Tagged: AC/DC

Drumming, well I have South American blood in me. Our guitarist Pete once said ‘you South Americans come out of the womb playing bongos, I swear’. It’s in our blood. Hahaha. My dad was a drummer and used to make me watch doco after doco on SBS about all the greats growing up as a child. Coupled with that, I grew up performing my whole childhood through Johnny Young Talent School which later turned into Dancing. I was particularly obsessed with tap dancing and used to do it all night in bed till my feet cramped up, so I feel my obsession started there. I was lucky enough growing up to always be around really great musicians and the thought of sitting on the sidelines cheering other people on was not enough for me. I wanted to be part of the action, man. So the boys used to always jam at our house and let me get up and play after they were done jamming. My ‘go to’ was ‘Paranoid’ by Black Sabbath and ‘Let There Be Rock’ by AC/DC. That was my catalogue of songs for a very long time. Haha. After sitting in the shadows my whole life, I decided in 2015 it was time and I bought a kit. I went straight to Col Gillies aka Master Yoda. He is the godfather of Brisbane Drumming I.M.O and has taught most of the shop owners and drum teachers in this town. I told him I want to be ‘good for a girl’. He said I will make you play well as a drummer. I needed to hear that. I like to think of myself as a heavy groove drummer, well that’s the goal anyways.


Carmine Appice is my absolute favourite drummer of all time. He played for Vanilla Fudge, Cactus, Beck, Bogert and Appice to name a few. He is also my dad’s favourite drummer and I heard about him my whole life almost as if he was a family member. He is the Groove MASTER and has been going for over 60 years. What attracts me most about his drumming is his offbeat groove fills and his showmanship. He knows how to lure you in and take you on a ride. He is too damn lit to quit and that mirrors my personality so I resonate with his spirit. Don’t believe me, watch this solo from Evil – Cactus. I’m not telling you how many times I’ve watched this in complete awe cos’ I’ve lost count obviously. Lol


Robby Staebler from All Them Witches. It’s like his drumming doesn’t follow rules. I feel the greatest thing any musician can ever achieve is creating their own signature sound. Rob Staebler has done just that. I can spot his drumming from a mile away because no one drums like him and if they do sound like him, I would say ‘hay such and such has the Robby Staebler sound’. He does this thing where he does triplets on the bass kick. It’s kind of like his signature beat. His drumming syncopates with the music so well that I still haven’t wrapped my head around his greatness. My friend Rob who sings for Laceration Mantra, who I call a mentor, told me once, it doesn’t matter about your skill level, how I spot a great drummer when I walk in a room is timing and dynamics. These words are a mantra that swing around my brain all the time and it was some of the truest and greatest advice I ever got about drumming. This is the vid that began my complete obsession with my favourite band All Them Witches. It’s not necessarily my favourite now I’ve deep dived, but it was the gateway to the Greatness of Robby Staebler.


Chris Dennis, or as I like to call him, ‘Chris Muthafkn’ Dennis’. He is a force of nature. Chris drums for Azrael, Veal, Tesla Coils (r.i.p) and probably more I don’t know about. Chris Dennis comes from the Gold Coast and is a drummer I can go watch all the time. I will never ever forget the first time I saw him play. Veal played Wallapalooza. I stood there with my jaw on the floor the whole set and couldn’t believe what I had just witnessed. I thought my god, WHO THE FUCK IS THAT?! Yes he is a great drummer, but it wasn’t that that blew my mind. It was how he played. He was fucking ferocious and I’ve never seen anyone throw their whole body into drumming the way he does. He was drenched in sweat and he gave no fucks, he is so sharp on his movements it’s almost robotronic, like it almost feels like an optical illusion. I’ve never EVER seen anything like it. Watching him play made me think, fuck YEAH, I wanna play like that. I quickly started following his every move and made him become my friend hahaha. I asked for lessons and he helped me compose better drum tracks for a lot of our songs. The boss ass fill in ‘Heartquake’ is his, he gave it to me. I’m not gonna lie, I took it graciously, it’s fkn killer. I’m lucky enough now to call Chris my friend. Aka Sensai haha. This is some of his drumming from Azreal.

