Machine Gun Kelly
RAC Arena, Perth, WA
Wednesday, April 8th
Machine Gun Kelly brought his Lost Americana tour to Perth’s RAC Arena last night.
It seemed unlikely that MGK would have the fanbase to sell enough tickets to make the venue an appropriate choice, especially on the West Coast of Australia. He commented on this himself during his set, telling the crowd that “ticket sales were looking rough a couple days ago, but then I posted a picture of my toes.” With his Melbourne date already sold out, though, perhaps I underestimated his appeal.
For this new era, it’s hard not to think of MGK as yet another artist trying to ride the coattails of the Americana Country aesthetic that is currently sweeping the industry – but Kelly’s music is not that. Despite the marketing, Lost Americana is still a pop-punk album at heart, with hip-hop overtones, occasionally catchy but mostly forgettable. I was intrigued to see if Kelly’s mass appeal lay in his live show, often referred to as a high-energy, electrifying experience.
Missouri native honestav opened the show with technical issues, which he handled gracefully despite the disruption to his set. He offered a lot of energy, but his confidence outweighed the performance.
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One thing immediately became apparent as the voiceover played before MGK took to the stage: this is a man who thoroughly believes in his own mythology.
A guitar lowered from the ceiling as a backdrop of Lady Liberty smoking a joint became the centrepiece, all to the opening notes of “Outlaw Overture”.
“Are you ready for the best fucking night of your life?” he asked the crowd. It was clear from the outset that MGK’s band was worthy of such a stage; they had crafted a show that belonged in front of thousands, even when the show they put on felt a little confused at times.
Sometimes it was hard to tell what exactly MGK and co. were aiming for. Was it supposed to be a hardcore show? A modern pop star whipping out dance moves? A hip-hop set?
He moved quickly through the set, claiming he had 30-something songs to get through, which was a little jarring. From pyrotechnics to backup dancers and even a hype man, the show never quite settled into a steady rhythm.
“First time back in Australia since I got caught with that cocaine, hello,” MGK said at one point. He offered gleaming smiles and espoused gratitude between songs. His vocals were warm and strong, better than the overly produced sound often found on his records.
During “Starman”, it felt as though he was at his most authentic, blending his impressive flow with his current emo image. Despite the constant stops and starts, it was hard not to feel present with him.
He played several hits from Ticket to My Downfall, which still seems to be his most popular release. The energy was never higher than when he bounced around the stage with a group of fans, eagerly rubbing a heavily pregnant woman’s belly and crooning “congratulations” while singing “Bloody Valentine”.
In a charming interaction, MGK addressed a woman who claimed he tattooed the inside of her bottom lip. Neither of them could recall which city this encounter occurred in — Kelly remembered none of the claim whatsoever — and he warned the crowd not to do drugs.
Even when the crowd seemed to struggle to keep up with him, MGK kept the energy high for a full two hours, proving himself as a performer with an awful lot to give.
With more time and a little refining, it would be interesting to see how he can really make this arena-worthy show his own, instead of trying to do everything all at once.
Check out MGK’s remaining Australian and New Zealand tour dates here.
