I’ve been reading a lot of criticism about The Voice lately. I’ve heard that the program exploits its artists, that it doesn’t recognise the talent of established musicians, that industry professionals shouldn’t appear in the first place, that it’s gimmicky and fake and not the place Australians should turn to when discovering local music. I don’t deny the talent of many Aussie musos slogging away in the pubs and clubs. I accept this program isn’t an arena that many musicians would feel comfortable competing in. But when I question the value of a program like The Voice, I just have to look at Darren Percival.
Darren was one of those musicians I knew before he stood in front of those four chairs last year. I’d seen him sporadically live before then, singing backup vocals for James Morrison, and Jimmy and Mahalia Barnes. It took that program to take Darren to the front of the stage. And that’s just where I like him.
There’s something about the promise of a Darren Percival performance at Lizotte’s Kincumber that is irresistible to me. I’ve now seen him three times at the venue since he won The Voice, and every show’s been special. Darren seems so comfortable here, in this small space where punters can pass him handwritten notes acknowledging their parents’ wedding anniversary and milestone birthdays. He seems to thrive on the intimacy that comes when he can step down off the stage and walk amongst us, sitting down beside one adoring fan, taking the hand of another. There’s none of that inevitable distance that comes from a larger venue, and we all lap it up.
Much like the last time I saw Darren, the set contained highlights from Darren’s time on The Voice, the Ray Charles covers featured on his latest album, and a few other favourites. The blend doesn’t change too much, but there are always a few surprises. Who on earth would have expected a cover on Eddy Grant’s “Electric Avenue”? That alone might have been worth the price of admission, but I also hung on every word of his incredible version of “Georgia on My Mind”, and his solo take on “Without You”, the song he sang with mentor Keith Urban while on “that reality show”. His rousing rendition of “Hit the Road Jack”, with back-up singing from the captivated audience, was also spectacular.
You can say what you want about The Voice, but I’m thrilled it exists if only to see artists like Darren headlining concerts like the one I witnessed. I wonder which of the new breed I’ll be raving about in this way next year?
Image source: own photo
The day before the big birthday bash I made a pilgrimage to the Opera House to see one of my favourite bands of all time, the Counting Crows. I’ve loved them since I hit my teenage years and the lads released August and Everything After. So much has happened since then, but I found myself becoming that enthusiastic thirteen-year-old again as I entered the venue.
Darren had a bit more material to play with this time around thanks to the recent release of A Tribute to Ray Charles. The audience embraced those classics tunes just as they did the covers Darren delivered on The Voice. I was particularly impressed by his takes on The Beatles’ “Blackbird” and Ray’s “Georgia on my Mind.” I’ve heard so many people put their stamp on the latter, but his soulful version stands out as one of the best I’ve heard. In hindsight perhaps encouraging people who’ve enjoyed too many of the house wines to take over the vocals on “Shower the People” wasn’t a good idea, but the singalong was certainly lots of fun. Familiar tunes made up the bulk of Darren’s two-part set, but he treated us to a few choice originals, including the stunning “Damage Down” heard on The Voice.
We were there in the thick of it once Keith took the stage. Our fifth row seats were incredible, but I must admit to feeling a little out of place. Keith fans seem lovely, but boy are they passionate. I bobbed my head in time to songs I was enjoying while they danced and sang with gusto to every tune.
Keith and his stellar band were more than enough to keep us entertained, but the appearance of a few choice special guests took the energy in the room up a few notches. Benji and Joel Madden returned to the stage to join Keith for a cover of Oasis’ “Wonderwall.” Keith’s The Voice charge Darren Percival made a not so unexpected appearance later on. But when Jimmy Barnes joined Keith Urban for “Flame Trees” I lost my mind. What a special concert moment it was.
Keith’s Sydney show was pure entertainment. He gave us the right mix of upbeat numbers and heartfelt ballads. He chatted easily to the crowd and seemed genuinely humbled by their support. And he looked pretty damn good while he was doing it. Who could ask for anything more?
Then it was time for The Trouble with Templeton, an outfit that’s grown from solo act to ensemble in recent years. I became a fan in those early days when Thomas Calder adopted his moniker and released his impressive debut Bleeders. He seems at ease with his band, a bunch of talented performers in their own right, but I’m not sure they really fit a venue like Lizotte’s. And I’m not just referring to The Cubby House’s small stage! The sound was turned way up to eleven, a jarring contrast to The Falls’ more delicate set. There’s nothing wrong with being brash and bold, but sometimes less is more. Something tells me I’d have been better able to appreciate their songs if I could catch all the lyrics. It was also disappointing to see “Bleeders” so poorly represented. The cries for “I Wrote a Novel” fell on deaf ears; it would have made the perfect encore if they’d felt like giving us one. Encores are almost mandatory these days, so I was surprised the band didn’t return to the stage.
There was no support act, no backing band, no intermission: just Ben Harper and an enthralled Sydney crowd coming together for close to four hours. Never before have I witnessed an artist giving an audience so much of themselves and their time. He remarked a few times on the quality of the sound in the Opera House, the best he’d ever experienced he said, and it seemed he wanted to enjoy it for as long as possible.
