Matchbox Twenty @ Entertainment Centre, Sydney – 30 October 2012

We’ve all had those bands that have crossed our paths and changed our lives. They provided the soundtrack for pivotal moments, and made us feel less alone in our darkest hour. For me that band is Matchbox Twenty.

I’ve seen them live more times than I remember, but I love them just as much as I ever did. I’m not the angsty teenager I was when they first turned my head, but as their music’s evolved they’ve remained just as relevant to me. And so my excitement was at fever pitch as I headed to the Sydney Entertainment Centre last Tuesday.

I’m ashamed to admit that I missed Evermore’s set, preferring instead to catch up with an old friend over red wine at the Holiday Inn across the road. We took our seats somewhere near the start of INXS’s set. I’d hoped to catch the entire thing, but I soon decided I hadn’t missed much.

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.

It’s not that Ciaran is a bad frontman, but his voice is pretty unremarkable. His stage manner also feels really derivative. At times it felt he was simply emulating the singers that came before, and I cringed when he thrust his face close to those of the girls in the front row. There can be a fine line between sexy and creepy, and he definitely crossed it. Some of the songs, including my favourite “Never Tear Us Apart” also felt overblown and cheesy. I still found myself compelled to get to my feet and dance around on a few occasions, but that can be attributed to the strength of the songs rather than the performance.

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.

Image source: own photos

Hall and Oates @ Entertainment Centre, Sydney – 8 February 2012

We’ve all got expectations when we step inside a venue to see a live band. When we’re lucky, they’re met. When we’re really lucky, they’re exceeded. And when the act falls short, it’s bitterly disappointing. I felt a little of all these emotions when I headed to Sydney’s Entertainment Centre on Wednesday to catch the big 80s double bill of Icehouse and Hall and Oates.

It’s amazing that way that a band can get under your skin without you really noticing. I thought Icehouse would be good to see, but I didn’t expect to be swept away by them. But after just a few bars of “We Can Get Together,” I pumping my fists and singing along in full voice. The band started strong and didn’t take their foot off the gas pedal. The years have not wearied them, but the addition of young singer-songwriter Michael Paynter has given them a youthful injection. Hearing him take the bulk of the vocals on “Man of Colours” was one of the set’s real highlights. I also loved the souped up version of “Miss Divine,” one of those childhood favourites I’d all but forgotten. We were given a little early Oates when John stepped out to play along with “Electric Blue,” the song he cowrote all those years ago. And no Aussie could be unmoved in a crowd singing along to “Great Southern Land.”

After such a great set from Icehouse I was pumped up for an incredible show. However quickly I became deflated. Hall and Oates were performing “Maneater” and I should have been swept away, but it wasn’t. The sound was a mess. Where was that crisp audio Icehouse enjoyed? When you’ve got eight musicians up on stage this needs to be spot on, or else it becomes jumbled. So many squeaking microphones is unforgivable at a concert of this calibre. The sound seemed to distract the band a bit; for the first few songs I noticed Daryl Hall gesturing to turn this up or this down. Things settled somewhat, but the music never sounded as good as it did for the support.

But the show’s sound wasn’t the only disappointment. Sadly for much of the set it seemed Hall and Oates were merely going through the motions. Daryl commented before “She’s Gone” that it was one of the few songs that still feels great after so many outings. His passion for that number showed. Earlier in the night I wondered whether he still had his voice, as notes were shortened and phrasing lazy. “She’s Gone” showed it’s all still there when he wants to use it. It just seems most of the time he can’t be bothered.

It seems many of Hall and Oates don’t feel as good to Darryl Hall now. He delivered them by the numbers, without the fire and passion laid down on the original recordings. He gave us everything in some numbers. “Sara Smile” sounded as fresh as a daisy, and the extended jam on “I Can’t Go For That” was magic. I was dancing up a storm come “You Make My Dreams Come True.” Yet “Maneater,” “Out of Touch,” “Adult Education” and countless others were only half baked. To be fair Oates did his part admirably, but this band has always been the Daryl Hall show, and if he’s not on the experience is lacklustre.

