Category: Concert Reviews

Posted on by Lauren Katulka

Live @ Roche Estate, Pokolbin – 18 November 2017

I’m not sure what it is about Hunter Valley winery gigs, but so often they go hand-in-hand with rain. Somewhere along the way my excitement about the show turns in to trepidation and relentless weather checks.

Roche Estate was already a muddy swamp by the time I arrived on Saturday. It didn’t take long for the ground, and us, to get a whole lot wetter. It poured virtually nonstop for the first two acts. My raincoat quickly became as soaked as the rest of me. My feet were squelching in my shoes. I’ve had rain at concerts before, but never so much that I was still soaked to my skin by the time I got home.

It’s a cliché to suggest rain didn’t dampen the crowd’s enthusiasm, because it was certainly unpleasant. But the music was so outstanding that it actually seemed worth the downpour. I last saw Thirsty Merc playing acoustically. Before that, Rai Thistlethwayte was playing solo. I hadn’t seen the Merc is all their plugged-in splendour for ten long years. So I was thrilled to see these guys playing a set for the real fans. They’ve had so many hits over the years, certainly enough to fill their six-song set. While songs like “Someday, Someday” and “In the Summertime” featured, they were interspersed with killer album tracks like “Claude Monet” and “I Wish Somebody Would Build a Bridge (So I Could Get Over Myself).” Their set was full of energy and appreciation. While the crowd was relatively small by that point, they lapped up what Thirsty Merc gave us.

I worried I might spend The Calling’s set simply waiting for “Wherever You Will Go,” but the California act were a real surprise package for me. It turns out thanks to Spotify’s suggestions, I knew more songs than I thought. However, even the ones I weren’t familiar with didn’t feel like fillers. Alex Band is one dynamic front man. I barely took my eyes off him. His presence made their set so enjoyable.

Lifehouse continued the nostalgia with a tight set peppered with more of those Spotify favourites. I couldn’t fault any of the musicians, but after being so impressed by The Calling, this set felt a little lacking to me. Maybe some jetlag or a busy tour schedule has caught up with them, because it felt a little “by the numbers.” Bass guitarist Bryce Soderberg’s cover of “You’re The Voice” was great fun though, and the band’s biggest hits “You and Me” and “Hanging By a Moment” also had everyone singing along.

You want the headliners to take things up a notch and boy did Live deliver, bursting onto the stage with “All Over You.” The set drew mainly from early albums, especially the breakthrough Throwing Copper, and like so many fans I lapped it up. “I Alone” was an absolute standout; I wish I could have bottled the electricity when we all let loose. “White, Discussion” might have been penned decades ago, but it resonated strongly as I thought of the current political climate. “Selling the Drama” went off just as much as it should. Even debut album Mental Jewelry got a look-in with “Pain Lies on the Riverside.” “Lakini’s Juice” from Secret Samadhi was positively electric.

Live is a band that rocks hard, but they’re every bit as powerful in the quieter moments. An acoustic cover of Johnny Cash’s “Walk the Line” was breathtaking. “Turn My Head,” the tender ballad from Secret Samadhi and one of my favourite Live tracks, was so moving. I saw more than a few misty eyes when the band played Audioslave track “I Am The Highway” in dedication to Chris Cornell.

The seven-year break hasn’t made Live rusty. They sound so tight and Ed Kowalczyk is every bit as magnetic as he ever was. He is such a charismatic performer, a kind of Messiah figure who is utterly mesmerising to watch. I’ve always admired him, but after experiencing the show he puts on I’d put him within the top five front men I’ve ever seen. He was that good.

Despite Ed’s importance, Live is a brothership and that seems stronger than ever after the band’s taken an extended break from one another. There’s a renewed sense of energy about Live these days. I saw them a couple of times in the late ‘90s and early ‘00s, but I can’t remember feeling so blown away by their performance. Ed let slip that they’re planning another Aussie tour for March. It can’t come soon enough. Because quite simply, this was for me the best gig of the year.

