Latest news with #TheHivesForeverForeverTheHives
Sydney Morning Herald
4 days ago
- Entertainment
- Sydney Morning Herald
One of the best live bands in the world is finally back in Melbourne
In a long-running tradition, Almqvist splits the crowd in two for the final song of the night, Tick Tick Boom. He strides up the middle and implores everyone to get down low, then all jump up at once as he runs back to the stage. It's pure chaos, just like the band is. Their latest album title says it best: The Hives Forever Forever The Hives. Reviewed by Giselle Au-Nhien Nguyen JAZZ Pat Jaffe's LUNSEN ★★★★ The JazzLab, July 18 Pat Jaffe's new band is named after an enchanting forest that he discovered while on a student exchange in Uppsala, Sweden. Lunsen (the forest) captivated Jaffe with its combination of tranquil beauty and untamed wildness, and LUNSEN (the band) aims to capture and reflect that dichotomy. Friday's concert at JazzLab was only the quintet's second outing, and – while all the players were all reading charts and still getting to grips with the music – it was clear that Jaffe had picked the perfect colleagues to bring his vision to life. The Melbourne composer-pianist also introduced each tune with the story of its genesis, setting the scene for the musical tales that were about to unfold. Jaffe has a wonderfully effusive, enthusiastic presence, and his stories were often hilarious – but also touchingly honest and sincere. Likewise, the music contained both irrepressible energy and heart-melting beauty. Glass and Glue began as a delicate duet between Jaffe and bassist Claire Abougelis, before adding subtle horns and spacious cymbals as Jaffe's rippling piano built into a rousing cascade. Wide Pants moved seamlessly between flowing lyricism and majestic propulsion, Jaffe beaming with delight and bouncing on his piano stool as his emphatic chords urged the band forward. Grandma's Song was gorgeously tender and restrained, while Greg's Benedict – inspired by South African jazz and underpinned by Marissa Di Marzio's exuberant drumming – conjured an air of joyful celebration. Now Music featured expressive solos from Thien Pham (on trumpet) and Zac O'Connell (alto sax), and a recurring melodic motif that the audience was invited to hum as the musicians drifted into silence. The night's final number, Eldorado, was a soulful jazz waltz that swept the band and the audience along in an evocative stream of nostalgia, memory and sheer pleasure. With LUNSEN, Jaffe has turned one of his favourite places in nature into a musical space for discovery, trust, passion and vulnerability. It's a space I'd gladly revisit any time. Reviewed by Jessica Nicholas MUSIC Axis Mundi ★★★★ Elision Ensemble, Melbourne Recital Centre, July 18 Served by some extraordinarily skilled musicians, Elision Ensemble's contemporary music encounter offered some ear-opening experiences as emerging and established composers rubbed shoulders in thought-provoking juxtaposition. American bassoonist Ben Roidl-Ward scaled the heights and depths of Liza Lim's Axis Mundi with breathtaking dexterity, while Richard Haynes revelled in the huge technical and expressive demands of John Rodgers' Ciacco for solo bass clarinet. Both scores embraced a kaleidoscopic spectrum of sounds, including guttural elements spiked with multiphonics and microtonal inflections of pitch. Mexican composer Julio Estrada's yuunohui'nahui'ehecatl featured a titanic trombone cadenza in which Benjamin Marks punctuated his playing with sounds of breathing and vocalisation. This writing, reminiscent of the performance art of 20th century Italian composer Luciano Berio, later included Marks and trumpeter Tristram Williams facing each other, so that the trumpet's bell could be placed into the trombone's in quasi-erotic fashion. By contrast, Charlie Sdraulig's Air began with barely audible susurrations, perhaps evoking the distant memory of a seaside scene. Yuin woman, Brenda Gifford from Wreck Bay in New South Wales, adopted jazz-like elements in Wanggadhi to recount the Dreamtime story of the seven sisters who eventually become the Pleiades constellation. Roidl-Ward's dazzling technique shone again in Victor Arul's Barrelled Space, a relatively