Category: Concert Reviews

Posted on by Lauren Katulka

Tori Amos @ Opera House, Sydney – 16 November 2009

There are no casual Tori Amos fans. She is one of those rare performers who inspires passion, whether it’s negative or positive. Love her or loathe her, there’s no ignoring this flame-haired goddess. Her Sinful Attraction tour winged its way to Sydney’s Opera House last night, and I was thrilled to go along for the ride.

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The night opened up with the soulful sounds of Ray Mann. This young man with the old-school soul sensibility and his electric guitar was a strange choice for supporting Tori. She’s so unique that it’s always hard to find the right fit. The restless crowd told me though that he probably wasn’t it. It’s a shame because his songs were gorgeous, and his personality just as sweet. He told us that tonight, playing for his home audience at the iconic Opera House, was the best night of his life. Clearly he didn’t mind the chatty crowd and was just happy to play for those, like myself, who were happy to listen. I think he’s going to be embraced by the crowd on the Al Green tour he’s supporting next year. I have a feeling we’ll be hearing a lot more from Ray, which is a very good thing.

A roar of applause, a standing ovation, and then a hush as the previously talkative crowd gave itself over to the magic of Tori Amos. She appeared strong yet feminine in her black military jacket-style dress. It was slit at the sides, allowing Tori to sexily peek out her shapely legs clad in sparkly gold tights. She writhed on her piano seat with abandon, giving herself over to the power of her music. Put simply, she is a vision. I wish I’d known the Opera House wasn’t enforcing their no camera policy! As it is, you’ll just have to look at another one from the tour.

This was my third Tori show, and probably my favourite. A Tori set list is always surprising. She’s one of those artists who rarely plays the same song back-to-back. There are no guaranteed singles ready to make their appearance, no guarantees at all really. That may unnerve or even disappoint other music fans, but not Tori’s. Remember, she’s the artist who either love or loathe. And the people that love her, love everything she does. The favourite songs you hear are like gifts, beautiful unexpected gifts, and the ones you didn’t warm to on the recordings become so much richer for seeing them live.

This set list was more surprising than most though. Tori was here to promote her new album Abnormally Attracted to Sin, but you wouldn’t know it. “Lady in Blue” made an early appearance as an opener, and “Curtain Call” popped up near the end, but for the most part the new album was forgotten. For me, who’s often wished for more older material in her sets, this was a joyful blessing. Instead we were treated to more tracks from Scarlet’s Walk than any other, and the surprising addition of favourite B-sides like Here. In My Head and Take To The Sky. The latter was made more special with a little “I Feel the Earth Move” in the middle. I’d just bought Carole King tickets that same morning, so I gave an extra loud cheer.

There were so many highlights. “Silent All These Years” was one of those really important songs as I was growing up, and I gasped when I heard its familiar piano introduction. “Leather” was so deliciously sinful. Her cover of “Over The Rainbow” was one of the most moving live performances I’ve ever witnessed. “Merman” and “Putting The Damage On” were the perfect pair to end the perfect performance.

Tori told us that while every place you play as a performer is magical, there’s a little extra magic in taking to the stage at the Opera House. Clearly she loves to play here, and that showed in an amazing night of music. I feel truly honoured to have witnessed it.

Image source: ZUMA Press

Posted on by Lauren Katulka

John Mayer @ The Metro, 5 November 2009

In 2001 a fresh-faced guitar prodigy stepped onto the global stage and wowed us all. Eight years later it seems most people are more concerned with who John Mayer’s dating, and how he’s treating them than the music he makes. But not the crowd at The Metro on Friday night.

The packed house was made up of fan club members, their friends, some lucky Rove watchers, and the inevitable press. In short, these were people who didn’t care whether John Mayer was a love rat or not; they just loved him. I admit, I fall into the fan club members camp. Perhaps that makes my experience of the show a little biased, but what review isn’t to some degree?

