I’ll never forget the first time I laid eyes on Anthony Kiedis.
Like most Aussie kids growing up in the late 90s and early 2000s, Saturday mornings were the highlight of my week.
I’d always look forward to my very busy schedule of waking up early to watch Cheez TV in front of the fan, careful not to spill my big bowl of Coco Pops as I strategically flopped onto the couch.
A little too young to truly appreciate the ABC’s cult music show Recovery (1996 – 2000) – which I can only describe as my generation’s answer to Molly Meldrum’s Countdown (1974 – 1987) – I instead tuned in to early morning Rage and Video Hits (1987 – 2011).
Playing each Saturday and Sunday morning, the show highlighted a variety of music videos from around the world, and ensured the poorer kids could stay up to date with the latest tunes, even without access to fancy ‘Pay TV’ shows on Channel [V] and MTV.
Halfway through my breakfast, a familiar opening riff filled my ears, the screen unveiling a magical guitarist (John Frusciante) appearing from a cosmic hazy cloud.
A tanned and tattooed purple-toned Anthony Kiedis then emerged from the mist, hypnotising his audience as he sang about being lonely in Los Angeles and crying.
Hey, I was an awkward only child that struggled to make friends at my Queensland primary school – could totally relate!
The video clip ended with a graceful Kiedis slowly running Baywatch-style through the magical fog, his cascading chestnut locks flailing in the wind, channelling the same energy as the blow-up air dancers they have outside car dealerships.
“I love that song!” I’d excitedly announce to my grandma, who was still trying to process Boy George, let alone these new-age 90s Cobain-esque men.
Despite Under The Bridge being released a few years before I was born, I was not immune to the magnetic emotional energy of the tune.
Set on finding out more about these wacky characters, I demanded my mum remove all her Red Hot Chili Peppers albums from her epic music collection that had filled up her uber-cool rotating CD storage rack from Super Amart.
I was utterly mesmerised by the zany album covers and funky fold-out inserts inside her Mother’s Milk (1989), Blood Sugar Sex Magik (1991), Californication (1999) and By The Way (2002) CDs.
Shoving aside my So Fresh: Hits of Winter 2002 compilation, Black Eyed Peas’ Elephunk and Avril Lavigne’s Let Go albums, I erratically began playing each Chili Peppers disc and rocking out with my cousins in our grandparent’s rumpus room.
A spiritual infatuation was born, and I’ve loved the band ever since.
My mum would regale me with her euphoric experiences of seeing them live at the Gold Coast’s Big Day Out music festival in 2000, followed by their sold out Brisbane Entertainment Centre show in 2002.
Green with envy, my time finally came in February 2019, when I lined up at the Qudos Bank Arena in Sydney for my first ever Red Hot Chili Peppers show, supported by the incredible George Clinton and Parliament Funkadelic.
I’d queued for hours to get as close as my GA ticket would allow, and the magic of the music and raw positive energy of the happy crowd was unforgettable.
Red Hot Chili Peppers with Post Malone: Brisbane and Sydney
Naturally, after announcing their Australia and New Zealand 2023 tour dates, I managed to secure spots at their Brisbane and Sydney shows – only after the usual panic attack and minor coronary that always goes into getting tickets to popular events.
These concerts were set to be extra special, with one of the band’s original guitarists John Frusciante – who featured on Mother’s Milk (1989), Blood Sugar Sex Magik (1991), Californication (1999), By The Way (2002) and Stadium Arcadium (2006) – having rejoined the group in late 2019 after a 10 year hiatus.
Post Malone would be the epic opener, and the band was celebrating the release of their two brand new albums: Unlimited Love (April 2022) and Return of the Dream Canteen (October 2022).
For me, both shows were stellar as usual and a solid 10/10.
Considering lead singer Anthony Kiedis, bassist Michael ‘Flea’ Balzary and drummer Chad Smith are all officially in their sixties (while guitarist John Frusciante is 52) – and have well and truly left their ‘sock days’ behind them – the boys still know how to rock out like it’s 1999 and have the crowd explode with excitement.
Despite playing some of their classic and most well-loved tracks such as Dani California (2006), Scar Tissue (1999), Californication (1999), Soul To Squeeze (1993) and Give It Away (1991) in Brisbane and Can’t Stop (2002), The Zephyr Song (2002), Snow (Hey Oh) (2006), By The Way (2002), Throw Away your Television (2002) and even Sir Psycho Sexy (1991)in Sydney, there was tension from some concertgoers when the band busted out fresh tunes.
The group tested the Aussie waters with some of their catchy new 2022 singles, Tippa My Tongue, The Heavy Wing, Black Summer and Eddie (a personal favourite).
Embarrassing reactions to their Queensland and New South Wales setlists
Although this tour was clearly marketed as a celebration of their new albums, the band’s ‘audacity’ to play anything other than their top tracks was met with some audible disdain.