lengthy and complex ensemble piece that began life as a solo bassoon work. Loading Bryn Harrison's Double Labyrinth after Richard Dunn, a tribute to the late Australian artist, was a masterclass in harnessing techniques and structure to satisfying musical purposes and a timely reminder that fascinating effects and academic constructs are not an end in themselves. Effectively using a gentle busyness to portray the navigation of labyrinthine pathways, the coalescing of quiet and cohesive textures signalled emergence from a puzzling journey. While contemporary music may be a puzzling journey for some, Elision remains one of its most convincing advocates. THEATRE Rumbleskin ★★ Ames May Nunn, fortyfivedownstairs, until July 27 Three queer vignettes in Rumbleskin twist into some strange terrain. The show explores a collective imaginary that seems to have been colonised by the American Western, and the play vacillates between an action quest with cowboys and rodeos into body horror, psychological suspense, teen melodrama, and even earnest folk-style musical theatre, without much rhyme or reason to guide the way. Unfortunately, this dreamlike melange of disparate elements interferes with consistent world-building, leading to confusing and somewhat threadbare exposition – a problem when you've got multiple narrative strands on the go at the same time. A mysterious affliction known as Rumbleskin stalks the land. It's unclear whether this is a supernatural curse, an infectious disease, or perhaps an ancient reminder of the power to be found in the skins we wear. Whatever the case, it brings a smudge of gothic to tales of a trucker rescuing a teen runaway, a young rodeo champion meeting his match, and a god-fearing town whose way of life is upended by a stranger and a preacher's daughter. None of these stories is particularly compelling or complete, nor does the choice of the American Western feel entirely organic, especially when international publishing can't get enough of outback Oz Gothic right now. I wonder if the fact of our cultural familiarity with US film and television alone is enough to justify it, although it must be said that camp and exaggerated gender performance have always been part of the genre and the queering of the Western has a long tradition that stretches back to well before Ang Lee made Brokeback Mountain. It's just that Rumbleskin doesn't make the most of that cultural intersection, dramatically. All the panto-like caricature can sometimes be funny – cue ridiculous Southern drawls – but the performers lean too hard on low comedy to pave over a thin script, in a way that undercuts emotional investment in the characters and their fates. Loading That said, the comedy is more reliable the larger the lampoons get, and you're glad of the occasional laugh to alleviate the cringe of some downright embarrassing moments, including strained chorus numbers where the ensemble bursts unexpectedly into song. Ames May Nunn's central conceit of an affliction involving skins remains tantalisingly underdeveloped. It needs more elaboration and definition if it's to corral the onstage world into something more thematically cogent and turn this thigh-slapping vision of a queered Wild West into more than a fragmentary oddity. Reviewed by Cameron Woodhead
The Age
4 days ago
- Entertainment
- The Age
One of the best live bands in the world is finally back in Melbourne
In a long-running tradition, Almqvist splits the crowd in two for the final song of the night, Tick Tick Boom. He strides up the middle and implores everyone to get down low, then all jump up at once as he runs back to the stage. It's pure chaos, just like the band is. Their latest album title says it best: The Hives Forever Forever The Hives. Reviewed by Giselle Au-Nhien Nguyen JAZZ Pat Jaffe's LUNSEN ★★★★ The JazzLab, July 18 Pat Jaffe's new band is named after an enchanting forest that he discovered while on a student exchange in Uppsala, Sweden. Lunsen (the forest) captivated Jaffe with its combination of tranquil beauty and untamed wildness, and LUNSEN (the band) aims to capture and reflect that dichotomy. Friday's concert at JazzLab was only the quintet's second outing, and – while all the players were all reading