Image source: Stephen Katulka

Posted on by Lauren Katulka

’80s Mania @ Enmore Theatre, Sydney – 11 November 2017

I’ve been meaning to write this review all week but time seemed to slip away from me. Now with another concert looming, I figured it was time I carved out a moment to get my thoughts down because free time just wasn’t going to present itself. I consider myself a bit of an ‘80s pop tragic. It was the music of my youth, the songs I’d hear on early morning clip shows or the radio, at least until Dad came along and changed the channel. So even though I’d seen many of the acts before, I couldn’t resist a trip to Sydney for 80s Mania.

Cutting Crew kicked off proceedings with a tight set of pop-rock favourites. Lead singer Nick van Eade was on guitar this time, unlike last tour, and I think it restricted his performance a little. Last time I remember him falling to his knees overcome with emotion, as over-the-top as it was entertaining. I couldn’t fault the set, but it didn’t have that extra something. Although of course, “(I Just) Died in Your Arms Tonight” got a massive reaction.

Paul Young was trotted out next. Honestly, I’m not sure why he continues to earn a place at these kinds of events. While he’s written some of the best songs of the decade, they can’t make up for his vocal failings. Neither can his charisma, although he’s got that in spades too. We’re used to hearing these songs with such a pure voice and incredible vocal range, but he just doesn’t cut it. Thankfully his set was mercifully short. However, that did make his second song choice curious. I don’t claim to be his biggest fan, but I didn’t know it. Much bigger hits like “Love of the Common People” and “Senza Una Donna” were cut to make way for it. Why?

Wang Chung was the first act I hadn’t seen before, and the first time I felt like I hadn’t seen it all before. Strengthened by Cutting Crew’s Gareth Moulton, Nick Feldman took us through the band’s monster hits, “Let’s Go,” “Dance Hall Days,” “Everybody Have Fun Tonight.” As a Breakfast Club fan, I was a little disappointed “Fire in the Twilight” didn’t get a run, but I couldn’t be too critical. The set was one of the most fun of the night.

After a short intermission we were back with the always outstanding Go West. I still can’t understand why they insist on playing “Black and Gold” and “Sex on Fire,” but when delivering their original material there’s nothing to fault. The sound, the energy, the charm, and of course those songs. If you don’t get excited seeing these guys play “King of Wishful Thinking,” something is wrong.

I couldn’t help but be wowed by Taylor Dayne as she burst onto the stage, the final act on our nostalgic evening. At 55, she’s got the energy and body of a woman less than half her age. She didn’t seem to break sweat dancing around to her iconic cover of Barry White’s “Can’t Get Enough Of Your Love.” And that voice was still as powerful as either. This lady can belt along with the best of them. High-energy hit after high-energy hit came and I lapped it all up. I found myself getting a little teary when she slowed things down for a cover of “Nothing Compares 2 U,” a dedication to Prince and the other musicians we’ve lost before their time. It was a beautiful sentiment, but I found myself wishing Taylor showed a little more restraint and control. The same sadly went for “Love Will Lead You Back,” one of my favorite songs of the era. Taylor has an incredibly strong voice, but I found myself wishing for more tenderness. I’m not sure whether she doesn’t have the control any more or whether she’s just trying to keep up with the divas of the modern world.