How wonderful to return to the very place I first saw John Mayer play all those years ago. How wonderful to experience that with such a lovely crowd: one happy to stand without pushing or shoving, one who listened politely to the support act and who sang along enthusiastically to the main act.

That support act was the wonderful Georgia Fair. They humbly told us that this was the biggest audience they’d ever played to, but something tells me that won’t be the case for long. These guys are technically flawless, with compelling harmonies and gorgeous melodies. The combination of acoustic and electric guitars, unadorned by other instruments, worked a treat. The stripped back treatment drew us all in, despite most of us not knowing more than “Picture Frames.” They’re still a little green, but it’s only a matter of time before they gain some confidence and develop the stage presence to match their natural talents. I hope to see a lot more of these guys.

We loved Georgia Fair, but we were really there to see John. I was so keen to hear the new cuts from Battle Studies, but also hoped to hear some old favourites. John delivered on both scores, with a healthy mix of new material, tracks from his previous albums, and even a couple of covers. The first, Robert Johnson’s “Crossroads” features on Battle Studies, but for those of us who haven’t snuck a listen of the soon-to-be released CD it was simply a fantastic blast from the past. Later on, his brilliant acoustic cover of Tom Petty’s “Free Fallin’” made a well-received appearance. The new songs were all sensational. Again, there’s that bias creeping in, but I can’t wait to get my hands on a copy of this disc. The man still knows how to craft a pop-rock gem.

While I was thrilled to hear the new songs, I was just as excited about the older tracks. John could have easily played all the singles, but his careful and unexpected choices were perhaps more rewarding. There was no “No Such Thing,” no “Body is a Wonderland,” and no “Clarity.” Not that he forgot about singles altogether, with “Why Georgia,” “Bigger Than My Body” and “Daughters” all receiving roaring receptions. But it was the songs we weren’t sure we’d hear that really excited us. Watching two-thirds of The John Mayer Trio rip into “Who Did You Think I Was?” was a real delight. “I Don’t Trust Myself (With Loving You)” was another unexpected joy. And how proud I felt when John handed the vocals to us in “Gravity,” and told us that he loved us when we did such a great job.

Artists tell crowds that they love them all the time, but there was something different in this gig. I’ve seen John Mayer perform more times than I can count now, but I’ve never seen him quite like this. He was so very giving, from the songs he played to signing a few autographs during the show. He’s always great, but this time he was incredible. He told us of the dark place the media scrutiny of the last few years left him in, but there were no black clouds here. In rediscovering the music, it seems a weight’s been lifted from Mr Mayer’s shoulders. It was a joy to watch that. Concerts this special are rare, and I’m savouring the afterglow.

Posted on by Lauren Katulka

Joshua Radin @ Manning Bar, Sydney – 22 October 2009

On Thursday night I headed out to the Manning Bar to catch American singer-songwriter Joshua Radin. It was a show I approached with a strange mix of joy and trepidation.

I fell for this gorgeous guitar boy somewhere around the time he performed at Ellen DeGeneres’ wedding to Portia de Rossi. He appeared on the talk show queen’s program and it was instant. I was sucked into his beautiful words and mellow guitar strumming. I ordered his first album, and pre-ordered the second which was yet to be released from the United States. The chance to see him here on my home soil was one I wasn’t likely to pass up.

But boy I hate those sweaty bar gigs. I hate standing up for hours on end. I hate the heat. And generally I hate the crowds, who seem far more interested in chatting to their mates than hearing the band. When the show was changed from an intimate adults-only gig at the Oxford Arts Factory to a larger all ages show at the Manning Bar I seethed. I imagined all the young girls squealing over gorgeous Joshua.

But strangely enough, none of that went down. Yes it was hot and sweaty in the Manning Bar, but the crowd was one of the best I’ve ever had the pleasure of being a part of. This was probably due to the decision to keep all alcohol outside. While I was initially a little annoyed to make the choice between seeing the band or enjoying a cold beer, I came to appreciate the segregation. Those of us down near the stage were there because we wanted to be. We were quiet and attentive, and the performers loved it.