4. Igor Cavalera

Igor Cavalera, Sepultura, Cavalera Conspiracy, Nailbomb + more. I have always loved the Cavalera tribe and Igor’s style of drumming resonates with me on some otherworldly, ancestral, South American bloodline, tribal level. It goes without saying that he has his own signature sound. The Cavaleras created Tribal Metal and brought it to the mainstream thanks to the help of Gloria Cavalera, Max’s wife. I know it’s not everyone’s bag, but it’s mine. He, much like Chris Dennis, is a ferocious force of nature. I like watching people whose spirit emanates out of them as they play. We pour everything we have into our music, so I love watching people let themselves go live. Igor will always hold a special place in my drumming heart.


I first saw Mike Portnoy at a G3 concert. Dream Theater, Winery Dogs, Liquid Tension Experiment etc. I had never seen anyone drum like that. Prog drumming, WOW. To be really honest I was overwhelmed with greatness. I needed to go outside for a minute. My brain couldn’t compute what I had just seen. Mike Portnoy is one of the greatest prog drummers in the world and I fell deeply in love with his grooves after listening to Train of Thought by Dream Theater. I have deep divided into the world of Portnoy since and the greatest thing about him is he loves to collaborate and above all is the biggest fanboy ever of music. I highly recommend watching his MP Vinyl series. It’s killer. He’s one guy I’d love to have a beer with.

Well after reviewing a lot of albums this year I have landed on my favorite 10.


Absolutely riveting.

9. SOILWORK – The Whisp Of The Atlantic

Soilwork said they wanted to do something completely different to what they had done before and they certainly did.

8. ME AND THAT MAN – New Man, New Songs, Same Shit Vol 1

An album that I can listen to over and over again.

7. SEETHER – Si Vis Pacem Para Bellum

Seether bounced back to their best with one of the most underrated albums of 2020.

6. VARIOUS ARTISTS – Murders In The Rue Morgue Vol 1

In their short history Rue Morgue Records have made a name for discovering some of Australia’s finest talent and this just brought it all together on one CD.

5. BON JOVI – 2020

As a year 2020 left a bitter taste in our mouth but nobody captured the mood of the world quite like Bon Jovi on their 2020 album.

4. ELEPHANT GUN – Now To Survive

Great to hear these guys back and now they deliver one of the albums of the year.

3. AC/DC – Power Up

AC/DC proved they still have it with a brilliant album of what they do best – catchy hard rock.

2. MARILYN MANSON – We Are Chaos

Stunningly brilliant album… if you haven’t heard it yet go out and grab yourself a copy right now.

1. AMARANTHE – Manifest

This band has just been getting better and better over the past few years and now they have reached the pinnacle with this amazing album.


It will definitely be a High Voltage event when Silverback Touring bring you BON BUT NOT FORGOTTEN, the ultimate AC/DC Tribute Act as they head out on a Nation-Wide run of shows this October and November.

BON BUT NOT FORGOTTEN assembles some of the world’s greatest rockers to perform the iconic hits and to pay tribute to the legend behind one of the world’s greatest bands, AC/DC and their iconic singer Bon Scott.

This is a super-charged high energy electric band that has featured some iconic musicians from around the world, including artists from: AC/DC, Cheap Trick, Ugly Kid Joe, The Poor, The Choirboys, Jimmy Barnes bandThe Angels, The Screaming Jets, Baby Animals, Rose Tattoo & many more!

This show is one of closest sounds you will get to vintage AC/DC, in the world today and is performed by some of the best musicians we have to offer. Silverback Touring are out to re-ignite the live scene and there are plenty of people lining up to take the Highway To Hell. let The All-Star line-up will feature past and current members of The Angels, The Poor, Wolfmother and more… Let There Be Rock!


BON BUT NOT FORGOTTEN October / November 2020 Tour Dates

Friday 30th October PERTH, Amplifier

Saturday 31st October ADELAIDE, Lion Arts Factory

Friday 6th November SYDNEY, Crowbar

Sunday 8th November CANBERRA, The Basement

Friday 13th November GOLD COAST, Coolangatta Hotel

Saturday 14th November BRISBANE, Triffid

Saturday 28th November MELBOURNE, Max Watts


Tickets from: https://www.silverbacktouring.com.au/bon-but-not-forgotten/


When you have bands of the ilk of Nightwish, Lacuna Coil, HIM and Cradle Of Filth claiming that you inspired them and their careers to date you know as a band that you are doing something right. To be honest Paradise Lost have been doing that ‘something right’ since the late 1980s and once again they have delivered something very special with their new album Obsidian.