charts and still getting to grips with the music – it was clear that Jaffe had picked the perfect colleagues to bring his vision to life. The Melbourne composer-pianist also introduced each tune with the story of its genesis, setting the scene for the musical tales that were about to unfold. Jaffe has a wonderfully effusive, enthusiastic presence, and his stories were often hilarious – but also touchingly honest and sincere. Likewise, the music contained both irrepressible energy and heart-melting beauty. Glass and Glue began as a delicate duet between Jaffe and bassist Claire Abougelis, before adding subtle horns and spacious cymbals as Jaffe's rippling piano built into a rousing cascade. Wide Pants moved seamlessly between flowing lyricism and majestic propulsion, Jaffe beaming with delight and bouncing on his piano stool as his emphatic chords urged the band forward. Grandma's Song was gorgeously tender and restrained, while Greg's Benedict – inspired by South African jazz and underpinned by Marissa Di Marzio's exuberant drumming – conjured an air of joyful celebration. Now Music featured expressive solos from Thien Pham (on trumpet) and Zac O'Connell (alto sax), and a recurring melodic motif that the audience was invited to hum as the musicians drifted into silence. The night's final number, Eldorado, was a soulful jazz waltz that swept the band and the audience along in an evocative stream of nostalgia, memory and sheer pleasure. With LUNSEN, Jaffe has turned one of his favourite places in nature into a musical space for discovery, trust, passion and vulnerability. It's a space I'd gladly revisit any time. Reviewed by Jessica Nicholas MUSIC Axis Mundi ★★★★ Elision Ensemble, Melbourne Recital Centre, July 18 Served by some extraordinarily skilled musicians, Elision Ensemble's contemporary music encounter offered some ear-opening experiences as emerging and established composers rubbed shoulders in thought-provoking juxtaposition. American bassoonist Ben Roidl-Ward scaled the heights and depths of Liza Lim's Axis Mundi with breathtaking dexterity, while Richard Haynes revelled in the huge technical and expressive demands of John Rodgers' Ciacco for solo bass clarinet. Both scores embraced a kaleidoscopic spectrum of sounds, including guttural elements spiked with multiphonics and microtonal inflections of pitch. Mexican composer Julio Estrada's yuunohui'nahui'ehecatl featured a titanic trombone cadenza in which Benjamin Marks punctuated his playing with sounds of breathing and vocalisation. This writing, reminiscent of the performance art of 20th century Italian composer Luciano Berio, later included Marks and trumpeter Tristram Williams facing each other, so that the trumpet's bell could be placed into the trombone's in quasi-erotic fashion. By contrast, Charlie Sdraulig's Air began with barely audible susurrations, perhaps evoking the distant memory of a seaside scene. Yuin woman, Brenda Gifford from Wreck Bay in New South Wales, adopted jazz-like elements in Wanggadhi to recount the Dreamtime story of the seven sisters who eventually become the Pleiades constellation. Roidl-Ward's dazzling technique shone again in Victor Arul's Barrelled Space, a relatively lengthy and complex ensemble piece that began life as a solo bassoon work. Loading Bryn Harrison's Double Labyrinth after Richard Dunn, a tribute to the late Australian artist, was a masterclass in harnessing techniques and structure to satisfying musical purposes and a timely reminder that fascinating effects and academic constructs are not an end in themselves. Effectively using a gentle busyness to portray the navigation of labyrinthine pathways, the coalescing of quiet and cohesive textures signalled emergence from a puzzling journey. While contemporary music may be a puzzling journey for some, Elision remains one of its most convincing advocates. THEATRE Rumbleskin ★★ Ames May Nunn, fortyfivedownstairs, until July 27 Three queer vignettes in Rumbleskin twist into some strange terrain. The show explores a collective imaginary that seems to have been colonised by the American Western, and the play vacillates between an action quest with cowboys and rodeos into body horror, psychological suspense, teen