Sadly I missed the first act. My ticket said the show started at 8, yet their set was all over and done by then. Honestly, I can’t even remember the name I saw on the posters. If I did know it, I’d give them a plug to apologise for my missing their act.

I did catch Kyu though, two very cool girls creating the kind of ethereal music that wouldn’t be out of place at a Tori Amos concert. It had that same kind of magical vibe; a little bit banshee-like with wailing and drums, yet strangely compelling. I was initially sceptical but they sucked me in pretty quickly.

Then Joshua took the stage, and had me at hello. His set drew from both studio albums and his latest which is yet to be unveiled. The newer tracks were less intimate and more rock, but no one seemed to mind this change in direction, or the unfamiliar tunes. We also didn’t mind hearing all of the stories about the inspiration for his songs. How refreshing to be in a crowd that didn’t mind an artist pausing to reflect. He clearly appreciated it too, thanking us with all the sincerity of a person genuinely pleased to be playing for such a warm audience. This wasn’t the well-rehearsed shtick of a performing veteran; it was authentic joy at us hearing his words and embracing his songs.

The set included the usual suspects: “Today” was the song he sang at Ellen’s wedding, and “I’d Rather Be With You” got a nice run in a recent Home & Away commercial. But you never really know what you’ll get when a performer hasn’t released anything in our country. I was thrilled to hear my favourite song, “You Got Growin’ Up to Do.” It was originally recorded as a duet with Patty Griffin, and without a female voice on hand I definitely didn’t expect its inclusion in the set. What a thrill. I also loved his stripped back take on “Sky,” a request he happily took from a girl near the front row. How I love an artist who’s willing to play for the fans who brought them here.

Joshua hasn’t left yet, but he says he’s already anticipating a return journey. I’ll definitely be there to see him, even if I have to stand up all night in a sweaty pub to do it. Some performers are just that good.

Image source: own photo

Posted on by Lauren Katulka

The Script and Wes Carr @ The Enmore, Sydney – 26 September 2009

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On Saturday my husband and I headed into the city to catch The Script at Newtown’s Enmore Theatre. With reigning Australian Idol champ Wes Carr on supporting duties and a lovely intimate venue, this was one gig we were really looking forward to.

From the first moment the night didn’t disappoint. Clearly solid touring duties since winning the Idol crown haven’t taken their toll on Wes. He was every bit as energetic as I remembered, and he could sustain it for much longer than we saw on the Idol stage. This guy is a firecracker who knows how to rock. The set drew from his original material rather than his Idol covers, and it was all the richer for it. The Way The World Looks has spawned enough singles to keep the crowds happy, a good thing when you’re playing for a largely teenage audience.

They loved Wes, but they went nuts for The Script. I’m not sure I’ve seen anything like this since I followed Human Nature in the late ‘90s. There’s that same boy band hysteria surrounding them, even though their songs have more cred than a Backstreet Boys smash. The Script might be unashamedly pop, but the heart which underpins their songs separates them from the rest. Their debut album is one of those discs I’ve played to death this year.

Experiencing the songs in the live arena took them to the next level. The band had so much energy, and the crowd really responded to that. Or perhaps it was Danny O’Donoghue and his sexy black T-shirt whipping them into a frenzy. Either way, there was a lot of love in the room.

One of the great things about seeing a band promoting their debut album is that you know all the songs. It encourages the kind of sing-alongs we enjoyed in “The Man Who Can’t Be Moved.” I’ve never been a fan of “I’m Yours,” believing it to be a bit of romantic fluff, but stripping it back in the live arena with a lone acoustic guitar brought out its true beauty.

The Script closed the night with a cover of David Bowie’s “Heroes.” Danny sang it out, jumping around and waving an Irish flag with the word Sydney scribbled on it. The band thanked us so much for coming out and assured us that we were the best crowd of the tour. They probably say that every night, but it felt genuine. Clearly we left an impression on The Script, but it may not be as big as the one they left on us.

