Live Review: Bush and Shinedown Unleash Old School Chaos in Australia
By Sheldon Ang
Photography by Sheldon Ang Photography
Bush and Shinedown, 29 September 2026
I have a conspiracy theory.
Gavin Rossdale is a vampire.
The frontman, rhythm guitarist and founding member of post-grunge band Bush looked to be in his mid-40s, with the physique of a gym devotee in his 30s. His vocals and stage presence were as potent as the post grunge we first heard on the radio in 1994, when Bush released their seminal album Sixteen Stone. He was as active on stage as Harry Styles, only with grunge swagger and neck-spraining headbanging. Watching him move almost hurt.
All this at the age of 60.
Introduced to the world in 1994, Bush formed one half of a tour that was essentially a two-for-one deal, with Shinedown sharing co-headlining duties.
This was no average Tuesday night. Perth was treated to a set packed with old-school anthems at HPC Stadium in Mount Claremont, just 15 minutes from the city. It was a sea of black T-shirts and trousers, with a surprisingly strong contingent of Gen Z fans.
The tour was billed as a double headliner, and rightly so. The bands come from different eras and corners of rock: Bush emerged from the British grunge and alternative scene of the early 1990s, while Shinedown brought American hard rock into the mainstream a decade later. With the pyrotechnics reserved for Shinedown, it might have appeared that one band was supporting the other. That distinction became irrelevant the moment Bush hit the stage.
Bush
In true grunge fashion, the setlist varied across the tour. In Perth, the night opened with “Everything Zen”, and it was anything but serene. Beautiful chaos erupted as the band unleashed a blast of post-grunge frustration and cultural disillusionment, echoing the song’s themes. A dirty, metallic sound swept across HPC Stadium.
The opening spark was explosive. Wearing a white hooded windcheater, Rossdale looked as though he had wandered in from a university bar. Yet he moved like a rocker half his age, jumping and headbanging with the energy of an emerging Seattle band member, while his voice retained the rasp of the studio recordings. It was as if time had stood still for 30 years.
From a photographer’s perspective, the lighting was superb. Bright white beams gave the performance a dreamlike quality, adding to the surreal experience of seeing the band live.
Rossdale is the only remaining original member, but the other three musicians were equally animated, especially drummer Nik Hughes, who played as if possessed. He pummelled the kit with hypnotic energy, striking with the force of a martial artist or a dragon-dance drummer on nitrous oxide. Beneath the spectacle were precision, power and tight coordination with the rest of the band.
By the next track, “Bullet Holes”, Rossdale had removed his white track top, revealing his arms and part of his torso. Visually, he was no sexagenarian. With the build of a gym-honed 30-something, it was easy to see how he remained such a force on stage. His face looked just as youthful.
He became even more animated, from his expressions to the sweep of his arms. He criss-crossed the stage without losing breath, singing at the highest reaches of his catalogue and regularly checking in with lead guitarist Chris Turner and bassist Corey Britz.
By the third track, “The Land of Milk and Honey”, he had moved into the pit, standing on the barrier and singing to the crowd.
The set continued with fast-paced musicianship and old-school grunge, including “The Chemicals Between Us”. During “Here to Save Your Life”, Rossdale walked through the floor as the crowd politely made way. He climbed the stairs, crossed the stands and completed a full circuit of the venue. On a personal note, he recognised this photojournalist from earlier in the performance. We shook hands and recorded a video selfie.
When Rossdale returned to the stage, his bandmates slipped backstage. He spoke about his late manager before beginning a familiar grunge guitar progression: slow, resonant and instantly recognisable. The crowd roared. What followed was a solo performance with only Rossdale and his electric guitar. At times he sang a cappella, drawing full attention to his voice. Phone lights glowed through the subdued arrangement, creating one of the night’s most intimate and memorable moments.
Like the studio version, “Glycerine” live was all atmosphere: quiet, heavy and intimate. Rossdale sang with warmth, grit and fragility, making it a fitting dedication to his late manager.
It was the breakthrough track, the seminal piece that introduced Bush to the world. In that moment, Rossdale became the centre of attention as the audience travelled back through three decades of memories. His live voice was slightly deeper than on the original recording, with his English accent more pronounced.
The set continued with “Human Sand” and “Flowers on a Grave” before closing with “Comedown”, arguably the grungiest moment of the night. As expected, the fans were jumping.
Then it was time for a break.
Shinedown
The American band made a fiery entrance, literally.
Although the night was billed as a co-headlining show, Shinedown, the second band on stage, received the full pyrotechnic treatment. Perhaps that has always suited their style, while Bush prefers a more stripped-back setup.