When I chat to frontman Nick Holmes about the new album he is safely away in lockdown and is quick to admit that the band never went out of their way to do anything ultra special with this album. “When we start working on an album we always use the last album as a benchmark. Now our last album was a very specific death-doom album, every track had a death-doom vibe to it and this time we just wanted to shape it up a little and do an album that was just a little more varied.”

“I mean I think every song is very typically Paradise Lost,” he goes on to explain. “There is no getting away from that, but there is much more variation with the vocals and the vocal styles and the guitar styles, but yeah we just wanted to mix it up a little more really.”

There is no mistake though when you take a first listen Obsidian it is very obvious that the album has a slight throwback to the 1980s Goth scenes and Holmes says that was something that the band were very aware of. “Yeah, we grew up listening to that stuff,” he says. “We grew up around those times, in the early 1980s we were really coming of age…. yeah we are that old now. We do have a lot of nostalgia from those times and the music of that time. We were really just getting into heavy music at that time, stuff like thrash and that is very much imprinted on our minds. It just reminds us of that time.”

“Also the Gothic music of that time nobody is doing it anymore, nobody makes that kind of music anymore,” he says continuing. “It is still very much back there in the 80s, it is still very underground and no new bands have really run with that band. So it is kind of nice to be able to mix it up and kind of put it into the sound that we use and the sound that people know us for. We have been able to put it into a modern context with modern production.”

As Holmes and I both start thinking back to the 1980s we begin to talk about the kinds of bands that got us into heavy music to start with. “I was always into bands like Motorhead and AC/DC,” he says. “There was about five heavy rock bands in the world at that point and I must have liked three of them. And then from there I got into Venom, GMBH and then into Metallica and then that was it, the rest is history. After Slayer the rest really is history, after that I was into thrash and death metal for at least ten years after… I became absolutely obsessed by it.”

“Yeah it was so exciting to hear that first wave of thrash and that first wave of black metal,” he says still reflecting. “It was just so good and I feel so lucky that it feels that I was born at the right time.”

Aside from the music that he grew up listening to Holmes says the other big influence on this album was just everything around us. “Really it was just about life,” he explains. “When you look at life things can just change – there is no map. I think only a fool writes a map for life because it can change at any point. Just when you think that something is going well there is a shit storm, and I find that aspect of how things can just change on the roll of a dice really fascinating. Of course I am in the same situation as everybody at the moment but you never really know what is around the corner and I just find that really interesting. I find consequence interesting. I care about now but when I was younger I just didn’t care about things, I didn’t care what happened to me and I didn’t really care what was around the corner… but now it is all I think about. So yeah even that is fascinating and I just look at life things and then I write about them in three year increments because I do it every three years.”


Obsidian will be out through Nuclear Blast Records on May 15th.




“Hello, is that AC/DC? Its Gill here!” That is the way a phone conversation needs to begin that should be made by AFL Chief Commissioner Gillon McLachlan this week. Perhaps an arrow hasn’t really been fired in anger yet when it comes to the 2020 AFL Season but people have already started to ask the question – who would be perfect to play at the Grand Final this year?

Blame America’s NFL for the question being asked. Those damn Yankees once again did things perfectly at this year’s Superbowl when they asked the queens of Latin music Shakira and Jennifer Lopez to perform at the game that was played in the very Latin inspired Miami. Given that the NFL seem to get the Superbowl half time musical extravaganza right every year just makes us ask the question ‘why do the AFL always seem to get it so, so wrong?’

Don’t get me wrong our Grand Final entertainment is normally pretty memorable. Who will ever forget Angry Anderson belting out ‘Bound For Glory’ while riding around on one of the lamest Batmobiles you will ever likely to see at the 1991 Grand Final? Likewise the memory of Meatloaf delivering what is possibly one of the worst live performances of all time at the 2011 Grand Final is forever etched into our brains.

Yes, as you can see the musical performances at the AFL Grand Final are always remembered for all the wrong reasons or not even remembered at all – can anyone tell me who the special popstars were that performed at last year’s game without turning to the almighty Google to find the answer? In fact looking back over a century of Grand Finals the only decent memory you are likely to find would be Richmond forward Jack Riewoldt joining The Killers on stage to sing ‘Mr. Brightside.’ Even that moment though is mostly remembered because of the pure elation that was on the newly crowned premiership player’s face than it was for the actual musical performance.

Now for the hard rock and metal fans out there you are dreaming an impossible dream if you ever think there will be a day when Behemoth are performing at the Grand Final, but given that last year’s no names were selected because the AFL believe that the Grand Final entertainment should be artists that people recognise the songs of then AC/DC are the best damn choice that even blind Freddy could see.