Image sources: own photo; Total Assault

Posted on by Lauren Katulka

Bimbadgen Blues, Roots, Funk, and Grooves @ Bimbadgen Estate, Hunter Valley – 12/9/09

On Saturday I made my second trip out to Bimbadgen’s annual Blues festival. It was a different experience to the last in more ways than one.

Firstly, the festival had a bit of a makeover this year. It’s now going under the name Bimbadgen Blues, Roots, Funk, and Grooves, but the changes aren’t simply about the name. The focus shifted to younger, more contemporary artists playing music that went beyond the traditional blues. If the crowds were any indication, the organisers are onto a winner with their vibrant new approach. Despite Coaster playing an hour away, the festival attracted plenty of 20-somethings keen to have a good time.

Unlike last year’s festival, the weather was on our side. While I left the festival soggy in 2008, the sun came out for an unseasonably warm day. It was lovely to bask in the summery conditions, but it made the lines at the bar seem all the more unreasonable. I’ve been a regular visitor to Bimbadgen Estate during A Day on The Green concerts and festivals, but I have never seen a line like this. It snaked all the way down the hill. I hoped to see it get shorter as the day wore on, but no such luck. When I eventually gave in and jumped onto the end of the queue, it took me an hour to get to the front. One bar simply wasn’t enough for a crowd of this size on such a hot day. Announcers apologised for the inconvenience, so I can only hope the situation will be remedied next time around.

While alcohol and sunshine are important elements of any winery concert, the real drawcard is the music. My sister and I parked ourselves near the vineyard stage just in time to see Dialectrix. I’m not the greatest fan of hip hop music, but I was still impressed by the freestyling skills. Anyone that can rap about chardonnay and their loyal fans down the front gets my vote.

The dancing girls near the stage got some company when Ash Grunwald appeared. Enthusiastic fans seemed to come from everywhere, desperate to get a little closer to this acclaimed blues and roots artist. This was music which got back to the blues sounds I love: earthy and primal with squealing guitars and dirty melodies. But I was faced with a dilemma. With so many folks dancing near the stage, surely this would be the best time to join that dreaded drinks queue, right? And so I did. It was still long, but not as terrible as I’d seen it before. Sadly I arrived back to my seat just as Ash was wrapping up his set. What I heard sounded fantastic, but I’d have loved to see more of it.

Settled down with my bubbly, I could really focus on Blue King Brown. On seeing them support Santana a few years ago I remember thinking they were technically amazing but lacking something. The tunes seemed repetitive, running into each other with little differentiation. They needed some hooks or melodies to draw us in, something to match the energy. I still felt that, but I couldn’t deny the effect they had on the crowd. Their performance was theatrical and vibrant, and while it wasn’t my favourite of the night it was compelling nonetheless.

After the buzz generated by Ash Grunwald and Blue King Brown, the mellow indie tunes of The Panics seemed like a little bit of a letdown. They were wonderful, but perhaps not the best choice of headliner. At least, that’s what the crowds leaving in droves led me to believe. I couldn’t fault the band, but they just didn’t have the electricity the audience seemed to want. It’s a shame, because they deserved a much better reception than this.

Bimbadgen Blues, Roots, Funk, and Grooves showed a lot of potential in its new guise. Not everything went smoothly, but I’m sure we’ll see those creases ironed out next year as the festival goes from strength to strength.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Ben Folds @ Opera House, Sydney – 31 August 2009

Last night I caught Ben Folds at the first of his three shows at the Sydney Opera House. It’s a strange thing to see this indie rock god perform at this opulent venue, but those contradictions are what make it so appealing.

The night kicked off with Oh Mercy, which was what I pleading for before too long. It’s not that they were bad per se, but they did bore me. My husband described them as diet polystyrene, and he wasn’t far off. The girls sitting near us said they couldn’t disagree more, but for me there was no passion and no hook. I couldn’t find anything to latch onto; both performance and tunes were bland from where we sat.