It’s impossible to have a bad time at one of these shows. They’re a carefully curated slice of music nostalgia, with musicians we remember fondly delivering their biggest hits and a few surprises. However, I couldn’t help feeling like I’d seen it all before. With the exception of Wang Chung and Taylor Dayne, all the other acts were on last year’s ‘80s Mania bill. I couldn’t help comparing it to I Love the ‘90s, who put on such a fun night earlier this year and will return in 2018 with a totally different lineup that promises to be every bit as fun. The ‘80s were so rich in musical talent and so many of the acts are still playing shows today across the world. Tiffany, Debbie Gibson, The Time, Billy Ocean, Belinda Carlisle, and Roland Gift all immediately spring to mind. Don’t tell me some of them wouldn’t jump at the chance to visit Australia for the next ‘80s Mania. I can only hope organisers realise that while we love nostalgia, we get a bit bored of the same old thing.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Rick Price @ Hardys Bay Club, Hardys Bay – 21 October 2017

The very best gigs for me are the intimate ones. So many people get excited when acts that debut at the top of the charts play the nation’s arenas, but music loses a little of its magic for me in a space so large. And while a loud show with a full band can be thrilling, I’m usually more moved seeing a performer stripping their songs back so you can appreciate the nuances of their lyrics. That’s why seeing Rick Price at Hardys Bay Club on Saturday night is one of the best gigs I’ve attended all year.

I fell for this tiny Central Coast venue when I saw Bob Evans there earlier in the year, and I was thrilled to return. It’s one of the most intimate live music venues around. There’s no pretension about it, a modest stage with tables and chairs in the middle and couches around the side. It’s the kind of space that breaks down the traditional barriers between performer and audience. Rick’s always been the kind of artist who shared himself and the stories behind the songs with his audience, but he was a little chattier and more amusing than usual.

He also sounded superb, despite struggling through a case of the man flu. As the old saying goes, the show must go on. And go on it did, with a superb set drawing from his entire career. I was taken back to my childhood with hits like “Not a Day Goes By” and “Walk Away Renee” and relished the opportunity to hear new tracks from his recently released album Tennessee Sky. I actually didn’t think I was going to take any photos, because I didn’t want to break the spell cast over the room by snapping away. If not for an up tempo song, I wouldn’t have reached for the camera at all, because in those ballads I just couldn’t look away. Without a band in tow, Rick did most of the heavy lifting at this show, but his friend Belinda Ling showed she could do more than delivering cups of lemon water when she joined him for a couple of numbers. What an incredible voice she has. She brought something new to one of my favourite songs from Rick’s debut album, “Fragile.”

Rick Price’s Brought to Life a Dead Man Walking tour won’t be the one that gets the media outlets buzzing, but these shows are guaranteed to make a big impression on you. Here are all the remaining dates:

26 October 2017 – Brisbane Jazz Club, Woolloongabba
27 October 2017 – Bison Bar, Nambour
28 October 2017 – Park Ridge Tavern, Park Ridge
29 October 2017 – Coolangatta Hotel, Coolangatta
2 November 2017 – The Oxley, Cowra
3 November 2017 – Camelot Lounge, Marrickville
4 November 2017 – Harmonie German Club, Narrabundah

Image source: Stephen Katulka

Posted on by Lauren Katulka

Glenn Shorrock @ Ettalong Diggers, Ettalong Beach – 11 August 2017

When Lizotte’s closed its doors at Kincumber, I was worried I might need to travel to Sydney or Newcastle to see great live music. However, a handful of other venues have stepped up and filled the void. I don’t feel quite as pampered heading out to Ettalong Diggers. The meals are fairly standard pub fare (although improving with a new chef!) and the wine list isn’t quite as refined. The auditorium doesn’t have the Cubby House’s ambience either. However, Ettalong Diggers is doing enough to attract performers like Glenn Shorrock, which gives it a big tick in my book.

One thing I do admire about Ettalong Diggers is the commitment it shows to the artists it books regularly. The local musos who slog it out in the main bistro area, competing for attention with meals, boisterous conversation, and footy on the big screen. Rather than looking elsewhere for a support act, organisers chose local favourite Shane Edwards. He’s far from a household name but the oldies who frequent the club love him, whether he’s playing a relatively modern song like Keith Urban’s “Somebody Like You” or tackling an operating classic like “Nessun Dorma.” He seems to do it all effortlessly, even while flirting with clearly besotted senior citizens!

