I thought I was going to resist the lure of Tori Amos tickets this time. I’d been spending too much on big-ticket concerts, the inevitable Christmas splurge was looming, and the last few of her albums hadn’t struck me the way that her earlier material had. But then a by-request show at the intimate City Recital Hall was announced and all of my calm, rational decision making flew out the window. When I was rewarded with front row seats in the closest box to the stage, it felt like confirmation that I’d made the right call. I wish I had some photos to show you just how close I was to the incomparable Tori, but considering that I listened to the “no cameras” warning on the back of the ticket you’ll just have to take my word for it. But I’m getting ahead of myself.
Before Tori we were treated to the musical stylings of Melbourne singer-songwriter Matt Walters. Now you might remember me gushing about Matt’s music way back in 2009 and 2010. He sort of fell off my radar in recent years, but I was so excited to see him doing his thing in the flesh, all stripped back with just an acoustic guitar and his incredible voice. He effortlessly moved from husky masculine tones to a soaring falsetto, and sang lyrics that I really connected with. I was in raptures, and actually kind of disappointed when he announced his last song. His set must have been six or seven songs long but it felt far too short for me, even though it meant we were that bit closer to Tori.
There’s such a wonderful energy about Tori Amos. I’ve seen her live a few times now and I’m always struck by her presence. Always a woman of few words, preferring to let her music speak, there was a little more banter between her and the crowd than I’ve seen at recent shows. Perhaps it was the intimacy of the venue, which holds only around 1200 people, that helped the walls come down.
The good people of Sydney didn’t disappoint when it came to helping Tori create the perfect set list. I was thrilled to hear “Putting the Damage On,” one of the five songs I submitted through her website, and “Northern Lad” and “Cooling,” the two songs I thought probably should have made my top five after I hit send, on the set list. Hearing those songs that have such a special place in my heart performed in person brought tears to my eyes. She also made me remember how much I loved tracks like “The Power of Orange Knickers” and “Sleeps with Butterflies,” even though I haven’t listened to The Beekeeper in ages.
I’m not sure I’ve ever seen Tori having as much fun on stage as she did last night. Cheeky songs like her cover of Rick Springfield’s “Jesse’s Girl,” “She’s Your Cocaine,” “Raspberry Swirl,” and that breakthrough single “Cornflake Girl” were all delivered with such joy and pure abandonment. She fed off the beautiful people in the crowd who gave her so much love all night. I sometimes found myself watching them, dancing in their seats, rapturous, punching their fists in the air. I sort of wish I was down there with them, even though I had such a great bird’s eye view.
When you’re asked to submit a list of songs you want to hear, it’s hard to walk away without wishing you heard a little more of them. But having said that, I think this was the most well-rounded, exciting, and satisfying Tori Amos show I’ve been to. Too often I’ve felt like I’ve heard more of the new album than I wanted to, at the expense of that rich back catalogue. Last night, not one song from Unrepentant Geraldines made the cut. It was a concert not for promotion, but for connecting with and giving back to the people who’ve been there from the beginning. I feel so privileged to have been a part of it.
Then it was Thirsty Merc’s turn to take the stage. It’s been such a long time since I saw them play, and they took me on a real trip down memory lane with their set. It was so cool hearing how they breathed new life into their material. So often an acoustic show delivers the same songs with quieter instruments, but Thirsty Merc took the opportunity to play around and make those early songs something new. I won’t lie, it wasn’t always successful. I felt the slowed-down version of “My Completeness” was sleepy, with none of the spark of the original. But with great risk comes great reward. “Katie Q” was a bit of a filler track on the band’s first album, but the jazzier live version had me tapping my feet. “Emancipate Myself,” the song that turned me on to the band all those years ago, and “Build a Bridge” were also real highlights.
That’s something I’ve always known. While I enjoyed his electro-pop singles, he first caught my eye on American Idol, where he showed a real depth and intensity, and a mean set of pipes. They were on full display at this show. Freddie had one of the best voices in the biz, and while Adam’s isn’t quite as rich he certainly hit all the right notes. That is an achievement in itself. His charisma really struck me though. If he felt daunted stepping into Freddie’s shoes, he didn’t show it. He didn’t try to be Freddie, but instead seemed confident in his own ability to entertain a crowd. He was sexy, naughty, and captivating. I was entranced.
The first came from 
Josh was there to promote his latest album, The Beginning and the End of Everything, an intimate recording which suited this setting perfectly. Apparently last time he had the full band in tow, but this time it was just Josh, an acoustic guitar, and looping machines to add some extra depth. This is an added dimension I’d never seen from Josh, and it was fascinated watching him at work. He treated us to choice cuts from his new album, but carefully balanced them with old favourites. It was wonderful to have Jack back on stage for a fabulously fun rendition of “Make You Happy.” Josh’s beautiful version of “Blackbird” made me wish I’d invested in tickets to that White Album concert.
