For not the first time last night, I found myself marvelling at how lucky the Darkinjung Country/Central Coast community is to have a venue like Avoca Beach Theatre. It’s a place that champions not just live music, but original Australian music. It’s an intimate venue, one where you can go to hear artists with an audience who respects what they’re doing. Even in the support act, you won’t hear a peep, unless of course the artist encourages us to sing along. Only occasionally will you see someone raise their phone to capture a photo, but then it’s put away as they give themselves over to the music once more. You rarely see people getting up mid-set to head to the bar. They’re too busy being in it. The older I get, the more annoyed I become at all those things that take me out of the music and the more I appreciate venues that let me revel in it.
I can’t imagine seeing a show like last night’s gig anywhere else, and I’m glad I don’t have to. Mark Crotti opened the show with an incredible set of gentle acoustic folk that had us all hanging on his every word. He could be hilarious one moment, but then make our hearts break with songs like “Half a Cup of Tea” and “Paint Me.” Ordinarily, I don’t remember the songs that support acts sing, even when I enjoy them, so that tells you something about how incredible they were. I’m an instant fan.
Mark Wilkinson is one of those artists I’ve appreciated for many years, but never managed to see live. Falling for his latest album Wild and Hunted Things gave me the push I needed. Now I’m wondering why it took me so long. His voice has always drawn me in, but I think it’s better in person. It filled the hushed room, wrapping around us all like a warm hug. He performed many songs I didn’t know, but it didn’t matter. In a venue like this, where everyone is so quiet and respectful, I could hear every lyric. It was the perfect introduction, and a timely reminder that I need to dig a little deeper into his discography. He gave us a couple of covers: a stripped-back version of Roxette’s “It Must Have Been Love” that made me appreciate the lyrics in a way I never have before and a killer rendition of Bruce Springsteen’s “I’m on Fire.” When people talk about artists making songs their own, they’re talking about what Mark does.
Mark spent most of his time on the acoustic guitar, but also ventured over to the piano for a few songs. He said he was nervous about playing this instrument for us, but honestly, these songs were probably my favourites. What a well-rounded talent he is.
Even though we were all out on a Thursday night, no one seemed in a rush to go anywhere. When Mark told us he’d play an extra song in his encore, we were thrilled. Any excuse for us all to stay in the moment, revelling in such beautiful music a little longer.
When you intend to see an artist for some time, there’s always a risk they might disappoint you. But I can’t imagine a better night, seeing Mark playing songs from his latest album, with Mark Crotti on support, in such a special venue, with a good friend keeping me company. I’m so thrilled I got to experience it. Mark Wilkinson continues his Wild and Hunted Things tour with Mark Crotti on Saturday night in Mulubinba/Newcastle. Limited tickets are available for most of the remaining shows:
The first time I saw Anthony Callea, he was performing the songs of George Michael at Taronga Zoo. I was so impressed that I’ve seen him several more times over the years. So it was a bit of a full-circle moment to catch him at the Civic Theatre on Saturday night reprising those George Michael classics. This time around though, the show’s gotten a bit bigger with the addition of Anthony’s husband Tim Campbell and some Elton John classics. It all added up to a hell of a lot of fun.
If you’ve ever watched Tim and Anthony’s social media videos, you’d know this show was always going to be pretty loose. The laughs came thick and fast as the pair chatted to the audience like they were old friends. Tim even bowed to the crowd’s peer pressure and did a shooey, much to Anthony’s disgust.
But while there was plenty of time for jokes, these guys know how to switch gears. Although they can be irreverant, they’re serious about music and the artists they pay homage to. Separately, emotional songs like “Kissing a Fool,” “Father Figure,” “Daniel,” and “Your Song” were so powerful. But then watching them together, harmonising so beautifully on tracks like “Jesus to a Child” and “Don’t Let the Sun Go Down on Me” was pure magic. The show’s sombre moments were balanced beautifully with Elton and George’s many dance hits. Getting on my feet to groove along to “Saturday Night’s Alright for Fighting” and a Wham! medley was so much fun. Anthony and Tim surround themselves with such quality talent, so I was thrilled to see long-serving backing vocalist Susie Ahern and Rocky Loprevite get moments out front for “I Knew You Were Waiting (For Me)” and “As.”
