the momentum into a heavy blues-laden groove. Slash's solo sings a lament on steel strings and Kennedy (with his rockin' vocal cords) gives testament to the magic between them. Fitz beats the intro to 'Whatever Gets You By' and we "shake it out" as we boogie along.
'C'est la vie' features yet another incredible solo before Slash gets creative with his talk box that introduces another bluesy one, 'Actions Speak Louder Than Words'.
Kerns gets a go at leading the vocals with the crowd going nuts when told it is a song Slash wrote with Lenny Kravitz. Yes, it is 'Always On The Run'. "My mama said, leave those bad boys alone!" Hell no! Not if they are Kerns and Slash. I'll be damned if I am leaving any of that hard groove alone!
Slash ft. Myles Kennedy and The Conspirators - image © Simone Gorman-Clark
'Bent To Fly', 'Mind Your Manners' and 'Spirit Love' each take the crowd prisoner – we are held captive by the guitars (and their solos), the drums, the bass and vocals which have us blissfully committed for the duration of the show.
While 'Bad Apples' is the only Guns N' Roses song played so far (which is not a bad thing) it's only the second time they have played it live. Kerns takes charge of the mic again – the man has definite bass chops but his vocals are totally on-point as well.
'Starlight' is played before 'Wicked Stone' that features a jaw-dropping guitar solo channelling a mix of '70s guitar sounds – what is more special is hearing it live from a living guitar god! Momentum and precision playing continues through 'April Fool' and 'Fill My World'.
Fitz has been a machine on the drums, while Kerns and Sidoris have added to the rhythm with equivalent talent. Sidoris also needs an extra mention as his axe skills are nothing short of freaking awesome. His solos have been lapped up by the fans like a musical delicacy.
Slash is Slash. A guitar king! It's why we are here right? Tonight, his melodic and clear axe finesse is totally off the charts. Even when the sweat is dripping from his skin!
Although a man of few words, his stage energy is contagious, and the way he shreds through his solos is nothing short of awe-inspiring surrealism – an absolute legend that we are getting to experience in the flesh!
Kennedy woos the fans with his interactive manner and he can easily lay claim to one of the most superb and well-suited voices for rock & roll music. Kerns also gets an honourable mention for his powerful pipes and we could include the master of the perfected hair flicks while we are at it (smiles) – these two vocalists have iced the collective guitar-work perfectly.
However, we are told a guest appearance is about the occur and another tour debut! Hell yes. Andrew Stockdale is the third vocalist of the night and is met by a huge crowd approval. He gets into the '70s vibing with 'By The Sword' and together he and Slash smash it to the moon and back, of course with the band playing tightly behind them. It is insanely good.
The tunes keep coming at us with 'You're A Lie' before the set reaches its climatic peak with full fan interaction clapping and singing all the "whoahs" to 'World On Fire' that seems to be ending the set in a blaze of vocal prowess from Kennedy, leaving fans clamouring for more.
Alas, we are left calling for an encore and for a fleeting second I thought we may not get one (my heart just about stopped); our encore prayers are answered as the band returns to a dimly lit purple and magenta-washed stage.
Slash ft. Myles Kennedy and The Conspirators - image © Simone Gorman-Clark
Kennedy is before us, performing his stunning version of 'Rocket Man' (Elton John cover), which is far from shabby with Sidoris kneeling to play keys and Slash also on the floor playing a pedal slide. Kennedy is truly moving me to tears with his introspective tone. That's just how beautiful it is. In contrast to previous songs, the punter choral ensemble is singing in our best clear voices rather than our raucous rock bleatings.
Fans call for the final encore song to be 'Anastasia' and burst with raging applause when they realise they're getting what they want upon hearing the flamenco notes of the Les Paul that assures us our 'last goodbye' is with the banger that boasts the best of Slash's guitar styles – classical guitar, pick perfect riffage lifting the soaring chorus and thick chugs that hit us like a steamroller.
'Anastasia' is the perfect bow tie on an accomplished tight and blistering set list. This song proves the musicians onstage are a match made in rock & roll heaven. Slash delivers his final epic solo of the night and we squeeze every last bit of energy from our hoarse throats and sweaty pores.
More photos from the concert.