Image source: Stephen Katulka
I’d told myself that “Alexander Beetle” was such a small song really that I wasn’t going to hear it. I was going to be happy with the big hits and whatever else she decided to play. And I probably would have been. There’s a wonderful aura about Melanie. She’s so warm and giving, and her voice has lost little over the years. Her band is stellar, especially her son Beau. His incredible guitar talents might only be matched by how sweet he is looking out for his mother.
I think it’s a good indication that a concert review is well overdue when you’re preparing to head out to another show and you still haven’t put your thoughts about the last one down. So a day before I venture back to Newcastle, I’m finally sitting down and casting my mind back to July 6 when I saw “Tim Freedman does Nilsson” at Lizotte’s.
Watching him up on stage, it seemed that he missed us too. Most artists that don’t visit Australia curse the journey and feel it’s much easier to stay away. Not John though. Problems with his vocal chords robbed him of his voice and left him no option but to stay at home and recover. It could have easily spelled the end of his musical career, but instead it helped him create the beautiful introspective Born and Raised and Paradise Valley. So he recuperated, and we waited, and he came back to us stronger than ever.
He might have enjoyed success on the pop charts, but I don’t see John as a singles guy. He was most at his element on songs which allowed him to stretch out a little more, to play with the arrangement and flex his enviable guitar skills. The free-form nature of songs like “Edge of Desire,” “I Don’t Trust Myself (With Loving You)” and the final song of the night, “Gravity,” really allow his talents to shine. His surprising, tender cover of Beyonce’s “XO” further highlighted his skills, and the inclusion of my favourite song from Born and Raised, “Walt Grace’s Submarine Test, January 1967” had me in raptures. The internet tells me he’d played it just seven times before, so seeing John performing it so simply with a steel guitar in Sydney was just heaven.
Image source: Stephen Katulka
Thankfully there was plenty more talent on the bill. While my formative years were spent perving on Mr Ryder, my mum’s were spent drooling over Daryl Braithwaite. She was transformed back into a 16-year-old as he took the stage and delivered hit after hit. Dazza’s another of those blokes who seems to lose nothing over the years. He hits those high notes with ease and always puts on such an amazing show. Singing out “The Horses” and “Higher than Hope” with the crowd was magic.
Next up was one of our favourites, Mr Richard Clapton. Oh how we love Richard. Having said that though, after such an incredible set from Daryl, Richard’s seemed to lack a little sparkle. I knew the majority of the songs from seeing him countless times in the past, but they seemed to leave a lot of people scratching their heads. “Girls on the Avenue” went down a treat though. Even when he’s not incredible, Richard’s still bloody good.
Incredible was what we got with another my of mum’s crushes, Ian Moss. The consummate professional, adored by the masses, he delivered a stellar set packed with the hits and a few surprised. As someone who remembers buying Matchbook on cassette (my first album bought with my own money if I’m ever on RocKWiz!), I was thrilled to hear him perform “Mr Rain.” The only thing better than Mossy solo is Mossy with Jimmy. We got a little Cold Chisel reunion during “When the War is Over” which was something I’ll never forget.
Next up were The Angels, the band with the biggest question mark for me. I was well aware of the split, and had wondered just how this incarnation would feel without Doc Neeson up front. I shouldn’t have worried. Rather than feeling like a pale imitation of the original, this Dave Gleeson-fronted outfit has a new lease on life. I might be a bit biased here. I’m Newcastle-bred, and many of the first pub gigs I ever attended were Screaming Jets shows. But he is the perfect frontman for this band he clearly loves so much. He brought real energy to the hits and won over the crowd from the get go. I’ve got to tell you though, the only thing weirder than seeing your parents chanting “that bit” in “Am I Ever Gonna See Your Face Again?” is watching your American husband’s reaction to it all. The poor boy was caught completely unawares. I love that despite eight years here, every now and again Aussie culture can throw him a curveball.
Jimmy Barnes teased us with his appearance during Mossy’s set. We were so ready for him, and he delivered. Jimmy was actually the first musician I ever saw live, way back in the Soul Deeper days, and I’ve been a massive fan ever since. It was a wonderful set which spanned his entire career. He rocked hard and we loved it. I found myself on my feet more often than not, and I screamed myself hoarse. God knows how he keeps up those vocals. Mossy came back to play a few Chisel numbers and it was every bit as special as that first appearance. This time I put my camera down and just soaked it in though. Wow. Being amongst that crowd singing out “Working Class Man” and “Khe Sahn” was out of this world.
There was a similar hush once Glen emerged with just his beat-up acoustic guitar. He stood on the very edge of the stage, as close as he could to his adoring crowd, as he sang “Say it To Me Now.” It was such a fitting choice, a song with a history that goes back to his time in The Frames, despite it reaching the masses in his breakthrough musical Once. His set drew heavily from these two chapters of his life, while also featuring some of his solo numbers.