Anthony and Tim’s The Songs of Elton John and George Michael show delivered exactly what it promised. It was a celebration of classic hits delivered by two talents who are as funny as they are fantastic singers. With George already passed and Elton hanging up his microphone, we are so lucky to have Anthony and Tim celebrating their legacy. Limited tickets are available for their remaining shows, so get on them!
The release of The Deluge by Fanning Dempsey National Park was one of the unexpected joys of 2024. The coming together of Bernard Fanning and Paul Dempsey, two of the country’s most respected singer-songwriters, on original ’80s-inspired music was heaven. So I was thrilled to see them bring this album to life, and so much more, at the Civic Theatre on Friday night.
Local singer-songwriter Jen Buxton warmed up the crowd with her incredible songs. To say she was unassuming was an understatement. She introduced herself only as Jen – I had to do a bit of Googling to figure out exactly who to follow on the socials! Her songs were punctuated by self-deprecating humour. But I was transfixed. Her lyrics were incredible, and her rich, seasoned voice drew me in. When you can captivate an audience with only an acoustic guitar, you’re doing something right.
The Fanning Dempsey National Park set was everything I’d hoped for and then some. Recording this music together seems to have reinvigorated these artists. From the title track that opened their show, they seemed in high spirits. Songs like “Strangers” and “Disconnect,” which both came early in the set, have such a party vibe and you could feel that energy coursing through the room.
It was a night for celebrating the music Bernard and Paul make together, but also one for looking back fondly on the past. Something for Kate’s biggest hits “Ramona Was a Waitress” and “Monsters,” Bernard’s smash “Wish You Well” and his Powderfinger anthem “Pick You Up” all made the set. The latter track was especially electric, so it’s a shame that the Civic security wouldn’t allow us to feel the music and enjoy a little dance. While we complied with their request to sit down then, they were powerless when the whole floor stood to enjoy a rousing cover of “Under Pressure.” What a time! It also gave me the opportunity to bend the rules and snap a few cheeky photos for you.
While they didn’t make this set, I noticed that Fanning Dempsey National Park have dropped a few new tracks this year. Hopefully it’s a sign that this pairing may have a few more albums and tours left in them. But just in case they don’t. I’d urge you to see them while you can. Limited tickets are available for the remaining shows on Fanning Dempsey National Park’s regional tour.
10 years after the first time I saw Les Miserables on stage, I was keen to take it all in again at Les Miserables: The Arena Spectacular, a production celebrating 40 years of this revered musical. I mentioned last time I saw Les Mis that it’s much more my husband’s thing than mine. While I love musical theatre, my favourites are much more contemporary and a little less depressing. But I was psyched to see West End icons Alfie Boe and Michael Ball in the flesh. What a rare opportunity. They, and the rest of this stacked cast, did not disappoint.
That cast is really the most outstanding thing about this production. I knew Alfie and Michael would be incredible, but honestly they surpassed my expectations. Often you see people perform after decades in the business and wish you’d have seen them in their heyday, but these guys remain at the top of their game. Their vocals are simply incredible. Their intimate knowledge of the characters is evident in their performances. Their years of collaborating give them the sort of chemistry you rarely see at shows that throw together a bunch of stars. I’m sure the alternate Jean Valjean and Javert are incredible too, but I’m so glad I made a point to see these artists bringing their most beloved characters to life.
Alfie and Michael are the stars, as any artists with their storied careers, or indeed any Jean Valjean and Javert, should be, but they’re supported beautifully by the rest of this talented ensemble. Rachelle Ann Go’s Fantine drew me in with her warmth, poise, and passion. Beatrice Penny-Toure has the most angelic voice I think I’ve heard. She was perfectly cast as Cosette, and by the time he delivered a heartbreaking rendition of “Empty Chairs at Empty Tables” I was sold on Jac Yarrow’s Marius. James D. Gish is my newest theatre crush. I have a long history of falling for Enjolras and he embodied everything about this character that makes me swoon. I’d initially feared Matt Lucas may be stunt casting, but what an exceptional job he does as Thenardier. I love that this production gives him space to play with the role. Helen Walsh as Madame Thenardier reminded me that getting the alternate isn’t always a bad thing. I was really looking forward to seeing Marina Prior sink her teeth into a bawdier role than I’m used to, but Helen was exceptional.
