Last week David Campbell took me back to my childhood when his Let’s Go tour touched down in Newcastle. I expected big things from the show. I knew I’d be treated to songs from my favourite decade of music, and I’ve never left a DC show without a big smile on my face. Predictably he didn’t let me down.

As the lights came up we were instantly transported back to the 80s. The band wore more neon than I’ve seen for years, and the lights were straight out of the period. It was perfect. He opened with the title track, “Let’s Go” and barely took his foot from the throttle as he treated us to songs from the album and other 80s favourites. As a child of the 80s those unexpected gems were some of the night’s highlights for me. His stripped back version of “Every Time You Go Away,” beginning with an a capella section, was breathtaking. His take on “Knew You Were Waiting,” with back-up singer Josie Lane stepping into Aretha Franklin’s shoes was so much fun. And his version of “Power of Love” was even more awesome after hearing his story of performing it as a teen beginning his journey as a musician. Those tales really made the night for me, the reminiscing about buying Smash Hits magazine and recording songs from the radio using the old two-fingered method. They were probably lost on certain sections of the audience, but as a 30-something I was right there with him.

I’ve always loved seeing shows at Newcastle’s Civic Theatre. It’s such a beautiful venue, so intimate and so well appointed. But it may not have been the best place to see David Campbell. I spent so much of the night dancing in my chair, dying to do more. As he started “Goody Two Shoes” it all got too much and Mum and I jumped out and found a quiet corner to dance. The theatre’s not really the place to do that, but who can sit down with that sort of music?

The show was brilliant but it probably wasn’t the right venue. Thankfully David’s announced some more dates later this year. I think I might have to go back for a second helping!

Image source: own photos

The last time I saw Jimmy Barnes he was stripping things back with an acoustic show at the most intimate of venues, Lizotte’s on the Central Coast. Just a few short months later I witnessed a show that couldn’t have been more different. He was back with his Cold Chisel band mates and playing it loud in Newcastle great big shed, the Entertainment Center. While I appreciated the quietness of the first gig, there’s something about seeing a Chisel show that can’t be beat.

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.

While I appreciated the loud rock numbers, the moments when the band stripped things back were real highlights. A pared back version of “When the War Is Over” was a fitting tribute to the late Steve Prestwich. I also appreciated the reggae-tinged take on “Breakfast at Sweethearts,” one of my personal favourites that wasn’t played the last time I saw them live. I’m also not sure anything can beat singing along to numbers like “Khe Sahn” and “Flame Trees.”

It wasn’t a perfect show. Jimmy’s voice seemed to be showing the strain from all that touring, especially during the ballads. The mix also wasn’t quite right, with Don Walker’s keys dominating at times they should have been more subtle, particularly in the stripped back moments.

But even these minor niggles couldn’t detract from seeing the band that I believe are the greatest Australia’s ever produced. It’s amazing to have them back in business.

Image source: own photos

Let me take you back to last Saturday night. It was a night where the end of the world was nigh, or at least we were told that it was. I was pretty sure there’d be no Rapture, but I figured if there was at least I’d go out seeing one of my favorite Australian performers, David Campbell.

Clearly the rest of Newcastle had the same idea, as the showroom at West Leagues Club was packed to capacity. Our enthusiasm was rewarded, as David played as if it may be the last time he’d grace the stage. He was incredibly animated, the result of several coffees we were told. Whatever the cause, I felt as if we were treated to a comedy act as well as a musical one. David’s always funny, but the Rapture and Arnold Schwarzenegger’s recent scandal gave him a bit more material to play with. And play he did, memorably telling us he would sing a song by his famous father before launching into Glen Campbell’s “Rhinestone Cowboy.” It’s not a tune I’d ever expected him to play, but even singing country he was bloody good.

But laughs are only half of the David Campbell story. He can turn the show on a dime, bringing the entire audience in to a tender moment on a whim. Those special moments came in the always breathtaking “Begin the Beguine,” the romantic “Smoke Gets in Your Eyes,” and my personal live favourite “Mr Bojangles.”

