The Jezabels at The Hordern Pavilion, Sydney

When Bobbysix.com first chanced upon The Jezabels a few years ago, in tiny Sydney venues supporting The Wahas and Bridezilla, we always thought they were pretty good. We never dreamed though that, in 2012, they would be headlining the mammoth Hordern Pavilion. In fairness, neither did they.

If, during their seminal hometown gig, the band seemed a little distant, it wasn't down to a rock n roll persona or through being aloof but rather because they were completely overwhelmed by their surroundings. "This point in the set is when we are supposed to say something," singer Hayley Mary told the crowd. "But we're too fucking nervous."

Her nerves were unnecessary. She is a natural born frontwoman. With a vocal that is incredibly powerful and that transcends into Kate Bush territory on occasions, she is the focus of the entire crowd's attention and the rest of the band kinda fade into the background in comparison to her sparkling presence (remember the term Sleeperblokes?). That's not to take anything away from their compositions. These guys know how to craft a song that retains indie credentials while being fit for plenty of radio exposure. Set opener Endless Summer is a fine example of this, with its prominent guitar and massive vocal burst on the chorus.

Obviously, with the band not used to performing in such huge surroundings, they found it a little hard to command the entire, cavernous room, but they certainly connected with the keenest fans at the front of the venue, who blared back lyrics and clapped along as if their lives depended on it.

A success of a homecoming was rounded off with a well-earned two-song encore. Excitingly, this is a band that is clearly continuing to grow in stature. Pretty soon, they'll be eating these sized rooms for breakfast.

Review and shitty iPhone pic by Bobby Townsend.

We Love Sounds

Sydney might be experiencing a pretty damn chilly winter (by Australian standards anyway) but that didn't stop the danceheads baring some skin as they headed to the Entertainment Quarter for the seventh We Love Sounds. Punters who successfully navigated the assault course of shirtless boys (why do they feel the need to get their kit off, anyway?) and comically trashed girls, were treated to sets from the cream of electro and trance.

The DIM MAK arena included the likes of Crookers, Steve Aoki, Laidback Luke the evening's headliners, Underworld. However, the Hordern Pavilion (in which it was homed) reached its capacity by 5pm, meaning that plenty of disappointed revellers were turned away at the door and had to seek their fun elsewhere. While this was quite the bummer, luckily there was plenty going on at the other stages to appease those not lucky enough to be in the Hordern. Canada’s Tiga was the main attraction on the Planet Turbo stage, a Turbo Records showcase which featured an awesome hour from Zombie Nation and a faintly disappointing set from Felix Da Housecat. Inside The Forum, the Resident Advisor stage saw star turns from Mandy dex n fx and The Revenge.

Once the festival had wound up at 10pm, after-parties raged into the early morning and, as sports fans woke up early and headed to the pub for the World Cup, they would certainly have passed plenty of wide-eyed shirtless wonders staggering home from winter's premier festival.

Lily Allen at the Hordern Pavilion, Sydney

LILY ALLENMIAMI HORROR
The Hodern Pavilion, 21/01/10

Melbourne DJ/producer Benjamin Plant, otherwise known as Miami Horror, performed live as part of a four piece band which offered dance-fuelled indie disco. While it was sleek enough and boasted occasional uplifting moments, for the most part it was a pretty uninspiring set.

When Lily Allen first played in Sydney, she had the aesthetic of a typical English backpacker, bounding around in white trainers, so it is an indication of how much of a star she has since become that she slinked onstage looking every part the diva in massive heels and proceeded to make two costume changes during the show. Indeed, her huge marketability can also be indicated by the fact she told the crowd she was celebrating her album "going quadruple platinum". Drinking "disgusting" wine through a straw, the Brit got the ball rolling with Everyone's At It and LDN, while also throwing in a few covers, including The Kooks' Naive, Britney's Womanizer and a version of Just Be Good To Me featuring UK rapper Professor Green.


Her songs were delivered in the kind of bubblegum pop style that has ensured her records have sold by the truckload, yet it is her lyrical content that separates her from her mainstream contemporaries. Her stories contained plenty of acerbic wit and adult themes which offered a nice juxtaposition to the radio-friendly tunes they were wrapped in. The pleasing honesty to her subject matter was constant, whether she was talking about a lover's ineptitude in bed (Not Fair) or going on anti-war rants (the brilliantly-titled Kabul Shit). Okay, sometimes her wordplay may lack subtlety, but there is nothing wrong with using pop songs to smack people around the face with a bit of morality, and anyone who writes an anti-Bush song called Fuck You deserves plenty of credit. The Fear, though, was the standout track of the night. Not only is it Allen's best song, but one of the finest pop offerings of the last few years with its knowing swipe at celebrity culture.

She may be platinum-plated nowadays, but, delightfully, this rapturously received show proved she is still the same old Lily. Charismatic, bursting with energy and telling everyday truths in her songs; when it comes to pop stars, Lily Allen is as real as they get.