The ICC is much larger than the Capitol Theatre, where I saw Les Mis all those years ago, but this production fills it. The massive set really helps you feel like you’re on the frontline of the French Revolution. The use of sound effects and lights brought the battle to life beautifully.
Sadly my husband’s eagerness to catch a train home meant that we missed the finale, where cast members from the original Australian production graced the stage. I can’t quite believe it. What an opportunity gone begging. But I refuse to let it take the lustre off what was a really special night of music, even for someone like me who isn’t a big Les Mis fan.
When I heard Christopher Cross and Toto were heading to Australia, I was initially excited. But then my logical brain kicked in. It told me that I didn’t know enough songs to warrant spending the money, that I was too busy anyway to fit it in, that perhaps these acts would be showing their age, so I decided to pass. Then fate intervened and a friend gifted me his ticket when he couldn’t make the concert. I am so grateful that he did, because the show last night was absolutely brilliant.
When you have two massive acts on the bill, you get right to the good stuff. Christopher Cross opened with “All Right,” signalling that he wasn’t going to leave us wanting. He seemed genuinely touched by the enthusiastic reception we gave him, but how could we be anything but appreciative when he was treating us to ‘80s gems we remembered so fondly? His vocals were solid and his guitar skills so much better than I imagined. His stage presence is understated, without bells and whistles, but give me great music performed well and I’m a happy camper. The audience who rose to their feet for a standing ovation after he ended his set with “Ride Like the Wind” seemed to agree.
You could feel the energy crank up a few notches when Toto took the stage with their incredible instrumental, “Child’s Anthem.” Just like Christopher Cross, they didn’t leave us waiting too long for a sing-along. They had us all up on our feet for “Rosanna.” You know that feeling you get when a band plays an encore and you just feel that peak musicality and passion? That’s the feeling I got during “Rosanna,” three songs into the set! Usually if a band stays past that point the energy naturally wanes, because where do you go once you’ve peaked? Somehow though, Toto managed to keep us all at that point of exultation.
Toto is one of the tightest bands I’ve ever seen. I guess this is what happens when you’ve honed your craft as session musicians. If you’re even a casual guitar fan, you know Steve Lukather is one of the best in the business. I marvelled at his prowess. He shared his vocal duties with Joseph Williams, who backs up his incredible voice with oodles of charisma. These guys might be out front, but the rest of the band are no slouches.
Most members have industry resumes as long as your arm. Keyboardist Greg Phillinganes was Michael Jackson’s musical director and he’s toured with Stevie Wonder, Eric Clapton, the Bee Gees, and John Mayer. Warren Ham on sax, percussion, and flute played with Kansas, Donna Summer, and Ringo Starr. Drummer Shannon Forrest has played on albums by Willie Nelson, Michael McDonald, Kenny Rogers, and Taylor Swift. Bassist John Pierce has played with Huey Lewis and the News since the mid ‘90s and recorded albums with Alice Cooper, Cher, and The Pointer Sisters. That’s just a snippet of the people they’ve worked with too. To say they’re good is an understatement.
The exception is Dennis Atlas, on synthesizer and vocals. His resume is less impressive, but he is the member of the band I recognised. Because Dennis auditioned with American Idol last year and got three nos. I remember his audition vividly. I howled at the TV, certain that Lionel Ritchie, Katy Perry, and Luke Bryan had made a mistake. Watching him every bit the equal of these musicians who’ve been in the business for decades warmed my heart. Remember the name Dennis Atlas; he’s a superstar in the making.
When talents like this come together? Oh boy. And separately in extended solos? Mind-blowing. When you have such incredible musicians in front of you who genuinely enjoy playing together, it doesn’t matter how many songs are familiar. You can just appreciate what they do.