With the crowd well and truly warmed up, it was Glenn Shorrock’s turn to hit the stage. The man is a true living legend who’s brought us some of Australia’s most beloved songs during his time in The Twilights, Axiom, and of course Little River Band. His set touched on hits from all those years in the business. If you were waiting for a “loo break” song you weren’t going to find it. There were no lulls here; just a whole lot of singalong fun.

So many years in the business seem to have taken a toll on Glenn. He sat down for much of the set, resting his legs for those numbers that called for a dance break. The years might have wearied his body, but his voice is still on point. Supported by an excellent band, you couldn’t hope for the show to sound better. The enthusiastic Ettalong crowd were in raptures, singing along to every song and clapping and cheering as it finished, only to eagerly await the next one. When Glenn was saying his goodbyes we were having none of it, and so he obliged with an unexpected finale, The Beatles’ “Carry That Weight.”

I looked around the auditorium as we filed out and saw so many smiling faces. What Glenn does isn’t particularly flashy, but he does it so well.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Pseudo Echo & 1927 @ The Entrance Leagues Club, Bateau Bay – 21 July 2017

As a child of the ’80s, Pseudo Echo and 1927 are two local bands I’ve always enjoyed. I saw Pseudo Echo supporting Culture Club in the ‘90s, but it’s been an awfully long time between drinks. Timing always seemed to be against me when it came to catching 1927, but the stars aligned when both ’80s powerhouses graced the Entrance Leagues Club last Friday night.

The first thing that struck me when Pseudo Echo took the stage was how much the line-up has changed. Lead singer Brian Canham is still out front, but his band mates are much younger these days. I couldn’t help but think of Anthony Field, and the way he is still waving the Wiggles flag yet looking a little out of place in his merry band of skivvy wearers. There’s a similar strangeness about the way this band is put together these days. Yet despite that, Brian still clearly believes in what he does. He delivers Pseudo Echo’s back catalogue with passion that is so infectious. I found myself remembering songs I hadn’t listened to in years like “A Beat for You” and “Listening,” singing along with lyrics that were buried somewhere deep in my brain. Covers of “Nutbush City Limits” and “Send Me An Angel” delivered more of the nostalgia the crowd was desperate for. I don’t think there was a person standing still when the band broke into “Funky Town.”

Pseudo Echo got my feet moving, but 1927 moved my heart. It doesn’t seem so long ago that I was swooning over Eric Weideman as I watched Rage in the morning. Watching their set took me right back. It seems Eric is the last man standing in 1927 too, but the line-up he’s assembled feels a bit more cohesive. They’re so tight, a real band rather than just players supporting a singer. Their set felt less like revelling in nostalgia and more like just catching up with a band still in the height of their fame. Perhaps the difference is the songs, which don’t sound nearly as dated as Pseudo’s synth-heavy numbers. Lyrically, 1927 has always had a bit more depth too. I felt myself getting choked up singing along with the crowd on tracks like “Compulsory Hero” and “If I Could.” I’d forgotten how much I loved “Tell Me a Story” and “You’ll Never Know.”

I entered the Entrance League Club thrilled to see both bands, but it was 1927 that really impressed me. Pseudo Echo were fun, but I don’t think I’ll rush to see them again. 1927 though … the next tour can’t come quickly enough.

Pseudo Echo and 1927 are still touring around the country together. You can catch them at their remaining shows.