A night with the songs of Hall and Oates is never a bad time. They’ve written some of the world’s best soul pop numbers, and they’re always enjoyable. I was also impressed that all of those big hits were represented. It was one of the best set lists I’ve ever witnessed on paper. However the glimpses of brilliance only made me ache for the show that might have been.

Image source: own photos

The Eagles @ Sydney Entertainment Centre, 2 December 2010

When I arrived at the Sydney Entertainment Centre last night, I wasn’t in the best mood. Our hotel had lost the reservation for one of our rooms, resulting in a good hour of drama. I’d gone without dinner after sending back my overcooked steak, only to have the replacement never arrive. I needed something special to turn the night around, and I got it in The Eagles show.

NASHVILLE, TN - NOVEMBER 12:  (L-R) Musician Timothy B. Schmit, Glenn Frey, Don Henley and Joe Walsh of The Eagles perform on stage during the 42nd Annual CMA Awards at the Sommet Center on November 12, 2008 in Nashville, Tennessee.  (Photo by Scott Gries/Getty Images)


Few bands endure like The Eagles. Sure they’ve taken some time out, but over the decades together they’ve developed a chemistry like few others. They know their own instruments and each others, which results in flawless harmonies and one of the tightest sounds around.

And there are those hits. In the three hours they graced us with our presence, they delivered some of the greatest songs in musical history. When you can bring out a tune like “Hotel California” early in the first act, yet still have somewhere to go it’s impressive.

There were so many highlights for me. “I Can’t Tell You Why” has always been one of my favourite Eagles tunes, and to hear Timothy B. Schmidt sing it so beautifully was something really special. “Best Of My Love” was something I never expected to hear, but I’ve always held deep in my heart. “Heartache Tonight” was the first Eagles song I ever fell for as it was on one of my Dad’s favourite driving cassettes, and it absolutely rocked. My inner 80s fan girl went nuts for “Boys of Summer,” another song I didn’t expect being a solo hit for Don Henley. The Eagles back catalogue is so rich that those solo hits were rare, but I was thrilled to see Joe Walsh let loose on “Rocky Mountain Way” in the finale. And “Desperado” was of course, the perfect closer.

The Eagles really are in a class of their own, artists that write incredible songs and make incredible music. Those tunes hold up just as well today, just as their talents do. Age has not wearied them, thankfully for folks like me who weren’t around to see them when it all began. I know these guys are getting on, but they’re still in their prime. Hopefully they can squeeze out another tour, because one day on I’m ready to do it all again.

John Mayer @ Sydney Entertainment Centre, 8 May 2010

These days John Mayer is more famous for making headlines than playing guitar. It’s a sad state of affairs, but one he seems to be taking on the chin these days. On Saturday night he reminded us of the skills that made him famous when he played the Sydney Entertainment Centre.

I considered writing that Orianthi warmed up the stage, but then I realised that didn’t really tell the story of her opening set. There’s no denying this young Aussie’s talent. She’s impressing all the right people with her incredible skills with an axe. But as a front woman, I’m just not sure she cuts it. There was something very rehearsed and polished about her set, almost like rock and roll by numbers. Even her seemingly off the cuff remarks to the audience between songs sounded as if they were read from a script. Walking off stage at the end of her final number, without even giving the crowd a backwards glance, was the straw the broke the camel’s back for me. It might have been a rock and roll move, but she’s just not big enough to pull such a stunt.

In contrast, John Mayer was warm and gracious as he took to the stage. He gave us a set with equal measures of hits and new material from his Battle Studies album. Both modes of songs seemed to go down a treat; this was an audience of fans who own everything that man does and lap it up accordingly. This showed when John pulled out “In Your Atmosphere” a live favourite that has never made an appearance on a studio album. You wouldn’t have known it though as the crowd sang along enthusiastically to every word.