Even casual fans like me got their sing-along moments with the final two numbers, “Hold the Line” and “Africa.” No encore, no bullshit, just giving the people what they want. I feel so lucky that fate intervened and put me at that show last night. It was everything I hoped it would be and so much more. If you missed them on this Australian tour, you missed out.
After more than four decades touring the world, Cyndi Lauper’s made the decision to step away from the stage. Thankfully not before bidding fans around the world a fond farewell. It’s been 14 years since I saw this icon live. I resisted a few double bills and had a few clashes, so I was thrilled that the stars aligned for me to see her one last time.
The Veronicas didn’t just warm up the stage; they made it red hot. They delivered a smart set made up of their many bangers and some choice covers. “Edge of Seventeen” was an electric opening number that played perfectly to the crowd of ‘80s music fans. “Love is a Battlefield” and an incredible cover of “Simply the Best” also made their way into the set. These songs sat easily amongst the Veronicas originals. I’m not sure I realised how many chart toppers they’d released, but I knew and loved everything they performed. Some of those songs are heavily produced on the record, so it’s easy to forget just how good their voices are. Whether singing independently or harmonising in the way only siblings can, they sounded sublime. They also had such energy; I couldn’t look away. Note to self: make a point to see more Veronicas shows.
This was a very different Cyndi show than the last one I attended; I feel so blessed that I got to see both. Last time she was promoting her Memphis Blues album, and with a crack team of blues musicians around her focusing on that album felt right. The biggest hits came out near the end, giving fans an opportunity to sing along before the end of the night. This time around the hits came out early after a rainbow explosion of confetti. Talk about starting the night with a bang! I sang along heartily with tracks like “She Bop,” “The Goonies ‘R’ Good Enough,” and her iconic cover of Prince’s “When You Were Mine.” I marvelled at the sight of this ‘80s icon with her bold outfits and colourful wigs bopping around the stage.
This show wasn’t just about the hits and Cyndi’s bubbly persona though. Without a new album to promote, Cyndi could use her time playing songs that moved her in the moment. I was thrilled to hear many of the softer, more personal songs that didn’t make the set list last time like “Sally’s Pigeons” and “Who Let in the Rain.” One of my very favourite moments was watching Cyndi standing in place, without a trademark wig in place, wearing all black, delivering the most incredible version of Frankie Laine’s “I’m Gonna Be Strong.”
This show wasn’t just about the songs either. Cyndi told us several times she didn’t just want to sing at us. She shared stories freely, about her working-class upbringing, her career, and her beliefs. I hung on her every word. She’s such an incredible storyteller and I loved getting to know her heart a little more.
For the encore, Cyndi moved to a smaller stage in the centre of the floor. Watching the fans circling her, gazing on adoringly as she performed the powerful “Shine,” I thought this is probably as close as I come to church. It was that powerful. And just when I thought it couldn’t get any better, Cyndi delivered “True Colours.” I’ve heard this song so many times, but I’ve never been as moved as I was last night watching Cyndi deliver it as she waved a beautiful rainbow scarf. It was such a powerful symbol of allyship delivered at a time when the political war against the LGBTQIA+ community is raging. I don’t mind admitting that I was moved to tears. As I wiped them away, Cyndi lifted us up one more time with her girl power anthem, “Girls Just Wanna Have Fun.” She told us she wanted us to sing loudly and joyfully, and we all did. I experienced pure, unfettered happiness. How special is that?
It must be a difficult decision for artists to step away from the stage. Cut it too short and you miss that connection with fans that Cyndi clearly enjoys. But overstay your welcome and you might tarnish your legacy. It’s very rare that you see an artist time it as beautifully as Cyndi. While she wasn’t quite as energetic as the last time I saw her, she still had plenty in the tank and she gave me everything that mattered. Her vocals were incredible. Her artistic vision was still so fresh. And she still had a few moves up her sleeve. Saying goodbye is so bittersweet, but if we had to do it, I’m so glad we did it this way.