5 August 2017 – The Tivoli, Fortitude Valley
11 August 2017 – Harvey Road Tavern, Clinton
12 August 2017 – Dalrymple Hotel, Garrett
18 August 2017 – Anita’s Theatre, Thirroul
19 August 2017 – Wenty Leagues, Wentworthville
25 August 2017 – Wrest Point Casino, Hobart
26 August 2017 – Country Club, Launceston

Image source: Stephen Katulka

Posted on by Lauren Katulka

Maxine Jones & Greg Gould @ Crowne Plaza, Terrigal – 18 July 2017

Living on the Central Coast, we don’t get a lot of big name musical acts. Aussie bands will occasionally stop by, but locals usually have to head to Sydney or Newcastle to see international artists. And a free show? It’s virtually unheard of. So when I heard that Maxine Jones from En Vogue was set to perform with our own Greg Gould at the Crowne Plaza in Terrigal last Tuesday night, I was a bit floored. Our Crowne Plaza? And for free? I wouldn’t normally venture out on a Tuesday night, but I couldn’t resist.

I must admit, when I stepped into the Lord Ashley Room, I wondered whether I was in the right place. The small stage, with its kitschy gold backdrop, hardly seemed befitting of soul royalty like Maxine. I’ve never been to a gig where employees were scrambling to find seats for people, pulling in couches and chairs from neighbouring rooms! The Facebook event said it all kicked off at 6, but hours later I was still waiting. That did give me time to savour the delicious wine and tapas the venue offered though.

This show was really worth the wait though. Although it was modest in presentation, the talent of both Maxine and Central Coast local Greg Gould shone through. Greg put me onside from the get go with a cover of “Euphoria,” a Eurovision winner from Sweden’s Loreen, that he dedicated to LGBTQI people still struggling for acceptance and love. I must admit, I missed Greg’s stint on Australia’s Got Talent, but I was wowed by him. What a talent the Central Coast has produced. Greg could have enjoyed more time in the spotlight, but he graciously stepped aside for Maxine to remind us all exactly what we love about her. I didn’t expect to hear “Free Your Mind” brought out so early, but she slayed it. Her voice has lost nothing over the years and her attitude is every bit as fierce.

Greg and Maxine graciously shared the stage for the rest of the evening, alternating between taking the lead and contributing back-up vocals. They sang like divas but certainly didn’t have the attitudes we associate with the term. Clearly appreciative of one another’s talents, they seemed happy to step back and take in what the other could do.

Greg treated us to a mix of his superb originals and covers of soulful songs like “Lay Me Down” and “American Boy.” Maxine’s work with En Vogue left her plenty of solo material to play with, but her cover of “Imagine” showed a deeper, more emotional side of this sassy performer. They came together for duets a couple of times, first to close the first set and again to close the night. I hadn’t heard their new single “Do You See Me Now” before, but I was spellbound by it. “Don’t Let Go,” the song Maxine made famous with En Vogue, was much more familiar to me, but hearing what Greg brought to the track helped me experience it with fresh ears.

Greg and Maxine will tour Europe and the United States together. If you get the chance to see them play together, take it. Nights enjoying voices like these are so rare and so special.

Image source: own photo

Posted on by Lauren Katulka

Kinky Boots @ Capitol Theatre, Sydney – 15 July 2017

With just a few weeks left of its Sydney run, I finally caught Kinky Boots at the Capitol Theatre recently. This was one of those musicals I knew I had to see. It ticked so many boxes for me. It was based on a movie that thoroughly charmed me. Cyndi Lauper, one of my greatest musical idols, wrote the songs. Harvey Feirstein, another one of the world’s special talents, wrote the book. It promised glitter, sequins, and pizzazz. Tick, tick, and tick. My expectations were high, yet this very special production exceeded it.

If you’ve seen the movie, you’re already familiar with the story. Boy grows up around his father’s shoe factory, but wants to carve out his own destiny rather than living his dad’s life. Father dies. The boy, now a man, is torn between his desire to find his own path and his wish to save his father’s legacy. He discovers he can do both when he breaks with tradition and turns his father’s factory into the most fabulous production facility for drag queen boots. Throw in a love triangle and a touching friendship between two very different principle leads and you get the idea.