melodrama, and even earnest folk-style musical theatre, without much rhyme or reason to guide the way. Unfortunately, this dreamlike melange of disparate elements interferes with consistent world-building, leading to confusing and somewhat threadbare exposition – a problem when you've got multiple narrative strands on the go at the same time. A mysterious affliction known as Rumbleskin stalks the land. It's unclear whether this is a supernatural curse, an infectious disease, or perhaps an ancient reminder of the power to be found in the skins we wear. Whatever the case, it brings a smudge of gothic to tales of a trucker rescuing a teen runaway, a young rodeo champion meeting his match, and a god-fearing town whose way of life is upended by a stranger and a preacher's daughter. None of these stories is particularly compelling or complete, nor does the choice of the American Western feel entirely organic, especially when international publishing can't get enough of outback Oz Gothic right now. I wonder if the fact of our cultural familiarity with US film and television alone is enough to justify it, although it must be said that camp and exaggerated gender performance have always been part of the genre and the queering of the Western has a long tradition that stretches back to well before Ang Lee made Brokeback Mountain. It's just that Rumbleskin doesn't make the most of that cultural intersection, dramatically. All the panto-like caricature can sometimes be funny – cue ridiculous Southern drawls – but the performers lean too hard on low comedy to pave over a thin script, in a way that undercuts emotional investment in the characters and their fates. Loading That said, the comedy is more reliable the larger the lampoons get, and you're glad of the occasional laugh to alleviate the cringe of some downright embarrassing moments, including strained chorus numbers where the ensemble bursts unexpectedly into song. Ames May Nunn's central conceit of an affliction involving skins remains tantalisingly underdeveloped. It needs more elaboration and definition if it's to corral the onstage world into something more thematically cogent and turn this thigh-slapping vision of a queered Wild West into more than a fragmentary oddity. Reviewed by Cameron Woodhead
Yahoo
03-04-2025
- Entertainment
- Yahoo
The Hives Announce First Australian Tour In A Decade For July 2025
The Hives are returning down under for the first time since 2015. The Swedish rock juggernauts have announced an Australian headline tour for July, hitting four huge stages across the nation. The legendary garage rock five-piece will kick things off in Fremantle on Thursday, 17th July before heading to Melbourne on Saturday, 19th, Sydney on Wednesday, 23rd and wrapping up in Brisbane on Thursday, 24th July. The tour announcement also arrives on a wave of other huge news from The Hives, in the form of a brand new album. The band's seventh long-player, dubbed The Hives Forever Forever The Hives, will reach our ears on Friday, 29th August (pre-order here). We've also received our first cut of the new record, in the form of the high-octane new single Enough Is Enough (listen above). 'Who in their right mind would start a song like this? No one but The Hives,' the band teases in a press statement. 'They are here again sooner than you expected and they have had enough of everyone at this point. Hence the title. Dig? Dig.' You can take the track for a spin up above, or suss all the dates and details of The Hives' 2025 Australian tour down below. Thursday 17 July - Metropolis | Fremantle, WA - Saturday 19 July - Forum | Melbourne, VIC - Wednesday 23 July – Enmore Theatre | Sydney, NSW - Thursday 24 July – The Fortitude Music Hall | Brisbane, QLD - FRONTIER MEMBER PRESALE via Runs 24 hours from: Tuesday, 8th April (12pm local time) or until presale allocation exhausted TICKETS ON SALE : Thursday, 10th April (12pm local time) The Hives Frontman Just Put His Hand Up To Replace Brian Johnson In AC/DC REVIEW: AC/DC + The Hives – Queensland Sport and Athletics Centre, Brisbane 12/11/15 The Hives Lose $2.8 Million Law Suit To The Cardigans The post The Hives Announce First Australian Tour In A Decade For July 2025 appeared first on Music Feeds.