Cyndi has just a few shows left on the Australian leg of her Girls Just Wanna Have Fun Farewell Tour. If you are on the fence, trust me, buy the tickets. You will not regret it.
St Patrick’s Day came early to Eora/Sydney yesterday with the first ever Misneach festival, a welcome addition to the city’s festival calendar. The brainchild of regular visitor to our shores Dermot Kennedy, the festival was a celebration of Irish culture.
I personally thought my festival days were long behind me, but I’m such a Dermot fan I didn’t hesitate to grab tickets. I did wonder how I could possibly stand for close to 12 hours, but like so many music-motivated decisions I decided I’d figure out the details later. As it turned out, I didn’t have to. With my collarbone not healing as well as doctors would like, I reached out to organisers with my concerns about being jostled in the crowd. Hey presto, my husband I found myself with an upgrade to accessible seating. We were so well taken care of, with access to water and sunscreen and a plum position on an elevated platform directly behind the front general admission. I found the one silver lining to a major car crash! Our prime position helped me brave the 38-degree heat and enjoy all the acts.
That 38-degree heat was certainly a barrier for many though. No one can control the weather, but it’s a great shame because it meant some of the early acts played to just a handful of dedicated music lovers. Some came late, others preferred the ample seating and shade that the Doss House stage provided. If I didn’t have a chair provided, I certainly would have joined them. But I was thankful that I could enjoy those emerging artists in relative comfort.
Even if you didn’t get the red carpet treatment, you were well looked after at Misneach. The Red Frogs team circled the crowd offering free water, sunscreen, and those sugary Allens lollies. Friends reported that the team at the medical centre weren’t just happy to keep medications cold and provide space for taking them; they also allowed offered charging ports for the ounters’ mobile devices. The food vendors catered to every taste and dietary requirement. We were personally thrilled to see Coeliac Australia-accredited food truck Brother Jackson & Co. selling safe gluten-free items. Their festive green-battered chips on sticks were top notch.
FYNCH was the ideal opening act for a festival that aimed to break stereotypes and showcase where Irish music is today. He’s clearly a talented rapper, although I’m not sure the small crowd did him justice. Or perhaps it was the heat. His performance seemed a little introverted, but it’s hard to bring the energy to an empty dancefloor.
After brushing up on the appearing artists before the show, Cliffords were the new discovery I was most excited about. While FYNCH’s set dragged a little, Cliffords seemed over in the blink of an eye. Iona Lynch is such a captivating frontwoman and their angsty rock songs are incredible. If I wasn’t so wiped out, I’d be at the Lansdowne seeing them tonight. They’re incredible: get on to them.
Susan O’Neill told us her set was “20 minutes of misery,” but I felt uplifted by her sad songs. She was one of the real surprises for me. While I liked listening to her gentle folk music on Spotify, the recordings can’t capture utterly enchanting she is on stage. Her voice is so unique and beautiful, what a huskiness and warmth that draw you in and leave you hanging on every single word. This was another set over too soon that deserved to draw more of a crowd. If you were there, you know how special it was.
Sorcha Richardson continued to show us just how strong female-fronted music is in Ireland. A singer-songwriter at her core with an indie-rock bent, she oozed cool. She’s another artist that I felt could have benefited from a larger turnout around the stage; it just might have taken that solid performance to the next level.
While the sun was still scorching, many couldn’t resist the allure of Amble. I didn’t blame them. I’d had music from this modern folk act on regular rotation leading up to the festival and they did not disappoint. They seemed to feed off the appreciative crowd who gathered in full voice, waving their Irish flags proudly. I loved hearing those classic Irish instruments like the mandolin and banjo combining with their flawless harmonies. What they do is really special. Like Cliffords they’ll continue the party tonight with their own show at Oxford Art Factory. That one’s sold out; I wouldn’t be surprised if fans nabbed the last couple of tickets after watching them yesterday.
Some may wonder how Australian artist Meg Mac landed on the bill. However, with an Irish mother she was an ideal representative for all the Aussie-born Irish folk here in this country. And you can’t argue with her talent. Watching her set I was reminded just how many hits she’s had over the years. Her voice was utterly flawless and I loved watching her easy camaraderie with her sister and back-up singer Hannah.