The story of Kinky Boots is a simple one, but it’s one with real heart. Cyndi Lauper builds on the tale beautifully with one of the best original music soundtracks I’ve heard in some time. Needless to say, I bought the CD before I left the theatre. The building blocks are there, but the Australian production has helped this music live up to its potential. Toby Francis’ Charlie is sweet yet complex. Sophie Wright as Lauren is endearing and so relatable. Teagan Wouters’ Nicola is frustratingly self-absorbed, but she plays the piece’s villain well. But it is Callum Francis as Lola who fittingly steals the show. He understudied the role in London but he’s now relishing the spotlight. Every time he was on the stage, I couldn’t take my eyes off him. What a talent he is.

If like me you’ve procrastinated about getting your tickets, do not delay. Kinky Boots is a special musical. The songs are first rate, the actors incredible, and the story one that nourishes your soul. Don’t miss it. It closes in Sydney in August, when it hits the Brisbane’s Lyric Theatre.

Posted on by Lauren Katulka

George Michael: Praying for Time @ Sydney Opera House, Sydney – 7 July 2017

I remember so vividly the punch to my gut that came on Boxing Day morning last year. My phone alerted me to a news report which told me George Michael had passed away. I can’t remember what I said, but I remember the way my knees buckled. I was still reeling from losing Prince in April and now another of the musical figures who had shaped me was gone.

George might be gone but his music lives on in the albums and live performances like George Michael: Praying for Time, a start-studded tribute night staged at the Sydney Opera House last week. On paper artists like David Campbell, Diesel, Sam Sparro, and Brendan Maclean are very different. But George Michael was one of those artists of such breadth that entrusting his music to such a wide range of artists was essential I think. These four musicians largely took the lead, supported ably by Gary Pinto, Jade McRae, Carmen Smith, Natasha Stuart, and the always incredible Sydney Symphony Orchestra. The supporting players were mostly relegated to back-up vocals, but each had time to shine. Aretha Franklin set a high bar, but Jade McRae filled her shoes admirably when she duetted on “Knew You Were Waiting For Me” with David Campbell. The three women showed they could become the next big female vocal group if they ever wanted to with super-tight renditions of “Fast Love” and “Too Funky.” Gary Pinto showed a side of him I never saw in CDB with a killer version of “Wham Rap.”

I’m a long-time David Campbell fan, and his takes on iconic tracks like “Kissing a Fool” and “Careless Whisper” was flawless. I wasn’t so sure how Diesel’s rougher rock vocals would sit on George’s smooth tracks, but listening to him cover songs like “Waiting for that Day” and “Praying for Time” made so much sense. Sam Sparro’s cover of “Spinning the Wheel” hit just the right emotional note. I was familiar with the work of all these artists, except Brendan Maclean who proved to be the biggest revelation for me. Fabulously camp and committed, he had in his diverse cover versions. Watching him sing into the mirror for “Older,” my heart broke. But soon enough he was there in ‘80s acid wash overalls delivering a high-energy rendition of “Monkey.” When he paired up with Sam Sparro for “Outside,” it was every bit as flamboyant and defiant as the song should be.

As a long-time fan, I loved that this show celebrated the breadth of George’s artistry. It went beyond the commercial hits that Anthony Callea’s tribute concert showcased a couple of years ago and brought us many of the album tracks fans like me and the artists on stage hold close to our hearts. My mum attended the show, standing in for my sick husband. Even though I blasted George’s music while I was growing up, it was something she never really absorbed. She leaned over to me at one point and asked “Did George Michael write all these songs?” She told me that for the first time, she realised he was much more than simply a pop singer.