Oh Mercy could learn a lot from Ben Folds. He’s one man who will never be described as boring. He might spend most of the night sitting behind a piano, but he’s more compelling doing that than so many other artists are dancing around.

It’s funny: I’ve seen Ben Folds twice now and still only own one CD. But he’s one of those artists that you don’t need to know the songs intimately to enjoy. He’s a storyteller, and so you get sucked into that. Judging by the folks singing along around me, he seemed to play plenty of the crowd pleasers, but he also treated us to the equally well-received new material.

For me, those new songs were a highlight. I’d heard of his collaboration with novelist Nick Hornby, and was thrilled to experience some of it before the release. “Levi Johnston Blues,” based on the tale of the unfortunate chap who knocked up Bristol Palin, is destined to become an audience favourite in years to come.

Ben seemed to have a lot of fun, encouraging the audience to sing along in songs like “Zak and Sara” and “Not the Same.” With the audience seated all around the stage, Ben clearly got a kick out of the stereo effect. There was a lot of love in the room, with both Ben and the fans seeming thrilled to share this space. That’s why, even though I keep forgetting to buy the CDs, I never hesitate to snap up concert tickets.

Image source: ZUMA Press

Posted on by Lauren Katulka

The Badloves @ Lizotte’s, Newcastle – 29 August 2009

Long-time readers of my blog will know there are few things I enjoy more than a night out at the Central Coast’s hallowed venue, Lizotte’s. On Saturday I made the pilgrimage to check out its sister venue in Newcastle.

What an impressive spot. Somehow they’ve managed to bring the intimacy of Kincumber’s “cubby house” to a slightly larger space. It gave us a little more room to spread out, making the experience just a little more decadent. The waitstaff still have some work to do to replicate the excellent service we receive on the Coast, but the food was top notch. And the concert, well that was another thrill.

After blasting Polarity for much of last week, I was excited to see The Bloodpoets in the live arena. However my enthusiasm was matched by equal parts trepidation. I wasn’t sure whether my parents and their friends would warm to the heavier elements of this exciting new Aussie act. But I needn’t have worried. The beauty of producing such an eclectic album is that you can tailor your set to your audience. They toned things down a notch from the recording, embracing the poppier numbers rather than the darker rock songs. It worked. Everyone on my table raved about them, which is no mean feat considering the generation gap.

Next it was a trip back to my childhood with The Badloves. Their album Get on Board was one of the first I bought. I was just 13, and I thought Michael Spiby was the sexiest man alive. I remember being devastated when they split, as I wasn’t old enough to see them play the pub circuit. It’s rare to wait more than a decade to see a band, and my expectations were sky high. But the band met them. They’re still so tight, oozing bluesy cool. And yes, Michael Spiby still makes my heart skip a beat.

The set was largely a trip down memory lane, with a peppering of new numbers easily blending with the old. I sang my heart out to those beloved hits, “I Remember,” “Lost,” “Green Limousine,” and a rollicking version of “The Weight.” “Caroline” was notably absent, but they played so much it was hard to fault them for that. It took me a ridiculous amount of time to catch my first Badloves show. I promise not to leave it so long next time!

Image source: own photo

Posted on by Lauren Katulka

Eddie Kowalczyk @ The Enmore, 19 August 2009

I was just 14 years old when Live released Throwing Copper. I was just beginning to become an angsty and obnoxious teen, and the raw energy of songs like “I Alone,” ‘Selling the Drama,” and the monster hit “Lightening Crashes” struck a raw nerve. That sort of musical mark leaves an impression that never goes away. Last night I took a trip back to that period of my life, and saw Ed (or Eddie as he’s calling himself these days) Kowalczyk do his acoustic thing at the Enmore.

But before Ed there was Leena, an earnest and authentic Aussie singer-songwriter. There was nothing outstanding about her, no flash or frills. But her performance showed that you don’t need any of that when you’ve got good songs. She performed them in acoustic mode, in keeping with the evening’s theme. Stripped back to simply a guitar or keyboard, we could focus on her words and beautiful voice. While many chattered noisily at the bar, the seated audience were captivated. Oh how I appreciate a crowd content to listen.

