I was lucky enough to catch Busby Marou and Georgia Fair last night as their 5 Rocks tour made its final pitstop at Newcastle’s Lizotte’s. A night out at Lizotte’s always feels indulgent, and when it’s married with performances from two of Australia’s most promising up and coming acts it’s made even more exciting.
I’ve been casually following Georgia Fair’s career for the last couple of years now, and I was thrilled to see how much they’ve grown. The banter with the crowd still feels a bit stilted, but all that awkwardness melts away once the music starts. The lads complement one another so beautifully, both with their instruments and their voices, and it’s a pleasure to witness. I can’t recall observing a crowd so hushed during a support act’s set in some time.
I loved Georgia Fair, but Busby Marou took the energy levels up a notch. They haven’t been on the national scene for very long, but their performance felt so comfortable and easy. Again we were treated to some incredible harmonies and a stunning meeting of instruments. I’ve loved the duo’s songs since I heard their self-titled debut album last year, but they took on extra meaning with the explanations Tom gave. I was thrilled to hear all my favourite cuts from the album, but out of my skin excited to hear them cover “Girls Just Wanna Have Fun.” It seems the cover came about on Triple J’s Like a Version sessions, but I hadn’t heard it before. What an introduction to its existence though. I thought I might have bounced out of my seat with joy.
My Dad often bemoans the state of modern music and longs for the glory days of the 60s and 70s. Yet after watching the performance even he concedes that with bands like Busby Marou and Georgia Fair around, the future of our local scene is in very safe hands.
Image source: own photos
Before the rock veterans graced the stage we were treated by a set by The Break. Psychedelic surf music is an unusual entrée for some pub rock, but the skill of these musicians made it a tasty treat. The Break features members of Midnight Oil who spoke fondly of their love of our city. That sort of flattery helped win over the crowd, who listened attentively to the drum-heavy instrumental tracks.
While the crowd appreciated The Break, the excitement went up a notch when Cold Chisel took to the stage. It was sad at first to look out and see someone else sitting in Steve Prestwich’s chair, but new drummer Charley Drayton settled into his very big shoes. He slotted in seamlessly, helping original members Jimmy Barnes, Ian Moss, Phil Small, and Don Walker belt out hit after hit. We knew the lyrics to all the songs and sang along enthusiastically.
Where has the time gone? A week has passed, yet it seems like only yesterday I was settling myself in at Allphones Arena to catch living legend 
Of course with several hours to play with the hits were represented too. I was thrilled to see “Jolene” trotted out only a few songs in, and ecstatic to hear her end with the Holy Trinity of “Islands in the Stream,” “Nine to Five,” and “I Will Always Love You.” Her backup singer is no Kenny Rogers, but we were so thrilled to hear the duet that it mattered not. I also relished a few songs that I didn’t know before, especially “Coat of Many Colours” and her stunning a capella version of “Little Sparrow.”
With my belly full of salt and pepper squid and succulent pork belly I was ready to listen to the sweet sounds of local talent Jacob Pearson. I’d heard a lot of buzz about this youngster, and was thrilled to experience him first hand. His voice sat somewhere between Jeff Buckley and Howie Day, although his tunes reminded me more of John Mayer in his early coffee house days. Just like Mayer he’s a dab hand at the guitar, and the ukulele as well. He told us the way Rai Thistlewayte’s music had influenced him early in his career, and it reminded me how young he was. He seems much more seasoned than his years would suggest. He’s cute too; with the right exposure he could definitely be the next big thing. It’s a shame too many people chatted through his set because it was something special.
That feeling of witnessing something rare and precious continued as Rai took to the stage. He seemed to revel in these intimate surroundings, which were perfect for road testing new material and treating us to some of his favourite Thirsty Merc cuts. While singles were represented, the setting also gave Rai the opportunity to play his some of those album tracks that didn’t hit the charts. Personally I preferred these; I still don’t think I’m over the mass saturation of airplay “20 Good Reasons” received. The superb new tunes definitely have me excited about the next album. In this intimate setting with the hushed crowd I could focus on every lyric and every note and really take them in. Rai chatted easily with us, telling us about his recent songwriting trips and the tours he’s been taking. Lizotte’s facilitates that kind of show experience, the breaking down of the barrier between artist and audience. He encouraged us to get to our feet for a stomping new number and to sing along loudly with “In the Summertime.”
