Shihad have played the same set the past three times I’ve seen them play (Riwaka, and twice at Homegrown), drawing extensively from their latest album, FVEY. It was refreshing to see them play a more varied set this time, playing the more well known hits from throughout their catalogue. Although it was only half an hour long, there was no filler, and the crowd welcomed their boys home accordingly.
I remember on one drunken night during my teenage years I bumped into Shihad’s Jon Toogood in Courtney Place and began fangirling because he fronted one of my favourite bands. I remember asking what it was like opening for bands like Faith No More and AC/DC, with Toogood gushing about how it was such a surreal experience.
From how he was carrying on tonight, nothing has changed. He and drummer Tom Larkin had been suspended back in school for writing “AC/DC Rules!”graffiti in the school bathroom. And over two decades later, he still stands by that statement.
And the statement appeared to ring true from the moment the Aussie rock veterans came onstage. There was a cool animation on the screens showing astronauts landing on the moon, before an explosion sends a meteor through space. The crashing of the meteor and some pyrotechnics cued the start of the set, with the rockers kicking things off by playing title track “Rock or Bust”.
Technical Issues
Unfortunately things did go bust. The sound was pretty bad, and they actually stopped altogether to work out the difficulties after the second song. It wasn’t explained exactly what was happening, but we were left to wait in the cold wind and rain for over half an hour. Presumably some rain had affected the electrics? Frontman Brian Johnson explained that they didn’t want to proceed without things being perfect, but the wait was excessive. People even started booing.
Back in Black, back on track
Finally, after a very long and wet wait, the band came back onstage to play their set. It’s hard to tell if the set was shortened due to the delays, but they covered nearly all the big hits that I expected them to play.
The show was as grand as you’d hope. The large devil-horned stage had neon scaffolding, screens on either side, and a wall of Marshall amps set up behind the band. Although they were used sparingly, the pyrotechnics added a great explosive touch, complemented by the many lights on and around the stage. Even the crowd supplied lights, because in the swaying sea of drunken bogans were thousands of flashing red devil horn headbands. The stage props also added to the fun. First a large bell was lowered for “Hells Bells”. Next we had a large inflatable Rosie, suggestively dressed and shaking to her song. But the best was the many cannons rolled out for the encore of “For Those About To Rock”, firing when Johnson ordered for a salute.
AC/DC is the band that has released the same album twenty something times, so you know what to expect. We had Angus hopping around in a schoolboy uniform, and Johnson screeching into the mic. The drums were basic but effective, and as much focus was placed on the showmanship as on the musicianship. Cannons were fired and solos were played. Fireworks and pyrotechnics added to the fun, and at the end of the day, despite the technical delays, we got the extravaganza that we’d come for.
Featuring a selection of New Zealand bands across multiple stages
Wellington Waterfront
Sunday 8 March 2015
The lead up to Jim Beam Homegrown has been interesting to observe. Tickets sold out about a week ago, prompting a frenzy of online ticket on-selling. An influx of first-year university students had just come down from their collective O-week high and decided that the cure was to attend Homegrown, no matter what it costs (Thanks Studylink!). Tickets that had originally sold for $109+bf were fetching $250. One girl even paid $700 for two!
Then the weather hit. The festival was postponed from Saturday to Sunday in light of predicted hurricane strength winds. Most visitors from out-of-town had return travel booked for Sunday, so suddenly couldn’t make the event. On top of that were locals who for whatever reason couldn’t escape Sunday commitments. Cue another ticket frenzy, with people desperate to get whatever they could for tickets that they were unable to use. I’m sure that hundreds went unused. Ticketing agencies refused refunds, citing terms and conditions. A postponed event is different to a cancelled event, and they can’t help it if someone is unfortunate enough not to be able to make it.
As a consolation, Homegrown organised two shows at TSB Arena on Saturday for those who couldn’t attend on Sunday. There was an early afternoon rock show featuring Villany, I Am Giant, Devilskin and Blacklistt. A later evening show featured rapper David Dallas, dub-rockers Kora, rock heavyweights Shihad and drum and bass favourites Shapeshifter.
Out-of-towners could choose one of the Saturday shows to attend. Seeing only four bands may have felt like a raw deal, but it was better than nothing. Not enough people showed up though, so Homegrown organisers allowed local ticket holders to attend as well, to fill up the venue.
On Sunday morning the weather was stunning. Still, bright and warm: the perfect recipe to ensure that thousands of drunken concertgoers get their generous dose of sunburn. There was no evidence to indicate the lightning, floods and gale winds of the previous day. The Wellington waterfront was already alive with activity due to the weekly vege markets, and steadily got busier as punters arrived for the festival. Lining up to swap tickets for wristbands was surprisingly painless. No half hour queues like I’d seen in previous years.