I know there have been arguments for Metallica in the past but realistically outside of true fans who in the general public is going to recognise any more than perhaps three of their songs? No, the obvious choice would be a band like AC/DC or Guns ‘N’ Roses. A band that have a bit of oomph, can put on a good live show but also have enough of what the young people of today call ‘bangers’ to have the audience singing along to. The fact that both bands are also universally recognisable is a big plus considering the rising popularity of AFL in the United States. I’m pretty sure most Americans sit there when the great Paul Kelly takes the stage every second year and think – ‘who is that?’

Even with Gunners and AC/DC in mind I believe the perfect choice for the 2020 Grand Final would be AC/DC. They tick off all the boxes – are recognisable worldwide, have tracks that people can sing along to and there is a unique Melbourne vibe to AC/DC given that their iconic video clip for ‘It’s A Long Way To The Top’ video was filmed in Melbourne’s very own Bourke Street. Given that their new album is set to be released this year it is also perfect timing for the band to be seen out there and doing their stuff on one of the biggest television audiences Australian will see all year.

The fact that the AFL Grand Final is played during daylight hours does provide some problems for a band like AC/DC performing, but even that is something that is pretty easy to overcome. Get them to come out at half-time and perform tracks like ‘Thunderstruck’ and ‘TNT’ etc that everybody can sing along to and then make them the focal point of a night-time victory party at the MCG after the game. Team them up with a pop-star that has rock cred like Pink and suddenly you’ve got an after-party show that would match anything that the Superbowl has ever served up in the past.

As music loving footy fans we don’t ask for much, Mr McLaughlin, but this year we really ask that you make our Grand Final entertainment something to remember and something that our great game truly deserves. Please make the AC/DC this week, Mr McLaughlin… we beg you.


Melbourne’s very own Riff Raiders are hitting 2020 with a bang. Aside from heading out on a tour that will see them headline the Kilmore Rock Festival the band also have their vinyl Double A-Side single landing on February 18th through Rue Morgue Records and then release their brand new album Rock ‘N’ Roll Daydream in March.

The band’s debut album Live Like You Mean It was released to critical acclaim and won the band a legion of fans. When we recently sat down to interview Riff Raider’s very own Marty Powell he admitted that it was something that was weighing on their mind as they worked on the new album. “I didn’t feel pressure when I was writing the songs because that felt like a bit of a break-through,” he says. “We were doing a lot of shows and we felt like a band on a run so the songs were coming from excitement and adrenalin so that worked really well.”

“But when it came to recording them we really wanted to approach them differently,” he admits. “I started the album about a year ago and like what happens with other artists – I just wasn’t happy with it and that is why the line-up of the band changed. That was so we could make it as good as we good.”

As we talk about the events that surrounded that moment we talk about what a drastic decision it was to make. “It was a really important decision to make,” agrees Powell. “The guys we were playing with were great at that level but musically if we wanted to go to that next stage we had to do something, and it was pointed out by the producer we were working with at the time. But yeah it was painful. But I thought if we are going to go to all this trouble and we have the best batch of songs that we can come up with then we really have to do them justice.”

“So we decided that we needed a different rhythm section,” he continues. “I think different is a better word than better, we just needed a different style and then I worked with a different producer that pushed it to a whole another level again. But we didn’t rush into it. We did a lot of shows with the new line-up to break in the band again, which I think you can hear on the recordings. It held things up but it also made things better. It also gave me the opportunity to define the songs a bit more and by re-recording them we were able to give everything a second go. That really helped.”

The work of the line-up is clearly evident on the Double A Side that is about to be released by Rue Morgue and they are both tracks that Powell are clearly proud of. “You’ve got Loaded Gun and Best Day Ever,” he explains. “They are the lead tracks off the new album – Rock ‘N’ Roll Daydream. There are two very different sounds of the band on show with these tracks.”

“Loaded Gun has that classic kind of slide, kind of a classic rock sound to it,” he says continuing. “The other track that is there is still rock but I guess it has more of 90s kind of vibe to it… it is a bit more fun. We really wanted to show different sides of the band. It is all rock, the title of the album pretty much explains that, and we aren’t ripping anything off but when I write the songs I always try to think about what kind of rock music I like which is all different styles. So when you listen to the album you hear those different styles as well, and the idea is that this kind of music has been around for a long while so we just try to do songs in this genre. It isn’t exactly re-inventing the wheel but putting more wheels on sale I guess is the best way to describe it.”

