Month: 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’ tunes 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: Stephen Katulka