Silence The City
The first band I saw was Silence The City on the rock stage in TSB Arena. The day was still young so there wasn’t much of a crowd gathered in front of the stage. They played a short set of alt rock, complete with blinding strobe flashes at regular intervals. A few songs have got airtime on the radio recently and the crowd reacted well to those, along with a cover of Ellie Goulding’s “Burn”, that was quite different to last time I’d seen it played.
It seems that most shows have a standout member of the audience (like Amelia, the blonde girl at Dragonforce a few weeks ago). Well the star of the day at Homegrown was the bare-chested dancer at the rock stage. He was a bearded man with long hair and an open denim shirt who was tearing up the dance floor as if he owned it. He was effortlessly elegant and graceful as he strutted and twirled. The way he moved his feet was especially impressive, seeing as how the floor was so disgustingly sticky from all the spilled drinks the night before. I found myself spending more time watching his dancing than watching the band.I’d seen this same man at Westfest the previous week, dressed and dancing exactly the same during Soundgarden’s set.
Black River Drive
I like Black River Drive but I haven’t really followed them since I saw them about five years ago, when they were promoting Perfect Flaws. They have a nice light rock sound that still retains an edge. I noticed that they have a new drummer now, but still sound largely the same. It made for nice listening as I watched our nameless dancer friend boogie his day away at the back of the arena. BRD also get bonus points for having a bubble machine onstage.
Black River Drive. Image: Bradley Garner Photography.
Nothing scheduled for the next few hours was of interest, so my friends and I took some time to rest up for the night ahead. We bought some ice creams that melted almost instantly in the heat, and made sure to drink plenty of water.
David Dallas
Come 7pm I made my one foray away from the rock stage to the Pop and R&B stage for South Auckland rapper David Dallas. It certainly was a different crowd. Gone were the seas of black band t-shirts and heavily tattooed limbs, although there were plenty of #makehistory temporary tattoos that the Jim Beam girls had given out all day.
Dallas’s band, The Daylight Robbery, were absent due to Homegrown having been postponed. But this didn’t stop Dallas delivering a hit-heavy set. With a DJ manning the backing tracks, Dallas and long time collaborator Jordache tag teamed and performed songs from throughout Dallas’s entire career. If anything, losing his band let Dallas mix things up more. Sid Diamond joined him onstage for “Southside”, followed by another guest spot from PNC. Dallas was right at home onstage and he knew it. He smiled coyly and beckoned for more applause. He rapped a few pre-intro verses before finishing his set with “Runnin'”. It’s true: Not many can rock a show like this.
After wolfing down a burger and a punnet of chips we ventured back to the rock stage for rest of the night.
Blacklistt. Image: Bradley Garner Photography.
Blacklistt
Front-man Damien Alexander started off the set with a vicious rap, before Blacklistt gave their typically aggressive performance for the hard rock fans. They played to please, from the Blindspott stuff that we all wanted to hear to the newer Blacklistt songs that became the next step for the band. The reality is that Blindspott/Blacklistt are one and the same, save for legal dramas. Both have the syncopated beats, the pent-up anger, the DJ scratches, the high-pitched guitars, the reggae ballads… all those aspects that make up the overall sound. One interesting moment was when a chant started up between songs mid set, with half the crowd shouting “Blacklistt”, and the others chanting “Blindspott”. Without being formulaic, the show was everything I’ve come to expect from the band – no matter what you choose to call them.
Shihad. Image: Bradley Garner Photography.
Shihad
I first saw Shihad play in 2008, at the first Homegrown festival when I was 16. Tonight was the twelfth time watching them play. And there’s a reason I keep coming back.
Shihad are rock legends, veterans of the stage who have played together for longer than I’ve been alive. They play every show with such energy that the audience can’t help but become infected by it. The way that front-man Jon Toogood punches the air with such force, and keeps the roadies panicking by climbing atop the speakers side of stage. The way the Karl Kippenberger plucks those bass strings in a way that you can’t help but move to. They way that Tom Larkin pummels those tight tribal patterns out of the drum skins. And although Phil Knight is the least showy, his guitar playing is vital for filling out the band’s sound. When the four of them play Wellington together, they make sure every time that it’s a homecoming to remember.
I actually watched Shihad play the same set the night beforehand. A large majority of the songs played were from the latest album FVEY, with their throbbing beats and abrasive riffs. Four were from The General Electric. The one hiccup was that Knights guitar sounded like it was tuned differently for “Home Again” on the Saturday night, something that was quickly remedied just after the bridge. I think this is the sign of a great live band, that I’d be more than happy to watch the same show two nights running, and not feel bored.
The set that Shihad played both nights. They also played the song “Pacifier” for the encore on Sunday.
When I was a teenager my friends and I would road trip from our hometown of Nelson up to Wellington to attend Homegrown each year. After seven years I’ve already seen most of the bands on the lineup that I’m interested in multiple times. Even so, it still always proves to be a lot of fun. It’s easier now that I live in Wellington, and the lineup never varies much, but I can see myself happily attending more Homegrown festivals in years to come.