So there was no Rapture, but if there was that’s the show I’d want to go out on. Happily though we go on, and I know I can enjoy something just as good next time David hits town.

Image source: own photos

Western Australian music royalty came together last night for one amazing show at Newcastle’s Civic Theatre. This grand old theatre was made for the intimate music of artists like The Waifs and Mama Kin, and the attentive crowd lapped it up.

I put Mama Kin together with The Waifs in my introduction because her set never felt like mere support. I’m used to crowds chattering away as support acts desperately try to capture the attention of someone in the audience, but not last night. All eyes were transfixed on this spirited performer, who so effortlessly fused blues, roots, folk, and soul. The crowd even complained when she announced her last song. She cheekily told the audience they needn’t pretend they were there to see her. A fair call perhaps, but that doesn’t mean they weren’t savouring her every moment on stage. I know I was; hanging onto every lyric, singing and clapping to the beat when she encouraged us to, laughing at the stories that punctuated the songs. Mama Kin definitely made a few new fans last night, and I’m amongst them.

As The Waifs began their set I was again struck by how attentive and receptive this Newcastle crowd was. Just as Mama Kin was supported, so were The Waifs’ new songs. Their set drew heavily from their soon-to-be-released new album Temptation, but the audience didn’t seem to mind one bit. Of course songs like “Lighthouse” and “London Still” received a rapturous reception, but the crowd patiently waited until they came, content to let the new material wash over them.

Of course, all credit can’t be given to the crowd. The Waifs’ new material also stacks up against their familiar hits nicely. The songs tell stories which suck you in, compelling you to listen even if you don’t know the words. Add in the vivacious personalities and exquisite harmonies of sisters Donna and Vikki, and the gorgeous meshing of the band’s instruments, and you’ve got an act that you’d happily hear perform anything they desired.

The Waifs are one of those bands I’d always meant to see but never quite gotten there. After enjoying a night in their company I can see why their fans are so passionate, and why they return for each and every tour. Next time I’m sure I’ll join them.

Image used with permission from Stephen Green Consulting

Despite giving Australia The Screaming Jets and Silverchair, Newcastle isn’t really known as much of a cultural capital. The annual This is Not Art Festival looks to change all that, with its annual line up of music, art, creative writing, and free thinking.

From September 30 to October 4, the festival will turn the Steel City into a cultural hub of activity, with The Crack Theatre Festival, National Young Writers Festival, Sound Summit, and WalkARTbout amongst the highlights.

Visit the This is Not Art Festival website regularly to learn all about what’s happening. Checking out the festivities sounds like a great way to spend your Labour Day weekend!

Yesterday was a day for real thought as Julia Gillard was officially announced as the prime minister of our first minority government in 70 years. I’m still not entirely sure of the ramifications of that, but I’m interested to see how it pans out. It seemed fitting that such a pivotal day should coincide with me making a trek to the Newcastle Entertainment Centre to catch two of the country’s most political acts, Blue King Brown and John Butler Trio.

All too often it seems that the support act is an afterthought, a new band that needs exposure or musos that are mates with the main act. Rarely do the artists fit together to create an evening that sends such a strong message. Both Blue King Brown and John Butler Trio create music with meaning. And the Newcastle crowd lapped it up.

Blue King Brown were first, led by the mesmerizing Natalie Pa’apa’a. I caught the band a few years ago when they supported Santana, and they’ve come a long way since that time. Long time fans may have been thrilled to hear old favourites, but the new material from their latest album Worldwize: North & South got me going. There seemed to be more emphasis on melody, more focus in the message and the crafting of the songs. Thankfully the set was made up of songs both old and new, which gave us all something to enjoy. While support acts too often suffer from chattering crowds keen for the main act to start, Blue King Brown seemed to captivate the audience. They listened intently to these songs and gave the band the respect they really do deserve.