The show took a sharp left turn with The Scratch who amped up the energy with their unique blend of traditional Irish folk and heavy metal. That blending of genres sounds like a mess on paper, but I was enthralled. Even though the sets were getting longer by this point, it felt like theirs went by in a heartbeat. If I had more energy, I’d catch them at the Doss House tonight. I know they’re going to raise the roof on that tiny whiskey bar!
I’ve got a confession to make: I was not looking forward to Kneecap. I know they’re on the hottest bands on the planet right now, but after listening to some of their music online I thought this hip hop trio’s longish set might be a slog. It’s just not my thing. I didn’t account for that X factor that comes when you’re seeing an act like this live though. Their set was absolutely off the hook. They whipped the crowd into a frenzy, the likes of which I’ve never seen. The pit looked so much fun, but my broken collarbone was very glad I was well clear of it! Bottom line: I was entertained, and you can’t ask for more than that.
I wondered how Matt Corby might feel following up Kneecap’s wild performance. If he was intimidated, it didn’t show. He just came out and did his thing. What he does, he does so well. Matt’s another Aussie artist that I hadn’t seen up until this point, so it was exciting to finally get there. The set celebrated his evolution, from his folky breakthrough “Brother” to more recent soul releases. Whatever genre he turns his hand to, his musicianship so impressive and his voice is spine-tinglingly good.
My excitement hit fever pitch as The Frames’ set approached. I bought tickets to Misneach knowing only that Dermot would play, trusting him to allow the rest to fall into place. I didn’t expect he’d put my favourite Irish artist and Frames frontman Glen Hansard on the bill. Glen is the only artist that I have carte blanche to simply buy the concert tickets whenever he tours, no questions asked. We love him. And it’s been nine long years since he played in Australia. So much time has passed that Glen realised it was the first time his band was the oldest on a festival set, to rapturous applause. However, age is not wearying this outfit. The Frames are an Irish institution, and anyone who wasn’t already aware of that discovered why through their blistering set. From hard-hitting tracks like “Relevate” and “Fake” to gentler moments like “Star Star” and “Lay Me Down,” it was a masterclass. I only hope this all-too-short set helps Glen remember how good Aussie audiences are and we get the opportunity to see him playing a much longer show here sooner rather than later.
And then there was Dermot Kennedy, the man who brought it all together. It might just be the post-concert excitement talking, but I think he might be getting better. Or perhaps the gravity of seeing the festival he conceived brought to life gave him a little extra gas in the tank. But either way, he was in such fine form last night. His hour and a half set celebrated his albums Without Fear and Sonder, gave a nod to his first recordings, and acknowledged where he’s heading with the debut performance of “Let Me In.” It’s only been out in the world for a few days, but the choir of audience members joined him singing it as confidently as they did any of his past singles. This is the power of Dermot, a man who inspires such passion with his poetic, emotional music. He delivers a big show now with colourful screens, a full band, and backing singers, but that poetry, that heart, remains at the centre of what he does.
Dermot doesn’t usually do encores, but he made an exception this time, reuniting all the event’s musicians to join their voices and ours in the traditional Irish farewell, “The Parting Glass.” We didn’t take any photos, preferring instead to just drink in the moment. What a special way to say goodbye to the first ever Misneach.
Dermot said he’d see us all next year, so I guess my days of festivals aren’t far behind me at all. I won’t be able to rely on the accessible seating next year, but I had so much fun that I’ll willingly brave the crowds. Hopefully the weather is a little kinder to us in 2026!
Theatre fans in Australia have been spoiled of late with outstanding major musical productions playing our stages for the first time. They don’t always find their audience; the premature closure of Dear Evan Hansen is a prime example. But I do hope that the industry continues taking chances on “fresh” works. The latest is Hadestown, which took home eight Tony Awards in 2019 including best musical.
