Gig review: STEEL PANTHER and AIRBOURNE at Hordern Pavilion, Sydney

Live review:  Steel Panther with Airbourne at Hordern Pavilion, Sydney, October 22 2022

By PAUL SOUTHWELL

FOR THE latest tour from California parody band Steel Panther, the pandemic-induced postponements meant scheduled guests Sevendust bowed out to be replaced by Australia’s own export success, Airbourne. That meant Steel Panther risked being upstaged by such a high energy act but most of the audience were there for the reliable, spandex clad hijinks, which were naturally delivered in typically flamboyant and crude style.

A wall of Marshalls greeted the audience with the Airbourne backdrop proudly stating that meat and potatoes, no nonsense hard rock was the means to warm up the crowd. Lights dimmed and band members took their positions, with shirtless front-man Joel O’Keeffe running onto the stage in ripped black jeans, and letting rip on his white Gibson Explorer as they launched into Ready to Rock.  The rest of the band locked into gear, providing the stomping rhythm section as Joel O’Keeffe aggressively unleashed one of many guitar solos for their set.

Drummer Ryan O’Keeffe and long serving bassist Justin Street were in tight formation, as new rhythm guitarist recruit Jarrad Morrice hammered out the riffs. Both Street and Morrice crisscrossed the stage with strong backing vocals  as Joel prowled the stage at every opportunity. Some Status Quo swaying stage moves got an airing during Too Much, Too Young, Too Fast, but if there was one clear influence, it was of course AC/DC.

‘Here’s a song about girls in black called Girls in Black,’ O’Keeffe offered before jumping onto the shoulders of a member of the entourage to venture out into the crowd, soloing and riffing away, as well as crushing a can of VB on his forehead. Burnout the Nitro from Boneshaker was a set highlight, ushering in the use of Steel Panther’s pyro flash pots to great effect whilst Joel roamed the stage, alternating between riffs, solos and screeching at intense, Brian Johnson-approved volume levels. The raucous Back in the Game, segued into the rhythm section-led Breakin’ Outta Hell, as a circle pit was encouraged. Then the PA cut out. Staged or not, the band took it in their stride as amps were turned off and on again.

Reconvening rather sensibly at just before the solo, O’Keeffe let rip on the angriest solo of the set, reaching for screaming high notes. A tribute to Lemmy from Motörhead followed with It’s All for Rock ‘n’ Roll, a chant was started, and a road case emblazoned with Lemmy’s Bar ensured a full bottle of hard liquor was emptied into four cups, with a dash of cola, to be swigged and then distributed to the crowd, swiftly followed by Stand Up for Rock ‘n’ Roll.

Pure energy from start to finish, even with a slight PA hiccup, Airbourne were in top form tonight. Cop that, Steel Panther.

As Van Halen’s classic Unchained was cranked up over the PA, the stage lights were lowered to introduce the pop metal powerhouse, Steel Panther. Taste was nowhere to be seen as typically attired in what Spinal Tap’s late manager would have described as an ‘Australian’s nightmare’, meant all four bandana clad band members were vying for attention, intentionally or otherwise. But the guitars are cool, being reminiscent of guitar legend George Lynch’s tiger artwork.

Kicking off with Goin’ in the Backdoor and Tomorrow Night, these two songs set the tone for anyone not initiated in the Steel Panther experience. Soon after, the banter between virtuoso guitarist Satchel and vocalist Michael Starr was off and running. A combination of jokes referencing bastions of 80s rock in various states of disrepair, mixed with fictionalised tales of sexualised debauchery, and a tongue in cheek macho posturing is par for the course for their well-rehearsed, swiftly delivered comedy routine. Clearly comedy is a subjective appreciation but Steel Panther get away with it because it satirises a glamourised lifestyle from an era that is starting to reveal some severe wreckage.

A snippet of Def Leppard’s Photograph introduced drummer Stix Zadinia making fun of Rick Allen, about which he would probably have approved at some point, and let new band member, bassist Spyder crack some jokes, and be initiated by the band. Asian Hooker from debut Feel the Steel was a set highlight, given the Yngwie Malmsteen references. One of the appeals of Steel Panther for musicians, and primarily guitarists, is that Satchel drops in numerous tributes to some of the most talented guitarists that graced the covers of guitar magazines, both then and now. His guitar tone is often spot-on in replicating the artist being celebrated, despite the overall context being comedic.

The only track played from most recent album, Heavy Metal Rules, was the falsetto infused tri-tone filled ditty, All I Wanna Do is Fuck (Myself Tonight). A quick thank you to Airbourne allowed for more Australian culture digs in the form of groupie jokes to introduce Poontang Boomerang. There’s plenty of endless fighting for a microphone stands or encroaching in territorial stage areas, faked backing down from tough talking in band fights on stage, all of which are in-jokes for heavy metal fans. New song Never Too Late (To Get Some Pussy Tonight) continued with tasteless jokes.

Satire can also be done affectionately, as seen with a cover of Ozzy Osbourne’s Crazy Train, with Starr, escorted and shuffling on stage with flattened hair and dark glasses. He did a fairly concise rendition of Ozzy’s stage moves, including wide grins, excited hand claps, and was accompanied by Satchel’s note perfect performance of the late, great Randy Rhoads’ solo. His spot was part mocking self-indulgence and part tribute to luminaries of guitar technique including Eddie Van Halen, Nuno Bettencourt and Malmsteen. Iron Man and Master of Puppets also got the nod. Satchel’s meticulously cut t-shirt was also a Gojira one, so he knows the scene.

17 Girls in a Row saw the stage flooded with female audience members, and there wasn’t any shortage of those willing to jump around partially dressed. With a boogie feel akin to Mr. Big or Extreme, it’s another demonstration of the depth of musicianship appreciation within Steel Panther. Party Like Tomorrow is the End of the World is largely an excuse for the crowd to sing along to the chorus. Leering at breasts of generally willing participants might be harmless in the grand scheme of things, but with the crowd pressuring a very attractive female to go topless (she didn’t) as part of earlier sleaze cabaret Weenie Ride, it becomes a commercial transaction. Pushing boundaries in the name of satire has limits.

With the ladies gone,  classic debut album track Death to All but Metal showed how good Steel Panther can be when they cut back on the banter and just play tight, fast paced hard rock. Satchel’s soloing in this track is swift, with wide vibrato reminiscent of Eddie and Vai. As a set closer, it was another highlight, complete with more pyro, strobe lighting effects in overload and various lighting colour arrays.

Encore opener Community Property, giving the crowd another singalong moment. Closing the show, Gloryhole from All You Can Eat was whipped out and saw Satchel offer up some tremolo picking and power chords. Smoke blasts timed with the chorus drove home the point, using a half time bridge section to ramp back up to the solo, down-tuned riff and chorus as the crowd sang along, although not at Starr’s level of falsetto.

Steel Panther delivered a top notch glam metal set with all the bells and whistles their huge show offers up in headlining mode. The comedy routines parodying a decadent era are part and parcel of their success so it’s accepted, even if societal changes may push them to reconsider some aspects. By comparison, Airbourne are a lean musical machine and their career trajectory looks unquestionably solid. Both bands are different but allowed everyone to let off some steam.