One of the best live bands in the world is finally back in Melbourne
MUSICThe Hives ★★★★★Forum Melbourne, July 19 To attend a concert by The Hives is to be inducted into a sweaty, euphoric cult for just over an hour of frenetic power – “think of it as a three-hour show played twice as fast,” singer Howlin’ Pelle Almqvist quips. The Hives perform at Forum Melbourne, July 19, 2025. Credit: Richard Clifford The Swedish band was an integral player in the garage rock revival of the early 2000s, and quickly garnered a reputation as one of the best live bands in the world, with Almqvist their braggadocious, energetic ringleader. Decades on, they’re still on top of their game. This tour marks The Hives’ first Australian shows since 2015, when they supported AC/DC in stadiums around the country – and going by the crowd’s fervent reaction throughout the night, it’s clearly a welcome return. Audience members range from grey-haired seniors to excited teenagers – this music unites generations through the power of rock’n’roll. On the first sold-out night of two in Melbourne, large lanterns spelling out the band’s name backdrop the stage, and a long introductory buzzing instrumental builds anticipation. Four men walk out in black and white suits, their backs facing the crowd. Then Almqvist appears, and it’s go time. Almqvist’s on-stage persona is exaggeratedly obnoxious: he swings the microphone cable like a madman, kicks his legs high into the air and sprays fountains of spit skywards in a grotesquely irreverent display. Four songs in, he’s already jumped down into the crowd. Pelle Almqvist’s on-stage persona is exaggeratedly obnoxious.Credit: Richard Clifford Almqvist often taunts the audience: “Has anyone ever been to a rock concert before?” he bellows. The crowd roars in the affirmative. Almqvist doesn’t miss a beat: “Then f–king act like it!” We jump and dance and scream, but Almqvist always demands more. The biggest crowd reactions are for the songs from the band’s heyday, such as Hate to Say I Told You So and Walk Idiot Walk – newer tracks garner a more muted response. But Almqvist’s crowd work makes it all shine – teaching the audience to sing a bass line so he can yell over the top of it, or prolonging a call-and-response section to the point of ridiculousness. 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 JAZZPat 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. Pat Jaffe’s LUNSEN perform at The JazzLab on July 18. 2025. Credit: Dan McKay 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. Melbourne composer-pianist Pat Jaffe performing at JazzLab.Credit: Dan McKay 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 MUSICAxis 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. An earlier performance of Axis Mundi.Credit: Lauren Murphy 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. Elision Ensemble’s contemporary music encounter, Axis Mundi, offered some ear-opening experiences/Credit: Lauren Murphy 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
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