Image source: own photos
INXS are undoubtedly one of Australia’s most enduring rock acts. They have created some of the world’s best pop rock anthems, and they sound just as tight as ever. Yet the parade of lead singers that have fronted the band in recent years has really let them down. Watching newbie Ciaran Gribbin prowl around the stage, I’m still not convinced they’ve got the mix right.
The night predictably took a turn for the better when Matchbox Twenty stepped out on stage. They opened with “Parade,” just as their new album North does, a reminder that they wouldn’t just rest on the hits of the past. However it wasn’t long before those familiar tunes came out to, to rapturous applause.
Matchbox Twenty did a great job of pleasing all their fans, with a set which drew from their entire back catalogue. I was thrilled to see them celebrating not just the singles but other strong album songs like More Than You Think You Are’s hidden track “So Sad So Lonely” and my latest favourite “Our Song.” The delicate “I Will” was gorgeous, and I couldn’t help wiping away tears as they performed “Push,” the first Matchbox song that touched me all those years ago. While I adore Rob Thomas, it was also exciting to see him stepping down from vocal duties for Kyle Cook’s shining moment, “The Way.” INXS returned for the final song, a cover of “Good Times,” an appropriate number considering the smiles on all the musicians’ faces.
This isn’t a night I can write about with any sense of impartiality. Seeing my favourite band is always something so special. I danced until my feet were sore, sang until my voice was hoarse, and marvelled at the magic that always comes when I spend time in the presence of this incredible band. Above all, their set was a set that made me feel. Rob Thomas has a way of making you forget that he’s sung many of these songs for more than a decade. He leaves his heart on the stage. His passion and charisma move you, and he’s only enhanced by his stellar band. And that is why I keep coming back. That is why Matchbox Twenty is my favourite band.
I can’t remember another international act gracing the Jazz in the Vines stage, but this British band fit right in. Despite hailing from the United Kingdom, the Dixie Ticklers had a real New Orleans vibe that took us back to the roots of jazz. With so many artists from this festival pushing the boundaries of exactly what jazz is, it was refreshing to see a band representing the genre so purely.
Grace Knight strayed from her pop roots and celebrated the standards featured on more recent releases. Like the fine wines we were consuming from the good folks at Tamburlaine, her voice only gets better with age. Her version of “I’m a Woman” was killer, and my inner child loving hearing her bust out her Eurogliders’ hit “Heaven (Must Be There).”
Willy Mason was first up with his deep resonate voice, killer guitar skills, and gentlemanly charm. He reminded me a lot of Johnny Cash, and I lapped up his classic brand of countrified folk music. His set was simple, without bells and whistles, but when music’s that good you don’t need a spectacular show to jazz things up.
I enjoyed Willy Mason, but I was wowed by Edward Sharpe and the Magnetic Zeroes. What a band. This was really my first introduction to their music; I’d heard “Home” of course but didn’t click that they were “that band” until their set closed. But I was enthralled from the get go. A dozen musicians sharing a stage will always make an impression, but this band has much more than bulk on their side. There’s such a lovely old-fashioned feel to the group, like they’ve just stumbled off some hippie compound with their bare feet and left of centre instrumentation. How exciting to see mandolins and trumpets and piano accordions coming together with the most exquisite harmonies! And then there’s Alex Ebert, aka Edward Sharpe, a compelling messiah-like figure with a captivating voice that dances mad, joyful jigs. I wish one of my photos could accurately convey what an incredible presence he has, but sadly the dim lighting and his rapid movements were against me. Despite my love for Mumford & Sons, I was disappointed when they announced their last song. I was just not ready for the set to end. I can’t recall ever responding so deeply to a support act.
That disappointment was pretty easy to shake off once Mumford & Sons took to the stage. These British lads must be one of the tightest bands around. I marvelled at the way their voices mingled together, with just a gentle acoustic guitar to accompany them, in the opening strains of “Lover’s Eyes.” The show kicked into a higher gear when Mumford & Sons took us back to their debut album with a raucous rendition of “Roll Away Your Stone” and “Winter Winds.” I really appreciated the way Mumford & Sons celebrated both their albums, treating fans to a roughly equal number of tracks. This wasn’t about pushing a new release; instead it was a night just about enjoying great music. As captivated as I was by the band, I loved looking down and taking in the faces of the crowd on the floor, jumping like one pulsing organism in the more frenetic moments, singly loudly and proudly along with their idols. There was an awful lot of love in the room.
Darren could easily fill much larger places. His two shows at the original Lizotte’s sold out months ago. And he will graduate to greater halls when he plays the Sydney Opera House and Melbourne’s Crown Casino in the coming weeks. But clearly there’s a big part of Darren that revels in the intimacy a small venue can provide. He chatted easily to the enthralled crowd between songs, and played a generous two-hour set without the aid of a support act.
After such a lengthy set many artists would have felt they’d given all they could give, but not Darren. He was still happily signing autographs and posing for photographs when fatigue got the best of me. He might be one of the hottest acts in the Australian music industry at the moment, but it’s refreshing to see Darren’s got his feet planted firmly on the ground.