Just like Leena, Ed reinforced that idea that you don’t need a big band, multimedia screens, or flying pigs if you’ve got the goods. In fact, his show may have been richer for the lack of bells and whistles. I’d seen Live play twice in my life, but never quite like this. Perhaps it was the intimate surrounds of the Enmore, a world away from the entertainment centres. Perhaps it was the stripped back acoustic style. Perhaps Ed’s just in a really good place these days. But it has never been quite this good.

Ed seemed at peace and genuinely happy to spend his evening with us. He seemed very open, spontaneous, laughing and joking with the audience members and encouraging us to sing, dance, become part of it all. There’s something special about rising to your feet, united with everyone else in the room “standing up for love.”

The set was a delight. After seven albums, I didn’t expect to hear all my favourites from Throwing Copper, or “Turn My Head” from Secret Samadhi, or both “The Beauty of Grey” and “Pain Lies on the Riverside” from Mental Jewelry. I was thrilled to hear anything from Mental Jewelry, that sleeper first album, at all. “Supernatural,” the Ed Chesnutt cover from the 1995 MTV Unplugged set, was another great surprise.

After three encores Ed closed the night with another cover, Bob Dylan’s “Blowin’ in the Wind.” It was a fitting end to an evening which really felt like a coming together. Live may be on hiatus, but Ed’s keeping these songs alive in the best possible way. He tells us he’ll be back. His return can’t come soon enough.

Image source: own photo

Posted on by Lauren Katulka

Counting Crows and The Who @ Hope Estate, Hunter Valley – 28 March 2009

Another weekend, another winery show. This time I was off to a relatively new Hunter Valley venue, Hope Estate.

Aussie rockers Dallas Crane kicked off the afternoon with a set that offered energy, but little variety. I must admit, I’m just not a Dallas Crane fan. Dave Larkin’s gravelly voice began to grate on me after not too long, and the tunes started to sound all the same. I guess they do what they do well, but it just seems like they do the same thing.

I was a lot more enthusiastic about the Counting Crows, but anyone who knows me wouldn’t be surprised by that. I’ve been a massive fan since the start, and since they’ve only toured Australia once before I was more than ready for a return set. As a fan it didn’t disappoint me, but I can see how many wouldn’t share my view.

The choice of Counting Crows as support act for The Who was a curious one. They’re just so different, and I could tell as I looked around the venue that the difference wasn’t one the bulk of the audience appreciated. I think the Counting Crows could too. And so it seemed that they played to those of us who cared, and disregarded those who didn’t. So there was no “Big Yellow Taxi,” no “Mr Jones,” but such fantastic music for those of us who knew the back catalogue.

I lapped up “Mrs Potters Lullaby,” the sprawling epic so long I never imagined it would make the set list. I was so thrilled to hear “Goodnight Elisabeth” and “Round Here.” I cherished the rambling free form jams and Adam Duritz’s utter abandonment. There is a man that leaves his heart on the stage, performing with such passion and commitment. I can only hope the Counting Crows make a return visit soon, because they deserve to perform for a crowd who really wants to hear them.

As the Counting Crows left the stage I commented to my husband that I couldn’t imagine how I could muster the same enthusiasm for The Who. Sadly I was right. Don’t get me wrong: I love The Who. But last time I saw them live, I remember seeing a lot of flaws. In fact, if the Counting Crows weren’t on the bill, I probably wouldn’t have bothered with a second outing.

But they were, and there I was, seeing a band that was good but just not quite as good as they used to be. Roger Daltrey still swings his microphone cord around like a demon, but his voice shows the ravages of time. Pete Townshend still rocks hard and shows plenty of personality, but there’s something missing. The band doesn’t sound as tight as they should be: I guess that’s what happens when you lose your drummer and bassist. Zac Starkey and Pino Palladino are both fine musicians, but there’s something missing.