I like to think the audience was made up of people who loved George and people who were fans of the artists on the bill who got the opportunity to truly discover George’s music for the first time. If it was, looking at all the people up on the feet during the encore, it seems both groups got what they came for. I know I did. I like to think that if George were looking down on our celebrations, he’d be happy with the way these Aussie artists honoured his legacy.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Gavin DeGraw @ The Metro Theatre, Sydney – 4 July 2017

No much had really changed when I walked into the Metro on Tuesday night to catch Gavin DeGraw. This was the same venue I’d seen him play 13 years ago. I was with the very same friend. But then so much had changed. I’m married now, and I’m not even sure if I was dating my husband back then. Gavin’s released many more albums; back then he only had Chariot under his belt. I’m also at the point where the prospect of standing crammed up against the stage in the middle of a crowd doesn’t sound appealing. Hell, standing for a couple of hours for a show is no longer my idea of fun. I’m sure many of us there so many years ago agree, so the decision to come back to the Metro was a curious one. Still, there was a certain sense of symmetry about the evening. This time around my friend Jaime and I high-tailed it up the steps. We hoped to find a space in the comfy couches the Metro has up there, but of course when you wander in after a leisurely dinner that’s Mission Impossible. Nevertheless, we found a nice standing spot by the bar with a great view of the stage, so we were as happy as we could be at a standing gig.

Jack R Reilly warmed up the crowds. I wasn’t familiar with his work, but I instantly warmed to his folky guitar tunes. I’m not sure he was the best fit for the show. He’s the kind of performer who writes songs that are really best appreciated when you can mull over every lyric. They’re low key and lovely, but quite different to the accessible piano pop Gavin writes. I enjoyed him, but also found that in such a large venue, so far from the stage, my attention started to wander. I have appreciated getting to know about his music online though.

As someone who lost track of Gavin’s music, I wondered whether I’d get as much as much out of this concert as the last, which was based around his breakthrough album Chariot. He opened with the title track from that release, letting us know that nostalgia would still play a part in tonight’s proceedings. I was pleasantly surprised at the number of songs featured from that first release. While I loved singing along to them, the unfamiliar tracks never dragged for me. In fact, I was reminded what an excellent songwriter and showman he is. Without my own voice singing along, I could focus on how on point Gavin’s vocals are. He spent most of the night at the piano, but got up every now and again to touch the hands of adoring fans near the front and get that much closer to us all. He seemed to really feed off the energy of this Sydney crowd who clearly missed him in his absence.

There were so many highlights of the night. “Something Worth Saving,” a stunning song from the latest album which reminded me that I really need to explore his back catalogue. “Belief,” a fan request that he didn’t play at the Brisbane show the night before, was so emotional. The big hits “Not Over You” and “I Don’t Wanna Be” lifted the crowd’s excitement to another level.

It’s difficult to compare concerts spaced 13 years apart, but as I filed out of the Metro I wondered whether Gavin might have been even better this time around. I only hope it doesn’t take another 13 years to lure him back to Australia. And that next time, he remembers we’re all getting older and chooses a seated venue.

Image source: Stephen Katulka

Posted on by Lauren Katulka

I Love the ’90s @ Qudos Bank Arena, Sydney – 9 June 2017

If I had to pick a least favourite venue in my state, it’d probably be Qudos Bank Arena. It’s so big and impersonal and an absolute pain to get to. It takes so long to get there that I always have to skip the nice meal that I usually enjoy before seeing a show and settle for something unhealthy, overpriced, and unsatisfying at the venue. It takes a lot for me to motivate myself to see someone perform there, but the lure of some of the biggest names in ‘90s music proved too strong. And so I found myself in this most hated venue, predictably running late with greasy hot chips, on Friday night.

These nostalgia shows are always an interesting experience. You settle yourself in to see a bunch of acts you’d never see if they were headlining. But put them all together and you know if nothing else, you’re bound to have a good time singing along with the songs you remember from your youth. And if one act is terrible, well you know they’ll be off the stage soon enough, replaced by someone else you might like better.

Young MC kicked off proceedings, he of “Bust a Move” fame. I didn’t expect a lot from Young MC, to be honest, but he proved a real surprise package. He’s put on more than a few kgs since the 90s, but he still performs with great enthusiasm. He’s clearly loved his time in Australia; his Blues State of Origin jersey and his unexpected cover of “Beds are Burning” showed the affection he has for the country. “Bust a Move” got us all grooving, just as we knew it would. His rapid-fire rapping at the end was a parting reminder that Young MC has more talent than the average one-hit wonder.