After seeing Spandau Ballet play the same venue weeks ago, it struck me that this was a very low-key performance. There were no big screens, no costume changes save him taking off his shirt, and no light-show trickery. But that’s exactly what I loved; without all the distractions we focused on the heart of the music. Just as he was at last year’s showcase, John seemed so appreciative of this, thanking us repeatedly for making him feel so at home.

I’m thrilled John Mayer feels so comfortable playing for us in Sydney, as it means we can look forward to many nights of live music just like this. And as anyone who was there can attest, this is a very good thing.

Image source: Lauren Katulka

Michael Bublé @ Sydney Entertainment Centre – 31 May 2008

Last night Michael Bublé performed in Sydney as part of his Call Me Irresponsible tour. I never imagined how appropriate that name would be. But before I get into that nasty business, it’d be remiss of me not to talk about Michael’s brilliant support act, Naturally 7. I’d never heard of this seven-piece vocal act from New York, but they made such a massive impression on us all.

There were the angelic harmonies we’re accustomed to from bands of this ilk, but what set them apart was what they termed “vocal play.” Rather than simply using their voices to sing, the members of the band also mimicked instruments. Think beatboxing taken to a whole new level. They mimed along to the drums, violins, electric and bass guitars, and brass section they created, and it was utterly mesmerising.

Naturally 7 performed a set rich with originals and some brilliant songs inspired by “Broken Wings” and “In the Air Tonight.” I have never seen a support act get a standing ovation before, but theirs was well deserved.

Then we had Michael Bublé. Let me start by telling you that I love Michael Bublé. I’ve seen him perform on every Australian tour he’s embarked upon. I’ve bought every album. And I’m not a wowser by any means. But when he stumbled onto the stage at the Sydney Entertainment Centre blind drunk, I lost a lot of respect for him.

The show started with his cover of Leonard Cohen’s “I’m Your Man,” yet we could barely listen to the song because we were gossiping about his condition. He was unsteady on his feet, slurring his words, and looking the worse for wear with his unshaven face and bleary eyes.

The next song, “It Had Better Be Tonight,” was if anything, worse. In his drunken state, he simply couldn’t match the energy of the album version. It required him to move around the stage, which only highlighted just how hammered he was.

He owned up after that song, confirming what most of us already knew. But rather than seem sheepish and apologetic, he appeared boastful. He sang a little of Amy Winehouse’s “Rehab” and joked around, but it seemed most of us weren’t laughing.

The first half of the show was terrible. He slurred. He fell off notes and couldn’t sustain others. He encouraged us to sing the lyrics, an act that seemed more about filling in for him than encouraging participation. He staggered and stumbled. He made smutty tasteless jokes, a far cry from the clever sexy banter I’ve seen at previous shows. He butchered song after song after song. Had I not been with my family, I would have left.

To be fair, he managed to pull it together in the second half. His simple performance of “Always on My Mind” was a turning point. From there things seemed to go relatively smoothly. He began to sing well again and win us over. The Sydney images on the big screens during “Home” didn’t hurt either.

By the end of the night, we were all on our feet dancing to upbeat covers of “Save the Last Dance for Me,” “How Sweet It Is,” and “Crazy Little Thing Called Love.” We were then all touched by his parting gift, a raw and emotional performance of Donnie Hathaway’s “Song for You.”

Yet despite all his best measures at the end, I still left the venue with a bad taste in my mouth. As I say, I love a drink as much as the next guy. But if you’re drinking to levels that affect how you do your job, then there’s a problem. To get up on stage in such an obnoxiously inebriated state that your performance suffers is simply disrespectful to your fans. Calling Michael Bublé irresponsible after last night’s efforts is an understatement.

The opinions expressed in this article are of Lauren Katulka and based on her experiences alone.