While Blue King Brown impressed me, I was wowed by the John Butler Trio. I’d never seen the band before, so I was struck by John Butler’s incredible musical skills. The live arena is where they really come alive, and the key to that is the main man himself. It’s where John can play an epic, intricate instrumental guitar piece to a transfixed audience, and switch easily between electric and acoustic guitar, lap steel guitar, banjo, and even drums. His technical talent is incredible, and his energy on stage electric.

That energy is what makes these powerful songs work. Rather than appearing preachy, the potent messages contained in the tunes take us back to the musical revolution of the late 1960s. Hearing John Butler speak about the proposed development of the Kimberley region gave “Revolution” extra power. The band’s gentle acoustic cover of Kev Carmody’s “Thou Shalt Not Steal” was one of the show’s most poignant moments.

But this isn’t the late 1960s, and bands that really have something to say are becoming rarer and rarer. Music has always been a great catalyst for change. As I watched the crowds clap their hands in unison in response to this band that has so much to say, I began to feel hope that real change is possible. And what a powerful thing that is.

Image source: own photos

Last night I achieved a childhood dream. I saw Tony Hadley and Paul Young in concert.

Some of my younger readers might be asking “Who?” For their benefit, here’s a history lesson. I was lucky enough to be born in the 1980s. In this glorious decade Paul Young and Tony Hadley topped the charts, Paul with his solo career and Tony as lead singer of Spandau Ballet. These days they’re a bit older, a little heavier, but Paul and Tony are still delivering those hits to their faithful fans.

The show opened with both 80s icons taking the stage for a surprise duet of the Don Henley classic “Boys of Summer.” I was so overwhelmed with seeing both men on stage at once I immediately dug my camera out of my bag. Apparently it didn’t realize what a significant musical moment this was, because it refused to play. I couldn’t believe it. I would love to have a photo to show you, but it just wasn’t to be.

My despair at the camera situation faded though once Tony left the stage to allow Paul to shine in the spotlight. He took us down memory lane early with “Love of the Common People.” Poor Paul’s voice isn’t a patch on what it used to be, but we were happy to sing along loudly and make up for his vocal flaws. He was certainly energetic though, and no one could accuse him of failing to entertain.

After a few solo moments Tony returned to join Paul in his smash hit “Senza Uno Donna.” Then it was Paul’s time to rest while Tony belted out some Spandau Ballet classics. Unlike Paul, Tony was in fine voice. When I was busy swooning over him as a girl I don’t think I realised exactly how well he sings. And for the record, despite the extra kilos he’s gained, Tony Hadley still makes me swoon!

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Last night American songstress Tori Amos brought her breathtaking American Doll Posse Tour to Newcastle. Each show is divided into two distinct and unique parts. The first brings one of the American Dolls, made famous by her latest album, to life. Tori appears as one of the five unique characters which represent facets of the artist, and indeed all women.

In Newcastle, the sensual Santa made a dramatic entrance with a platinum blonde wig, stunning white minidress, and an explosive performance of “Body and Soul.” With Santa on show, the first portion of the concerts drew heavily from ‘her’ songs on American Doll Posse, including “Dragon,” “Secret Spell,” and “You Can Bring Your Dog.” Yet she still found time to ‘cover’ one of Tori Amos’ classics, “Sugar.”

I was awestruck watching Santa’s passionate set. While American Doll Posse was conceived as five separate voices, with Tori Amos as the mouthpiece for all the characters tend to blur. The theatrical element of the live show gave me a new appreciation of who Santa really is, and her part in the quintet. I only wish I could see more shows this tour to have the same understanding of the other dolls.

A spectacular lightshow and “Professional Widow” over the PA marked the end of the first act. Then Tori emerged, her long red hair clashing delightfully with a garish red sequined jumpsuit. She began with “Big Wheel,” then launched into “Black Dove” which seemed to assure us we’d get to hear more than the new album.

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