Live Review: MGK (Machine Gun Kelly) Fires in Australia in 2026.
Lost Americana Tour – 08 April 2026 at the RAC Arena, Perth, Western Australia.
Review by Sheldon Ang
Photography by Sheldon Ang Photography
Machine Gun Kelly, now known as MGK, is one of the most eclectic performers in modern times. And honestly, this photojournalist can’t box him into any one genre. One moment, the American darted across the stage with full rockstar swagger…next, he reappeared at the back of the stage as a confessional singer-songwriter in indie-pop mode…then he flipped again and boxes like a full-time rapper – which, to be fair, is pretty much his roots. To add the catalyst into the chemical reaction of MGK, there were plenty of ‘rage against the machine’ moments in between sets…and even a nu metal live track debut!
That’s the take: his persona is entangled with the music, turning into a chameleon, while living in that Jekyll-and-Hyde world.
So at 9:00 pm, MGK graced the stage in the twilight of “lost americana” – the illumination painting the set red as he appeared under the spotlight, standing before the head of Lady Liberty, buried in the confines of his mind. In an almost sacrilegious nuance, a cigarette was protruding from her mouth (although the smell in the arena implied it was something else). Sitting high above the stage was the word “lost americana”.
Perhaps it was a visual metaphor for America losing its way, a distortion of freedom, and a generation feeling disconnected from the system.
We got the picture.
MGK sparked the Australian tour in Perth with “outlaw overture” – a two-part manifesto about rebellion, refusing conformity, and torching society’s norms. It was a fitting start to the night, setting the benchmark for the themes of his show. He lit a cigarette, once again, perhaps something else, based on the pungent linger drifting across RAC Arena. The whole night was rebellion. He stood behind a mic stand that resembled an oversized cigarette, half-hiding behind his sunnies.
Accompanying MGK on stage were five other musicians, mainly guitarists and backup vocalists, who looked like they’d just walked off a Milan catwalk, but with bulk and strength, rugged as hell. The hair weaves were intense: rapper-meets-rockstar energy. Either way, they stood out like moons orbiting planet MGK.
This was followed by “starman” and “don’t wait run fast”, and it was during the third track that the fireballs flared up. The switch fully thrown into rockstar persona, compounding everything. He strode across the stage with pomposity and eagerness. The sunglasses were gone. From confessional songwriter he skipped straight to the front edge and we saw the transformation in real time. He flirted with the crowd.
“Are you ready for the best fucking night of your life?”
Then came the rap in “el Diablo”. By now, MGK was in full attack mode. He turned aggressive on this trap-driven track; hands flying like a kung fu master, more flame thrown, heat searing the air. The rhythm got heavier, faster, more intense.
The set moved faster than usual, which was why we photographers were offered the first eleven songs in the pit, instead of the usual three. Still generous. And in a weird way, it matched the vibe: a little bit liberating, a little bit rebellious that allowed us to hang one third of the show in the pit.
The fans got a taste of Aussie style in “F*ck You, Goodbye” (The Kid Laroi). The style is not something you’d expect to hear on the radio in this setting, but it was reworked with the MGK recipe: emotional release, shifting from studio emo-pop into something jagged and loud. No rap here, he sang it.
Speaking of loud: the music was damn loud that night. But that’s another story.
About a third of the way through, MGK moved to the B-stage, set up just in front of Front of House (the sound box). He lit another cigarette before performing “Glass House” (the sad version), which suits the lyrics, propagating through melancholy, infinite-sadness mood. It was another side of MGK, and Naomi Wild’s vocals floated in at the intro. In a way he looked caught in purgatory. And yet the rap still hit hard.
Midway through the set, MGK surprised the crowd by debuting his new collaboration with Limp Bizkit’s Fred Durst, “All Around the World.” Though Durst didn’t appear onstage, the track’s nü‑metal pulse and late‑’90s attitude were palpable. It was the first time the song had ever been performed live, through a gritty, high‑energy crossover that fit perfectly into MGK’s Lost Americana era.
The final third took the tension and drama up another level.
“Perth, go one, two, three, jump!” The entire floor jumped like a rave party to “Till I Die”. It was dramatic, visually and audibly. The high-pitched, shimmering, bell-like synth gave an imperious feel, not just to MGK but to the whole crowd. Metallic chimes and bass tore through RAC Arena. The tension and atmosphere were palpable; it went cold with the “east side and west side” chants, bringing an eerie chill as MGK raced back to the front of the stage, slapping high fives down the line.
“Open the pit, don’t go yet. Perth, are you ready… one, two, three…” and then he went full Rage Against the Machine mode as the wah-wah of the electric came crashing down.
By “My Ex’s Best Friend”, he’d removed his shirt, baring the tattoos, not a single part of him untouched.
We needed a breather.
And we got it through MGK’s version of John Denver’s classic “Take Me Home, Country Roads” – dropped into “Lonely Road”. We are in the fourth pillar of musical style (after pop, rock, rap), perhaps more in MGK’s arsenal: country, but with a twist. It’s not a cover, per se. And for anyone not familiar with his discography, it was one of the most unexpected moments of the night, something the emos and rockers weirdly embraced like a massive hit. It stayed nostalgic, but it was still very much MGK’d.
After 30 or so tracks, and several genres, we hit the end. It was a generous set that ran close to two hours, not bad at all for a show moving at this pace.
Perhaps MGK should have annihilated Andrew Lloyd Webber’s Phantom of the Opera. Maybe next time.
MGK is continuing his Lost America Tour across Australia. Tickets are available from Live Nation Australia
Sheldon Ang Media would like to thank Revolutions Per Minute PR, Live Nation Australia and MGK for the accreditation.
About the writer/photographer: The founder of Perth-based Sheldon Ang Media (est. May 2022) has been accredited to more than 200 of the hottest acts including Taylor Swift (ERAS Tour in Sydney), Coldplay (Perth), AD/DC, Metallica, KISS, RHCP, P!NK and Suzi Quatro (pictured) with reviews shared by the likes of Belinda Carlisle, Roxette, Tina Arena, UB40, Delta Goodrem, and Tina Arena on social media. He has interviewed the late Ace Frehley (KISS), John Steel (The Animals), Frank Ferrer (Guns N Roses), Phil X (Bon Jovi), Andrew Farris (INXS) plus over 100 artists. He’s also a contributor on Triple M Radio as a music journalist