I last saw Shihad play Riwaka in 2010, promoting their previous album, Ignite. They’ve since released FVEY, a heavier nod to their first two albums. This is their first NZ tour in roughly two years, and they’ve brought some premier Kiwi rock bands on the road with them.
To my surprise, the music had already started when I arrived at 7.15pm. The tickets had advertised that doors open at 7pm, but bands don’t usually start until at least half an hour after doors open.
I only saw the last three songs because I was late, but Cairo Knife Fight put on yet another impressive set. It seems that they are the perpetual opening act for many notable rock bands. Drummer Nick Gaffaney continues to leave me in awe each time I see him play, dominating the drum kit as well as singing, playing synth bass and operating looping pedals. Ex-Weta guitarist Aaron Tokona wasn’t playing tonight, making me wonder if this has anything to do with his other band, Ahoribuzz, who are headlining New Years Eve celebrations in Nelson.
Their new single “Rezlord” from their forthcoming album reminded me of Muse, and the final song was rather Tool-esque. I love watching how two musicians can create such a full sound using effects and looping pedals. They had silly little moments in which they went wild making as much meaningless noise as possible, but it wasn’t enough to detract from the overall experience.
When I first saw I Am Giant in 2010 I thought they were pretty cool. “City Limits” had received regular airplay on the radio and they had released their début EP that week. I bought a copy of the EP at the show and their singer signed it for me and we had a great chat. How things have changed…
Since then their egos seemed to have skyrocketed and their performances haven’t improved at the same rate. Their singer Ed Martin has recently left to pursue a solo career and replacement singer Ryan Redman (ex-Exit Ten) has only exacerbated the inequality between the standard of the music and the pompous attitude of the band members. Redman is a twat. He clearly thought he was all that, making eyes at girls in the crowd and blowing kisses and thrusting. Too bad for him he couldn’t actually sing well. At first I thought his voice was hoarse because his collar had been buttoned up too tight around his neck, but it turns out he just wasn’t any good. He couldn’t hit the high notes and he could barely do justice to the rest of the singing. I Am Giant had the arrogant rock star attitude without the talent to match.
Australian rockers Airbourne were originally billed to play but have since been replaced by The Datsuns. I’ve seen both bands a few times each in the past and I prefer The Datsuns spacey garage-rock over Airbourne’s AC/DC impersonations.
And I’m glad for the lineup change.The skinny Cambridge rockers got thrust into the limelight when NME called named them “Best Live Band” in 2002, and they’re still killing it over a decade later. I swear they were all dressed exactly the same as last time I saw them play, a few years ago. Three of them had long hair and they were all worryingly thin. To add to their classic rocker appearance, the drummer played a transparent perspex drum kit like the kind Led Zeppelin’s John Bonham used to play.
The music was relentlessly energetic and they worked the crowd well. Rudolf, the singer, had everyone sit down and instructed us that once the band let loose we were all expected to “jump up and go bananas”. They had us clapping along and singing the ‘woahs’. One standout song was “That’s What You Get” from the new album Deep Sleep. Of course, they played the obligatory hits as well.
During their set a drunk bogan hi-fived me and told me “The Datsuns are the epitome of New Zealand rock music!”. Well, I don’t know about epitome, but other Kiwi artists could certainly learn a thing or two from them.
The lights dimmed, Black Sabbath’s “War Pigs” rang through the speakers, and then the almighty Shihad tore into their set. They opened with the visceral single “Think You’re So Free”. I was excited to hear them play new heavy material from their new album, FVEY. Songs from Churn and Killjoy always go down a treat, as do heavier songs like “My Mind’s Sedate”. But The FVEY songs didn’t make the same impact.
The new songs are certainly aggressive, but they are also quite long and don’t change much. I like it heavy, but I need more variety. Being pummeled by such a consistent barrage of bass got a bit boring. Lead guitarist Phil Knight needed to be louder in the mix. He usually brings some treble into the foreground to balance out the sound, but was lost to the murkier low-end.
Frontman Jon Toogood vehemently dedicated one song to our prime-minister, making it very clear that this was not a respectful act. There was a built up anger that shone through the songs.
Over half the set consisted of new material. I actually preferred the older, more familiar songs. As always, Shihad were tight and professional and energetic. They delivered a blistering show like only veterans of the stage can. It was enjoyable, but the new songs didn’t appeal as much as I’d anticipated.
There were a few surprises for me tonight. Cairo Knife Fight had a new guitarist. I Am Giant’s new singer was rubbish. Shihad’s heavy new material isn’t actually that exciting live and The Datsuns stole the show. Overall it was a great night out.