While the sound wasn’t quite up to par, the hits everyone came to hear were there. The newer songs they played didn’t quite measure up, but mercifully they were few and far between. For the most part the crowd had all the nostalgic tracks they could hope for. And in many of those songs I could forget about the flaws and just enjoy the show. “I Can’t Explain” and “Anyway, Anyhow, Anywhere” came early, starting us all off on the right note. “You Better You Bet” has always been one of my favourites, and it didn’t disappoint here. And I loved hearing “Pinball Wizard” and “See Me, Feel Me” from Tommy.

The Who are getting on a bit, but by delivering the hits that made them famous they’re still put an enjoyable show. But for me the real stars of the night were the younger guys, the Counting Crows.

Image source: own photo

Posted on by Lauren Katulka

Jackson Browne @ Tempus Two Winery, Hunter Valley – 28 February 2009

On Saturday I was back in the Hunter Valley. The vineyard was different – Tempus Two Winery this time – but I was still ready to enjoy an evening of fantastic music. With a line-up including Tim Freedman, Richard Clapton, Toni Childs, and Jackson Browne, the quality of the show was never in doubt.

I was disappointed that Whitlam’s frontman Tim Freedman only had a half-hour set, but managed to cram so much into 30 minutes. For fans like me numbers like “Kate Kelly” and “You Sound Like Louis Burdett” were welcome surprises, while my parents were content to sing along to “Blow Up The Pokies” and “No Aphrodisiac.” We were also thrilled to see Tim had his happy face on. We’ve been to shows where he seemed to be in a filthy mood, so to see him joking easily with the crowd put a smile on everyone’s face.

Next up was Richard Clapton. There’s a reason why Richard is one of my favourite Australian performers. He never does a bad show. Always the consummate professional, he performs his butt off, delivering classic hit after classic hit. It didn’t take my mother and I long before our itchy feet got the better of us and we had to leave our seats to dance. Predictably there was a crowd of like-minded folks to the side of our seats also revelling in Richard’s brilliance.

Armed with more wine we settled ourselves back in our seats for Toni Childs. Toni was the unknown quantity for me on the tour, the only artist I’d never seen before. While I may not have been so familiar with her music, I was enthralled. She has such a voice, so rich and effortless. While her tunes were largely unfamiliar to this audience, they were instantly accessible. Old favourites “Many Rivers to Cross” and “Stop Your Fussin’” brought the house down.

Jackson Browne’s set is an interesting one for me to comment on. He’s such an accomplished performer, in fine voice with an easy character that’s so endearing. But for me the first half of his show felt labored. The set was made up of new songs from Time The Conqueror and slightly obscure older material, and it made the audience restless. While he performed these songs flawlessly, it seemed like we were all waiting for something to latch onto. I have no problem with artists showcasing their new songs, but I think you need to throw the crowd a bone every now and then.

That bone came about halfway through his set with the familiar rollicking piano intro of “Doctor my Eyes.” We all sang loudly, enthusiastically, rising to our feet with joy, so grateful to hear something we knew. That was the turning point for me. Yes there were songs I didn’t know, and yes there were songs I wish had found their way into their set. But it was all so easily forgiven.

I don’t normally condone people yelling out for songs, but I couldn’t fault the persistent gent who wanted to hear “Rosie.” And when Jackson obliged not long after “Doctor my Eyes,” you could have heard a pin drop. I do love an artist who listens to their fans and changes up their set to accommodate a special request.

“The Pretender” was breathtakingly awesome. “Running on Empty” had us all on our feet, singing with joy again. “The Load-Out” and its seamless segue into “Stay” was the perfect encore, even if it did seem to signal an end that came too soon.

I may have felt disgruntled at first, but Jackson won me over so that by the end of the night, like so many others I was begging him to stay. It may not have been a flawless set, but I know I’ll queue up for tickets next time Jackson is in town.

Image source: own photo