The one thing that really strikes you about these two tracks is the catchiness of them Walk away after listening to Best Day Ever and you will be humming it for the rest of the day. “We’re all about hooks,” says Powell laughing. “It’s not even about what we do in the studio, it’s about how we write the track and then arrange it with the band. You get to do that in the studio as well but when you see us live it is there as well. That comes back to that classic type of song-writing, it is heavy but you still want to be able to whistle the tune. That was The Beatles concept – is the song memorable? Playing that kind of music though can be difficult, take Loaded Gun for example, you are holding it back a bit. It’s like AC/DC when you get a band to groove like that it is quite powerful, but that is hard to achieve just smashing away and doing what you like. There is restraint there but you also want that hook side, so you try to go for both.”

Whatever the recipe is that Riff Raiders are working on it obviously works because both Loaded Gun and Best Day Ever are something very special indeed.


It is hard to imagine the hard rock world without the imposing figure of David Coverdale. Born in Yorkshire in 1951 Coverdale starting performing when he was just 14 years old and by the time he was 17 he had started his first band – Vintage 67.

From there Coverdale soon started other local bands – The Government and Fabulosa Brothers. But then in 1973 Coverdale saw that Deep Purple where auditioning for a new lead singer. He was already known to the band with The Government previously opening for Deep Purple and soon the job was his.

It was during his period at Deep Purple that Coverdale first came to Australia and as I talk to him about the upcoming Whitesnake tour Down Under I soon realise that trip with Deep Purple is still deeply embedded in his memory.

“I know we are only doing the three shows but every time I see Melbourne on the list I am taken back to when Deep Purple were asked to headline the Sunbury Festival,” he says down the phone line with pure excitement in his voice. Yes to put it in a nice way Coverdale sounds like an excited school boy who is about to embark on his first overseas adventure

“I think it was 1974 and it was the height of the Australian summer,” he says continuing. “We were invited over to headline this festival and we were all in Los Angeles at the time so we hired this huge fucking commercial jet that carried all our equipment, our road crew and our wives and girlfriends. We were all fine until we started to descend into Melbourne and Thor the fucking God of thunder decides to make his presence felt. The plane was all over the place and it was the wettest and coldest fucking weekend on record… it was horrible.”

“But the best part of the memory was that as we were leaving, and we left because nobody could hear us in front of the stage because of the wind and how wet it was,” he explains. “Then when we got into the car I could hear drums and I thought ‘hang on I thought we were the closers.’ It turns out this young band had got up and plugged into our stuff, these crazy bastards and of course this huge fight started with our crew… but it was AC/DC… this new Australian band called AC/DC stole Deep Purple’s thunder…. it was wonderful. So, yeah I am delighted to head back to Australia, I just wish it could be more because we only have the three shows.”

These days Coverdale is known more for his work with Whitesnake, a band that many of us could not imagine growing up without. Whitesnake first kicked off in 1978 and since then Coverdale has had three stints with the band. The fact that the band are now still going strong in 2020 is something that he admits he could never have predicted back the band first started out.

“No way, no way… I would have laughed at you,” he admits. “Back then when  I writing songs like ‘Here I Go Again’ and ‘Crying In The Rain’ it was during the break up of my first marriage and I was heading into my 30th birthday and I thought that was it. But now I am nearly in my 70s and my wife is mad at me for using the word retirement, but every fucking day I am in gratitude and have an appreciation that my life is the way it is, both from a personal circumstance and a professional circumstance and it is magical.”

“There are a lot of bands that stay together for the money,” he goes on to say. “They are in it for the economics of it, but this band we are all friends, actually we are brothers… we are brothers of the same. As long as we sound good live, and believe me we are still one fucking powerful band live, we are as happy as whoever the fuck Larry is.”

As the discussion goes on I also learn that there is a very strong bond between Whitesnake and Scorpions. “They actually flew in for my birthday in San Paolo a few months back,” says Coverdale and you can hear in his voice that he is in true awe of Scorpions. “Our friendship goes right back and we share the perspective of given people the value for their money with our performance. There are no bullshit stunts – the audience are there for three hours plus of good songs and we genuinely want to make you guys enjoy yourselves.”