I must admit, that was nearly all I knew about Hadestown, but it was enough to encourage me to grab some tickets. Sure I knew it was based on Greek myth and was aware of the roles its original Broadway cast assumed, but I was essentially flying blind. I love experiencing art like that, letting myself get swept up in the story and songs.
It’s very easy to get swept up by Hadestown. The characters break the fourth wall from the start, encouraging you to become part of their world, or should I say worlds. The mortal world feels like a New Orleans speakeasy, vibrant and full of life, a stark contrast to the cold dictatorship of the Underworld. Against these backdrops, the love story of Orpheus and Eurydice plays out.
If you know your mythology, you know exactly how it plays out. If you’re paying attention to the songs, you know how it plays out. And yet, when this production reached its climax, you could hear an audible, collective gasp. We weren’t ready.
Any production that can draw its audience in as Hadestown does is a winner in my book. I was so emotionally invested. While the Broadway bones play a role, so too does what the Australian cast brings to it. What a special collection of artists they are. Christine Anu is the only big name, returning to the theatre stage so many years after her debut in Rent. Her Hermes is undeniably Aussie, warm and wise. I appreciate that she stamped her own mark on the role rather than simply following Broadway legend Andre De Shields’ lead. Abigail Adriano and Noah Mullins are so compelling as Eurydice and Orpheus, playing their roles with earnest, youthful enthusiasm. I doubted anyone could embody Hades as well as Patrick Page, but our own Adrian Tamburini gives the Broadway icon a run for his money. Elenoa Rokobaro is such an incredible chameleon as Persephone, sunshine and fire depending on what the scene needs. And that voice! Speaking of voices, the Fates gave me chills every time they launched into their exquisite harmonies.
While most musicals hide their musicians in an orchestra pit, Hadestown makes them part of the show. They add to that speakeasy feel, showcasing their incredible talents on the stage and interacting with the rest of the cast.
There’s so much to love about Hadestown, I sincerely hope that Eora/Sydney and Naarm/Melbourne audiences get behind it. I understand that the cost of living is high and there’s so much competing for your entertainment dollars, but it’s one of the most impressive works I’ve seen. Don’t let this one pass you by.
When I saw the then newly reunited Southern Sons perform at 2019’s One Electric Day, I begged for a tour. This iconic Aussie act disbanded when I was 14, so I was too young to catch them in their heyday. Their short set at One Electric Day was well … electric … but it left me wanting more. Last night, more than five years after those shows, my patience was rewarded. With a gig in my local area no less!
This isn’t quite the Southern Sons of old. Phil Buckle never rejoined his bandmates and with Virgil Donati overseas, the uber-talented Pete Drummond has taken over drumming duties. But that core trio of Reggie Bowman, Geoff Cain, and frontman Jack Jones ably steer the ship. Their camaraderie is evident, both with each other and new kid Pete. Even though there’s one less member, the Southern Sons sound has lost nothing. Their sublime harmonies, incredible musicianship, and Jack Jones’ incomparable voice shone through in every number.
As a fan, I relished the opportunity to hear a longer set. While I’ve seen Jack play countless times, it’s always been acoustic. He needed to wait to reunite with his bandmates and be amongst fans to bust out some of my old favourites like “Hold On to the Memory” and “Sometimes”. It’s funny how you can hear songs after so many years and find yourself singing along, even though you haven’t thought about their lyrics for years. Those deeper cuts provided some of my favourite moments, but of course I loved the bigger hits. Being amongst fans who could sing along to smashes like “Lead Me to Water” and “Always and Ever” more confidently than the recent crowd at Avoca Beach Theatre was fabulous. That solo Jack Jones gig was totally stripped back, but in this bigger show Southern Sons used technology to great effect. With screens and audio, we experienced Colin Hay joining the band for “Don’t Tell Me What’s Right” and John Farnham joining Jack for the duet that should have been, “Burn For You.”
I worried that during a full band show, Jack may not have been able to chat as easily with the audience as he did during the Avoca Beach Theatre gig. So I was thrilled to see him take a seat, grab an acoustic guitar, and regale us with some stripped-back songs and stories. He’s such a charismatic storyteller that I hung on his every word, even though I’d heard the tales before.