I first saw 
Go West kicked off the night with a bunch of songs I didn’t know. It didn’t matter though; give me some synthesizers and I’m a happy girl. I was also thrilled to hear Peter Cox’s voice is just as strong as it always was, and the band were just as tight.
I was enjoying myself listening to Go West’s sleeper hits, but my mood reached another level when Tony joined the band for Don Henley’s “Boys of Summer.” The combination of Tony and one of my favourite 80s tracks saw me up on the dance floor. I didn’t leave it for much of the night, and I admit that I brought back many of the moves from the discos of my youth.
But it was the unexpected numbers that made the night really special. Go West’s version of “Tracks of My Tears” was killer, as was Tony Hadley’s take on Nina Simone’s “Feelin’ Good.” He also made us all squeal with delight at “Rio.” Who needs Simon Le Bon? These covers were interesting, but not as bizarre as hearing them sing out Foo Fighters “Learn to Fly,” Kings of Leon’s “Sex on Fire,” and Stereophonics “Dakota.” Bizarre but completely awesome.
I arrived to the traditional jazz stylings of the NSW Police Band. They were such a tight outfit, and perfect for easing us in to the day. Their classic jazz tunes were a natural warm-up for Feel the Manouche featuring living legend George Washingmachine. Again this was a classic jazz set punctuated by the tunes of Cole Porter and the like. However the unlikely blend of violin, double bass, and piano accordion brought a lovely gypsy flavour to the music. It was mellow but stunning, a great backdrop for a casual lunch and a few glasses of wine.
The intensity picked up with Weird Assembly, an exciting ten-piece who played big brassy soulful grooves. I really enjoyed their sound, particularly the gutsy rasp of vocalist and sometimes saxophonist David Weir. Sadly his enthusiasm came off a little desperate at times. The Jazz in the Vines crowd certainly isn’t too shy to dance if they want to. The repeated pleas for more participation started to grate.
Lisa Hunt proved that when the moment is right, the punters will groove. She closed the festival a few years back, and with Saturday’s set she proved that excellent set was no fluke. She had the throng on its feet with her Motown and disco heavy performance. Perhaps The Four Tops and Thelma Houston numbers weren’t jazz, but no one seemed to mind one bit. While she performed admirably as a solo act the moment when she called on three audience members to serve as her Supremes was a real highlight. One girl’s killer vocals even threatened to upstage Ms Hunt’s!
I don’t blame them, because until the weekend neither had I. It’s not a festival that attracts big name international acts, or even the local household names. It doesn’t get effusive write-ups in the media. But it’s a great little event with a whole lot of heart.
I was smiling before anyone even graced the stage, with my belly full of Lizotte’s tasty soft shell crab and delicious herby battered fish. But that smile got even wider when Mahalia Barnes was introduced as our support act. Jimmy’s daughter is always good value, and I lapped up her soulful set. Her modern take on “You Are My Sunshine” was a real highlight, as was the closer which saw Jimmy make an early appearance to sing with his daughter. The name of the song escapes me, but I was singing along in earnest.
It wasn’t too long before the Aussie legend was back on the stage with Mahalia and band in tow. He delivered a surprising set, but one that suited this venue perfectly. Anyone who came hoping to hear Jimmy’s greatest hits might have been disappointed. “Khe Sahn” and “Working Class Man” were notably absent, although he did treat us to a few Chisel and solo singles. The focus though was on songs that shone acoustically, especially those from one of my favourite Barnesy albums, Flesh and Wood. To hear some of my favourite cuts from that recording, especially “Guilty” and “Brother of Mine” was really special. Personally I enjoyed the opportunity to hear some of the songs that don’t usually get a work-out in the live arena; I’ve heard him sing the big numbers enough times at other shows.
It’s a strange thing to sit in a venue and not feel part of the experience. Others around you are likely swept up in what’s presented, yet you feel a disconnect. It’s happened to me a few times at concerts, when the young girls squealed in raptures and I felt underwhelmed. And I felt it again when I saw 