Tame Impala’s spectacular show a kaleidoscope of colour and controlled chaos

Tame Impala delivered a visually stunning and sonically immersive concert at the Rod Laver Arena on October 14, 2026. Frontman Kevin Parker, known for his meticulous attention to detail, brought his signature blend of psychedelic rock and electronic experimentation to life under a dazzling array of lights and lasers. The performance featured songs from his latest album Deadbeat, alongside fan favorites such as Breathe Deeper and Elephant. The concert was described as a "bedroom producer's fantasy in full flight," highlighting Parker's evolution from a niche psych-rock artist to a mainstream pop figure. Parker's approach to lighting design began in his Fremantle home, where he filled a bedroom with automated stage lights after expressing dissatisfaction with existing shows. This passion for visual spectacle translated seamlessly into the live setting, where the interplay of light and sound created a dynamic atmosphere. The audience, predominantly younger than Parker, responded enthusiastically to his music, indicating a successful shift toward broader appeal. During the mid-set break, Parker was filmed backstage by a cameraman, seemingly using a bathroom before returning to the stage. There, he sipped from a can of Melbourne Bitter while performing quieter tracks from Deadbeat, including Ethereal Connection and Not My World. Fans waved phone torches, adding to the ambient glow surrounding the performance. Despite some concerns about the sound mix being dominated by bass frequencies, the energy of the crowd helped elevate the overall experience. The setlist remained largely consistent throughout the evening, with Parker allowing the visual elements to take center stage. His performances of Let It Happen, Eventually, and The Less I Know the Better were marked by bursts of confetti, color, and synchronized movement, encapsulating the essence of a controlled yet chaotic spectacle. Separately, Lucy Guerin made a notable return to the stage with her solo piece Place Dances at Buxton Contemporary in Southbank, running until October 18. Having stepped back from performing in her own works after founding her company 25 years ago, Guerin reemerged with a performance that combined dance with reflective commentary on her creative process. The piece included spoken reflections presented in an adjacent room, with the sounds carrying into the main space, creating an integrated experience between lecture and performance. Guerin's choreography reflected her core artistic instincts, characterized by swift movements, concise steps, and an upright posture. The spatial arrangement emphasized her tendency to create nested stages within larger ones, offering insight into her evolving artistic vision. The performance served as a compelling counterpart to her earlier work NEWRETRO, showcasing a more introspective and condensed form of her choreographic style.