“Play something good!” one beer-swilling middle aged man yelled out in Brisbane.
“We don’t want to hear that new sh*t”.
This was followed by a small exodus of disgruntled ‘fans’ who appeared shocked and appalled that not only did these fellows look older than the MTV clips of yore (“Didn’t the singer have long hair?” one asked), but they were extra pressed that the band had the cheek to play songs from their new records.
So what if this world tour was promoting – and literally named after – their new albums, how dare they not play ONLY old classics that we know and love?
At Sydney’s Thursday show, the electric mosh pit was an energetic bubble of excitement, and everyone around me was simply enamoured to see these iconic musicians in the flesh and witness their musical talent live.
But on the sardine-can packed train home, I heard a few impassioned concertgoers loudly complain to nobody in particular about their night out.
“I paid $200 and they didn’t even play Under The Bridge!” one cranky middle-aged woman exclaimed, as she struggled to hold onto the grab rails for support.
“What a rip off!”
An emotional Jerry Springer style of tense energy infiltrated the humid carriage, with the other more subdued passengers feeling on edge.
“Yeah it was so crap,” a man slurred in agreement, as he used his Chili Peppers T-shirt to wipe the sweat off his furrowed brow.
“They needed to play the hits.”
The scathing reviews continued online, with some ‘disappointed fans’ taking to social media to vent their irritation that the band had dared to played new songs.
Putting my second-hand embarrassment aside to investigate the cause of the frustrations, I noticed there was a common theme.
‘Jealousy’ erupts after their Melbourne show
Many concertgoers had all their hopes and dreams of a good night pinned on the anticipation of hearing Under The Bridge live, only to be sorely let down at the track’s absence from the setlists at the Brisbane and Sydney shows.
Others were upset at the news that Melbourne’s first show on Tuesday night did include Under The Bridge in the encore, the first time the track has been played in Australia during this tour.
“They should play it at every concert, this is bulls*t,” one wrote underneath a picture of the Melbourne setlist.
“I can’t believe Victorians got Under the Bridge, I am so jealous. That is all I wanted to hear,” added another.
“They should know to always play the classics.”
There is no doubt that the song won hearts with rock fans around the world when it was released, and even now – 32 years later – continues to be a Chili Peppers fan favourite.
However, much like Radiohead’s Creep and Nirvana’s Smells Like Teen Spirit, the track’s overwhelming global success could play a part in the band’s choice to leave it out of some of their setlists.
Fans took to online forums to speculate why Under The Bridge is no longer making a regular appearance on the setlists of their new tour.
“I don’t think Anthony can easily hit the notes. There’s probably not much more to it than that,” one asserted.
“It was stressful for him back then, and it is probably even harder now.”
“They’re just sick of it,” another speculated.
“Simple as that. They can play what they want and don’t have to explain anything.”
“They are performing at an unreal level,” one fan beamed.
“John’s back, the Peppers are killing it, life is good. Just enjoy the ride.”
As much I enjoy the sound and story behind Under The Bridge – (that music clip will have a place in my psyche for the rest of time) – there are other songs I adore that are rarely, if ever, played live: Dosed (2002), This Is The Place (2002), Porcelain (1999), Road Trippin’ (1999), My Friends (1995), This Velvet Glove (1999) and Minor Thing (2002), just to name a few.
Negative Aussie backlash is unfair and childish
I’m all for a fair critique of the arts, however there is something unique about some of the Australian audience’s harsh feedback that really irks me.
If one calls themselves a Red Hot Chili Peppers fan – or simply likes them enough to hand over their hard earned cash on a ticket – surely they would be aware that this tour was promoting their new albums? And therefore, would contain some of their new songs?
This is a new and exciting era for the Peppers. After 40 years of playing music together, they’re still releasing bangers and drawing in crowds like nobody’s business.
Their extensive track history and range of musical notes are why they’re so successful, and remain one of most adored rock bands in the world.
Nobody is ever going to love every song, but if you love a band, you accept them for who and what they are, and just enjoy the moment.
The relationship some people have with older musicians is similar to how a few parents treat their growing children.
Yes, little Johnny might have loved watching The Wiggles DVD’s with you on the couch, while eating Wonder White vegemite sandwiches when he was seven.
But at 17? Big boy Jonathan just wants to drink ethically-sourced oat milk and show off his fire new skateboard moves for TikTok.
It is not very often – especially here in Australia – that we get to see your favourite talented musicians play live in front of our eyes.
Why would you ever let a set list ruin the entire night for you, with some even vowing to “never” see the band again?
That kind of attitude is extremely childish and embarrassing.
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They’re musical artists – not palace jesters or string puppets. If you only want to hear their top 10 most popular hits, go see a cover band.
Upset that they didn’t play Under the Bridge? Boo Hoo.
Build a bridge and get over it.
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