Tone Loc couldn’t quite live up to his superlative introduction in my eyes. The big hits like “Wild Thing” and “Funky Cold Medina” were good fun, but Young MC had set such a high bar. Tone was certainly solid, and the moment when he brought some hot young things on stage to dance along with him a real highlight. Maybe I was just feeling a lull as I waited for Color Me Badd to take the stage.

Color Me Badd were one of my favourite “boy bands” of the 90s. The songs, the moves, the harmonies … well, they’ve got two out of three of them now. When I saw the set times earlier in the week, I was gutted that Color Me Badd got just 15 minutes on stage. However, even that dragged for me. This was a set that left me with so many questions. When did they shrink from a five-piece to a three-piece? Where did my favourite, Sam Watters, go? Did they really think no one would notice if they switched out one black guy with another? When did Bryan Abrams balloon and then decide he wasn’t going to do the choreography any more? Honestly, it was all a bit painful. Bryan wandered around aimlessly, singing just always slightly out of the pocket, while the other guys from the band danced around him. They delivered the big three songs – “I Wanna Sex You Up,” “All 4 Love,” and “I Adore Mi Amore” – but as a fan from way back when, I wish they’d given us “Choose” instead of “Blame it on the Boogie.” When you feel you have to rely on covers to fill a 15-minute slot, it’s a bit sad.

Coolio brought things back on track. I was never a massive fan back in the day, but he totally charmed me. He was such a giving performer, left of center but entertaining from start to finish. “C U When U Get There,” which he dedicated to the memory of so many figures we’ve lost like Prince, Muhammad Ali, Aliyah, and Whitney Houston, was so special. “Gangsta’s Paradise” had us all in raptures. I rose to my feet to applaud him off, so impressed was I with his set.

Salt-N-Pepa were another big drawcard for me and, unlike Color Me Badd, they delivered. Those women have lost nothing over the years. They sound phenomenal, they look the business, and they know just how to move. They also still travel with such good looking backing dancers. Their abs, my god. Thanks for that ladies! As a woman growing up at a certain time, Salt N Pepa have a huge part of my heart. They taught me a different way that women could be, so confident and unapologetic. Finally seeing them live, and seeing them still at the top of their game, it really made the night for me.

I had long questioned the decision for Vanilla Ice to headline, and I did so again after Salt-N-Pepa performed so phenomenally. What on earth could he do that would top them? Would this show limp home? I’m going to say the show limped home, because I was sort of entertained, but in that sort of car crash way. He spent the first few “songs” freestyling about being in Sydney, teasing us with references to the Teenage Mutant Ninja Turtles and Ice Ice Baby. A good rapper can freestyle and have you in the palm of their hand. But Vanilla Ice, well, it just sort of felt like he was filling up a set. I won’t say I wasn’t bemused by his talk of what he got up to in the 90s, including some R. Kelly inspired sexual encounters. But then there were weird trance-dance passages that just felt like noise. I considered leaving, but I don’t think you can skip out on Vanilla Ice without hearing “Ice Ice Baby.” It was far from a perfect rendition. His voice was never strong, but it’s gotten much rougher over the years, and that detracted. But you’d be lying if you said you don’t enjoy that song. That big single should have been his swan song, but he continued on afterwards. Needless to say, I didn’t stick around to find out how long. It’s a long way back from Homebush to the Central Coast, and I’d seen what I came to see.

I Love the ‘90s wasn’t the perfect show. In fact, some acts were dreadful. But there was also some great talent too. The crowd was also awesome, singing along enthusiastically to the nostalgic tracks the DJ served up while the sets changed. What a fun night. Can we make this an annual thing?