With such a strong comrade between the two bands playing on the night plus Whitesnake promising to play tracks from the very beginning right through to critically acclaimed Flesh & Blood album from last year this is promising to being a show that true music fans will remember for a long, long time.  “Oh my God I cannot wait to see you guys again,” says Coverdale when we begin to talk about fans can expect for these shows. “You know I think the last time I had the pleasure of your company was way back in 2008. We were touring on an album called Good To Be Bad and it is still good to be fucking bad and I can’t wait to see you guys… it will be as sweet as a tube of Fosters.”

The interview ends there with Coverdale finishing it off exactly the same way that he started it… laughing hysterically. With so much passion showing when he is just talking about this Australian tour it is easy to see that we are in for an absolutely amazing show when the band hits the stage this week.


There were probably some seventy-two year olds in Melbourne last night tucked up nicely in bed by 7.30. There were probably some others trying to work out whether or not they should wear the red or beige cardigan tomorrow. Then there was one seventy-two year old man named Alice Cooper. He was taking centre stage at Rod Laver Arena, rocking out like a man half his age with a hard rock that has to be seen to be believed… oh and he had some giant babies, masked psychos and a huge Frankenstein with him.

Yes as Melbourne can attest to this morning age has certainly not wearied Mr Cooper at all. Sure he isn’t jumping off speaker stacks any more but he can certainly still bring his audience one hell of a show… and that was something that we were all a witness to last night.

By the time Cooper hit the stage last night the audience was already pumped to the max. Victoria’s own Airbourne had already seen to that. If you have never seen the lads from Warrnambool live then you have really done yourself a disservice. How these guys aren’t already as big as their mentors AC/DC is beyond me. Their catchy tracks delivered with electric ferocity live is something any serious music fan must see.

Last night the lads certainly delivered. At one point they had Rod Laver Arena resembling London during The Blitz as air raid sirens sounded and search lights darted this way and that. The highlight of their set though was when Joel O’Keeffe left the safety of the stage during “Girls In Black”, ran through the crowd and then scaled the banister of level 2 all while still playing guitar and not missing a beat… you want showmanship – you certainly get it with these guys.

That showmanship then continued with Mr. Cooper himself. Not to be outdone he brought his very own Nightmare Castle set with him. A set complete with chandeliers, two levels and more fire torches then on the set of Survivor. But if you thought the set was impressive that was nothing compared to what happened when the music started.

Cooper is now at a point of his career where three generations of fans now turn up to his shows. A quick look around the arena last night and it was very easy to see those in their sixties still decked out in their early Cooper T-Shirts, people my age who also got into the legend’s music through their parents album collection and then the younger generation just as eagerly excited as their parents. There was even one primary school aged kid their last night wearing a jacket that not only boasted an Alice patch, but also patches for Soilwork and Kreator… respect young Sir, respect.

None of those three generations would have left Rod Laver last night disappointed as Cooper once again delivered the showmanship and brilliant live show that has seen him at the top of his game for 50 years. The true testament to how well the show engaged with the audience was that not only did the fans sing along with the hits like “I’m Eighteen,” “Poison,” “Department Of Youth” and “Schools Out,” but how that singing continued even with slower tracks like “My Stars.”

The last time I saw Alice live it seemed like the theatrical side to his show had died off a little, last night he proved that wasn’t the case though. Last night he had a masked psycho kill fans who ‘invaded’ the stage during “He’s Back (The Man Behind The Mask),” his bloodied bride appearing during “Rose On White Lace.” Then of course there was the epic performance of “Steven” and “Dead Babies” ending with Cooper being put to death before ultimately returning to the stage.

An Alice Cooper show though is just a glorified Dracula’s performance though. No, Cooper has surrounded himself with one of the finest bands in the world. When you have Nita Strauss, Tommy Henriksen and Ryan Roxie delivering the goods like they did last night on guitar and then joined by Glen Sobel who delivered a literal ground-shaking drum solo on “Black Widow Jam”, then your band is something pretty special.

Perhaps though my highlight of the night was Cooper himself picking up the harmonica and playing soulfully alongside his band as he brought a haunting sound to the very catchy “Fallen In Love”. If there was anybody out there dumb enough to suggest that Cooper’s time is up, then that was the time that showed it certainly isn’t.

Cooper last night showed Melbourne that there is still life in ol’ black eyes yet. A stunning band, entertaining theatrics and tracks that had people singing along all night, that is all you really want from a show like this. Perhaps Joel O’Keeffe best summed it up last night when he said “As long as I’m still alive, as long as you’re still alive, rock ‘n’ roll will never die!”