Shinedown opened with “Safe and Sound”, and the stage erupted with explosions and fireballs launched from both the floor and the overhead rig.
Lead vocalist Brent Smith, one of the band’s two original members, was sharply theatrical. He struck angular poses against the fireballs and backlighting, creating a dramatic silhouette. His carefully controlled movements matched his rock vocals: a gritty baritone built to cut through an arena-sized venue. That rasp remained controlled yet explosive, perfectly complementing the inferno blazing across the stage and overhead.
The other original member, drummer Barry Kerch, remained a focal point throughout the set. Smith returned to the riser several times, reinforcing the connection between the band’s founding members.
The entire band was animated, including Zach Myers, whose expressive guitar work suggested he was having the time of his life, and bassist Eric Bass. Although they are not founding members, both have been part of Shinedown’s line-up or touring ensemble for more than half of the band’s existence.
At times, the staging made the song titles literal. During “Devil”, flames engulfed T-shaped structures, creating a vision of hell. “Symptoms” offered a striking contrast, with three disco balls scattering glittering light across the crowd. It was a different kind of spectacle, and equally beautiful.
The pyrotechnics received a full workout during much of the set, including “Cut the Cord” and “Monsters”.
Another interactive highlight came during “Simple Man”, Shinedown’s cover of the Lynyrd Skynyrd classic. Like Rossdale, Smith opened up the floor and walked through the crowd. Perth remained remarkably respectful, with no mobbing or chaos. By then, everyone was tuned in to the lyrics.
Of course, the night ended with “Second Chance”.
“This song introduced us to the world,” Smith said.
For Bush fans, opener “Everything Zen” was an early highlight. For many others, Shinedown’s finale proved just as powerful.
“Second Chance” was the night’s commercial favourite and, for many, an anthem of the 2000s. It is a song about leaving behind the life you knew, even without fully understanding why. Smith began with restraint before his voice grew emotional and soared through the chorus. The gentle opening drew everyone in, then gave way to a cathartic release that echoed throughout HPC Stadium.
“We promise we won’t take this long to return,” Smith told the crowd.
In one night, Perth experienced two world-class bands from the university years, all for the price of one. Bush rekindled a love of old-school grunge, while Shinedown delivered an arena-rock spectacle.
The spirit of Nirvana lives on.
Sheldon Ang Media would like to thank Dallad Does PR, Destroy All Lines, Bush and Shinedown for the Accreditation
Setlist for Bush
Everything Zen – Sixteen Stone (1994)
Bullet Holes – The Kingdom (2020)
The Land of Milk and Honey – The Art of Survival (2022)
Machinehead – Sixteen Stone (1994)
May Your Love Be Pure – The Art of Survival (2022)
The Chemicals Between Us – The Science of Things (1999)
I Am Here to Save Your Life – The Art of Survival (2022)
Glycerine – Sixteen Stone (1994)
Human Sand – The Art of Survival (2022)
More Than Machines – The Art of Survival (2022)
Flowers on a Grave – The Kingdom (2020)
I Beat Loneliness – The Art of Survival (2022)
Comedown – Sixteen Stone (1994)
Shinedown Setlist
Safe and Sound – EI8HT (2024)
Devour – The Sound of Madness (2008)
Diamond Eyes (Boom‑Lay Boom‑Lay Boom) – The Sound of Madness – Deluxe Edition (2010)
If You Only Knew – The Sound of Madness (2008)
45 – Leave a Whisper (2003)
Devil – ATTENTION ATTENTION (2018)
Enemies – Amaryllis (2012)
A Symptom of Being Human – Planet Zero (2022)
Bully – Amaryllis (2012)
Cut the Cord – Threat to Survival (2015)
Monsters – ATTENTION ATTENTION (2018)
Kryptonite – 3 Doors Down cover (original: The Better Life, 2000)
Simple Man – Lynyrd Skynyrd cover (original: Second Helping, 1974)
Sound of Madness – The Sound of Madness (2008)
Second Chance – The Sound of Madness (2008)
About Sheldon Ang Media: Sheldon Ang, photojournalist, writer and the founder of Perth-based Sheldon Ang Media (est. May 2022) has been accredited to over 250 of the hottest acts including Taylor Swift (ERAS Tour in Sydney), Coldplay (Perth), AC/DC, KISS, Metallica, Iron Maiden, RHCP and P!NK with reviews shared by the likes of Belinda Carlisle, UB40, Delta Goodrem, and Roxette. He has interviewed the late Ace Frehley (KISS), Suzi Quatro, 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.