Jack’s chattiness has always charmed me, but I was less enamoured later in the set when he talked about his surprise that he hasn’t been cancelled, the way he walks that line, before chatting about how “chicks don’t have ding-dongs.” Of course, he’s entitled to voice his beliefs, but the casual transphobia left a sour taste in my mouth. The laughter that erupted from the crowd suggests I was in the minority, but I would have appreciated more music from the early 1990s and less of the era’s opinions. Honestly, it was a bit hard for me to regather my enthusiasm after that and sing along to “Heart in Danger.” I can only imagine how it might have hit any members of the trans community who may have been present.
It’s amazing how just a few sentences can mar a generous set that stretched on well past the promised hour and 45 minutes. Southern Sons didn’t put a foot wrong until they did, and it’s a shame that’s what I’m likely to remember most about this long-anticipated gig.
Southern Sons continue their 35th anniversary tour in Thurrural/Thirroul tonight. Limited tickets are still available for the following shows:
Damien Rice’s music captivated me from the release of his debut album O. Yet strangely, even though he’s a regular visitor to our shores, I hadn’t managed to catch him live. Those shows always clashed with others or came at the wrong time. So I made things right last night when he visited the beautiful State Theatre.
I thought I was in for a special night, but it exceeded my expectations. All too often musicians tour a set show. The songs mostly stay the same, they tell the crowd the same stories, simply subbing out city names where appropriate. The performances are carefully crafted to appeal to the masses, and to some degree it works. But when artists have such a clear plan, I think it can also undermine creativity, spontaneity, some of the foundations of music. So it was refreshing to see an artist like Damien Rice who throws out the rule book and gets back to basics.
Damien doesn’t use a setlist. Instead he relies on instinct and lets the evening play out as it’s supposed to. Sometimes he played the music that felt right for the moment, in others he agreed to the requests of his passionate audience or asked his talented cellist and vocalist Francisca Barreto what she felt like playing. He also doesn’t go for the usual staging either. There are no big screens behind him and lighting is minimal. That might not be ideal for photos, but I loved the intimate atmosphere these choices created.
I had my first inkling that this wasn’t any ordinary show when he played his first number, an unreleased track, on his knees hunched over a harmonium, a small light barely illuminating his face. I was mesmerised. He moved on to more familiar territory with “Delicate,” the opening track from O, but even though we all knew it you could hear a pin drop. It was almost as if we collectively worried that adding our own voices to the mix might break the spell.
It took until the eighth song for someone to yell out a request. “I Remember,” an excellent choice Damien was all too happy to oblige. This opened the floodgates for others to suggest their favourites. He was generous, delivering many songs the audience held dear. I’ve got to commend those vocal fans for choosing so beautifully. But all too soon he told us that he’d need to start wrapping up as people had work in the morning. How I love a musician who’s so considerate on a weeknight! And so, he gifted us with his breakthrough hit “The Blower’s Daughter” mixed with a little of Radiohead’s “Creep.” It was glorious from the start, but turning down all the microphones, so he was simply singing to us, made it magical.
Honestly, I hadn’t expected an encore. That song was so powerful, I wasn’t sure where he might go from there. But sure enough, he came back with Francisca and delivered a beautiful version of “Cold Water” silhouetted against the stage’s backdrop. I didn’t need to see them because I could feel them. Damien ended the evening with another unreleased track, bringing the evening full circle. On any other night these might have seemed like strange choices but on a night like this, which was more about appreciating music than singing along to it, it made perfect sense.
As I left the theatre, and again now as I relive it in my mind, one word echoes in my brain: transcendent. It means “beyond or above the range of normal or physical human experience.” That’s what this concert was for me. I see a lot of concerts. I love many of those shows. But I’m not sure I’ve ever experienced a night quite like this. Thank you Damien Rice.
Damien Rice continues his Australian tour in Mulubinba/Newcastle. There are limited tickets for that show at the Civic Theatre tonight before he plays his final sold out show in Meeanjin/Brisbane on Thursday.