Shihad’s set list. Eight of the songs are from the new album, FVEY. The pick belonged to bass player Karl Kippenberger
Last time I saw Shihad play was on Boxing Day a few years back in Lower Hutt – the eternal dwelling place of the bogan. The band played a few songs from each of their releases in chronological sequence, starting with their début EP Devolve, and concluding with their most recent album, Ignite. It was a good cross-section of their history, showcasing their sound as it evolved from the speed metal of their formative days through to the more radio-friendly songs of recent years. The downside to this was that as the show progressed it became clear that Shihad’s later releases pale in comparison to their more aggressive early works. In my opinion Shihad had peaked with The General Electric.
This is why FVEY (pronounced Five Eyes) makes me so happy. It’s a nod to Churn and Killjoy, but with the use of production and mastering technologies 20 years more advanced. Listening to the album teaser was enough to make my hairs stand on end. Being able to the blast the finished product on 180 gram vinyl is a glorious experience.
No doubt Jaz Coleman played a part in this. His influence was unmistakable in the brutal industrial metal that was Churn, and lingering traces could still be felt in the raw anger of Killjoy. And once again the Killing Joke singer has returned to the producer’s chair to impart his wisdom. This record was one of the last to be recorded at Coleman’s York Street studios, allowing the band good use of one of New Zealand’s premium recording studios.
Coleman can still be heard in this record, both musically and thematically. Title tack ‘FVEY’ sounds like it could comfortably be part of Killing Joke’s 2010 release Absolute Dissent, and some of Jon Toogood’s lyrics resemble those of the songs on Killing Joke’s MMXII. Anger, distrust of the authorities and conspiracy theories seem to be common themes throughout.
It’s raw but at the same time clean. They’ve captured the heaviness without muddy distortion. Not an easy feat, seeing as how the guitars are drop-tuned so ridiculously low. Frontman Jon Toogood has described the record as “intense” and “blistering”. He’s not wrong.
Where did the band re-discover this energy and determination? The album title FVEY points towards paranoia over our international spy network. Maybe something to do with a fat German millionaire buying off our politicians? No doubt Shihad are riled up about various social injustices, and FVEY is the creative by-product of these feelings.
I’ve always loved Shihad. I own every album and watch them live every time they come to town. It was always a given that I’d be buying FVEY. But this time round I feel safe recommending this album to my friends, not something I could have said about the band’s recent outputs like Ignite or Beautiful Machine.
Killjoy-era Shihad is back in form. And with an accompanying tour promised; I find this very exciting.
This review was originally posted on the Rip It Up website. It has since been taken down because Rip It Up merged with Groove Guide and redid their site.
Shihad
w/ Cairo Knife Fight and The Naked and Famous
Riwaka Hotel, Nelson
Wednesday 29 December 2010
Opening act tonight was Cairo Knife Fight who, despite only having only two members, created a huge wall of sound by employing the usage of looping pedals. Particularly impressive was Nick Gaffaney’s phenomenal drumming. How he manages to sing, drum and play bass on the synth with his left hand whilst operating the looping pedal simultaneously I’ll never know. Who said men can’t multi-task? Their moody, ambient sound would have better suited a later slot once the sun had set, but their playing can’t really be faulted.
The Naked and Famous attracted more attention, the tent becoming noticeably more crowded once they’d started playing. Their style is one that has become trendy of late, dual softly sung vocals over electric sounds and synthesisers. Not what you’d typically expect from an act opening for veteran rockers, but they elicited a favourable reaction from the crowd regardless
As good as the first two bands were, they were nothing compared to the headliners. Chants for the band had been erupting intermittently all night, and when Shihad finally came onstage, they did not disappoint.
It was everything you’d expect from a Shihad show. Sing along songs, aggressive songs, jump up and down songs, old songs, recent songs. With 22 years of experience under their belts, there was really no possibility that they couldn’t deliver the goods. This gig was mainly a showcase of their latest album, Ignite, which made up nearly half the setlist. The rest constituted mainly of songs from General Electric and Pacifier, the band’s two most commercially successful albums.
One highlight was the song ‘Sleepeater’ that they closed with. Although they have played it live before, at the time it was an unreleased track they were previewing to the crowd. This was probably the first time it had been played in New Zealand that people actually knew it, and it worked well, as did all the new songs. Once they’d left the stage the crowd started chanting again. “SHIHAD, SHIHAD!”
The encore was ‘Envy’, from Killjoy, and their parting song was the wave-your-lighters-in-the-air ballad ‘Pacifier’.
The crowd kept the chant going for a good five minutes or more after Shihad had finished their encore. I was surprised that the band didn’t come back on; the crowd reaction was so strong.
I walked away with ringing ears (despite the fact I wore earplugs), and with ridiculously muddy shoes. Tonight was my sixth time seeing Shihad live. I can’t wait to see them for a seventh time at Big Day Out.