Yahoo
02-04-2025
- Entertainment
- Yahoo
The Hives Announce New Album The Hives Forever Forever The Hives, 2025 Tour
The post The Hives Announce New Album The Hives Forever Forever The Hives, 2025 Tour appeared first on Consequence. The Hives have announced their new album, The Hives Forever Forever The Hives, out August 29th via Play It Again Sam. They've also revealed a 2025 world tour and unveiled first single 'Enough Is Enough.' Stream it below. Co-produced by Pelle Gunnerfeldt and Mike D of the Beastie Boys, the group's seventh album features 13 tracks recorded at a pair of studios in Stockholm: ABBA member Benny Andersson's Riksmixningsverket and a separate facility used by Yung Lean and the YEAR0001 label. Queens of the Stone Age's Josh Homme also contributed to the LP in an unspecified capacity. 'Enough Is Enough' is a kickass, propulsive track with lyrics perfect for these frustrating times: 'Everyone's a little fuckin' bitch/ And I am getting sick and tired of it/ When to the doctor/ Cause I was sick/ Sick of everybody's bullshit.' Watch the Eik Kockum-directed video below. Kicking off on April 12th in New York City, The Hives' expansive tour will also feature shows in North American cities like Austin, Los Angeles, and Vancouver, as well as dates across the UK/Europe and Australia. See the schedule below. Tickets will first be available through an artist pre-sale (get access by pre-ordering the album here) on Tuesday, April 8th at 10:00 a.m. local time, followed by a Live Nation pre-sale (use code DANCE) on Wednesday, April 9th at 10:00 am local time. The general on-sale begins on Friday, April 11th via Ticketmaster. The Hives released their last album, The Death of Randy Fitzsimmons, in 2023. Artwork: Tracklist: 01. (introduction) 02. Enough Is Enough 03. Hooray Hooray Hooray 04. Bad Call 05. Paint a Picture 06. O.C.D.O.D 07. Legalize Living 08. (interlude) 09. Roll Out the Red Carpet 10. Born a Rebel 11. They Can't Hear the Music 12. Path of Most Resistance 13. The Hives Forever Forever The Hives The Hives 2025 Tour Dates: 04/12 – New York, NY @ Rough Trade / Indieplaza 07/17 – Fremantle, WA @ Metropolis Freo 07/19 – Melbourne, AU @ Forum 07/22 – Sydney, AU @ Enmore Theatre 07/23 – Sydney, AU @ Enmore Theatre 07/24 – Brisbane, AU @ Fortitude Music Hall 07/26 – Yuzawa, JP @ Fuji Rock 09/08 – Austin, TX @ Stubb's Waller Creek Amphitheater 09/09 – Houston, TX @ House of Blues 09/10 – Dallas, TX @ House of Blues 09/12 – Denver, CO @ Ogden Theatre 09/13 – Salt Lake City, UT @ The Union Event Center 09/15 – Portland, OR @ Revolution Hall 09/16 – Vancouver, BC @ The Commodore Ballroom 09/17 – Seattle, WA @ Showbox SoDo 09/19 – Sacramento, CA @ Ace of Spades 09/20 – San Francisco, CA @ The Warfield 09/22 – Del Mar, CA @ The Sound 09/25 – Los Angeles, CA @ Hollywood Palladium 10/16 – Oslo, NO @ Sentrume Scene 10/18 – Copenhagen, DK @ KB Hall 10/21 – Berlin, DE @ Colombia Halle 10/24 – Munich, DE @ Zenith 10/25 – Leipzig, DE @ Haus Auensee 10/26 – Vienna, AT @ Gasometer 10/28 – Zurich, CH @ Xtra 10/29 – Milan, IT @ Alcatraz 10/31 – Barcelona, ES @ Sant Jordi Club 11/02 – Madrid, ES @ Wizink 11/04 – Lisbon, PT @ Sagres Campo Pequeno 11/19 – Brussels, BE @ Forest National 11/20 – Paris, FR @ Le Zenith 11/22 – Amsterdam, NL @ AFAS 11/24 – Cardiff, UK @ Utilitia Arena 11/26 – Glasgow, UK @ Ovo Hydro 11/28 – Manchester, UK @ Aviva Studios 11/29 – London, UK @ Alexandra Palace 12/01 – Cologne, DE @ Palladium 12/02 – Frankfurt, DE @ Jahrhunderthalle 12/03 – Hamburg, DE @ Sporthalle 12/06 – Stockholm, SE @ Avicii Arena The Hives Announce New Album The Hives Forever Forever The Hives, 2025 Tour Eddie Fu Popular Posts Morgan Wallen Walks Off SNL Stage: "Get Me to God's Country" Kendrick Lamar's Super Bowl Halftime Show Received 125 FCC Complaints Chet Hanks Recreates Forrest Gump Scenes with Tom Hanks in New Music Video: Watch Jessica Simpson's Advice to Singers: 'Drink Snake Sperm' Venues Booked on Brand New's Tour Disable Social Media Comments Gorillaz Confirm 2025 Release for New Album Subscribe to Consequence's email digest and get the latest breaking news in music, film, and television, tour updates, access to exclusive giveaways, and more straight to your inbox.
