Tag: State Theatre

Posted on by Lauren Katulka

Damien Rice @ State Theatre, Eora/Sydney – 3 February 2025

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.

Photo credit: Stephen Katulka

Posted on by Lauren Katulka

Conchita Wurst & Trevor Ashley @ State Theatre, Sydney – 27 February 2020

My husband and I lovingly call Eurovision 2014 the “Year of Awesome.” I’ve watched the European song contest since the ’90s, but I can’t remember falling in love with so many acts. We still regularly bust out The Common Linnets, Pollaponk, Carl Espen, Basim, Paula Seling & Ovi, and more. We insist that on any other year, they could have taken the title. But it was the queen, Conchita Wurst, who held that trophy aloft. That she beat out such quality acts is testament to her magnetism. Her James Bond theme-esque “Rise Like a Phoenix” was a modern masterpiece, but her diva delivery added that exquisite X factor. She remains one of my favourite Eurovision winners to this day. My husband and I saw her at the Sydney Opera House on her debut Australian tour and we were back for more at the State Theatre last night.

This time around Conchita was sharing the spotlight with Trevor Ashley, one of her special guests on the previous tour. Trevor kicked off festivities, looking resplendent with a blonde wig and sparkly silver ensemble. I was in raptures through renditions of some of my favourite camp classics, hits from Barbra Streisand, Dusty Springfield, Peter Allen and the like. It was fabulous fun, a celebration of stellar vocals and theatrical performances. The accompaniment of that incredible orchestra elevated the songs even further, giving them just the right amount of gravitas.

I was having such a grand time with Trevor that I didn’t mind how long Conchita kept us waiting. When she did eventually grace the stage though, it was worth the wait. She’s ditched the long wigs, preferring the rock her natural cropped do these days. She’s beautiful either way, and looking every inch the star with her own sparkly silver dress and matching Christian Louboutin heels. Yes, I am envious. Conchita’s first set focused on her originals rather than singalong show tunes but I was still transfixed. She has so much charisma and her vocals are flawless. What a talent she is!

The second act saw more fabulous frocks and a greater emphasis on collaboration. Trevor and Conchita’s affection for one another is obvious and they bounce off each other delightfully. I loved their take on “Colours of the Wind” from Pocahontas and duelling James Bond themes: “Diamonds Are Forever” for Trevor, “The Writing’s on the Wall” for Conchita, a duet of “Goldfinger” and Trevor’s Shirley Bassey-take on Adele’s “Skyfall.” It wasn’t the only time Trevor surprised us with a perhaps not to surprising Shirley Bassey-esque cover. I couldn’t imagine how the glamorous Welsh Dame would sound belting out Foreigner’s “I Want to Know What Love Is,” but I’d be surprised if it didn’t sound just like Trevor’s rendition. Absolute genius. Special guest Kate Miller-Heidke also graced the stage in this half of the show. We were all keen to hear “Zero Gravity” but she made us wait a little, treating us instead to a number from her opera for kids, The Rabbits. It was another unexpected choice, but a beautiful one. And when she did finally get to last year’s Eurovision highlight, we got goosebumps. Conchita teased an early exit, but there was no way she could leave before “Rise Like a Phoenix.” I’ve seen her perform it countless times since 2014 but it has lost none of its potency. What a fitting end to a gloriously camp night with two, no, make that three, of the world’s greatest divas.

Image source: Stephen Katulka

Posted on by Lauren Katulka

David Campbell @ State Theatre, 4 October 2019

In the early 2010s, I’d see David Campbell several times a year. He’d regularly pack out RSLs on the back of his swinging cover albums, and I’d come back for more every tour. Then he got those pesky gigs on morning TV and radio and shows became few and far between. Looking back through my records, I hadn’t seen David perform since he was part of George Michael Praying for Time in 2017. My drought between solo shows stretched back to 2012. So, when he announced a limited number of shows supporting his Back in the Swing album, I snapped up tickets.

Things have certainly changed since the time I started seeing DC. He’s got little ones, and talk of them and his wife tends to dominate between-song banter. He’s so much busier. He sells out theatres now, and I can’t imagine him going back to an RSL any time soon. But in some ways, nothing has changed at all. I appreciate his steady gigs, but on stage is where he feels most at home. He’s mesmerising to watch, such a giving performer who always seems so in the moment.

This show really felt like a catch-up. If you hadn’t seen Dream Lover, or like me you just wanted to relive his starring turn in that musical, there was an extended section of Bobby Darin tunes. Ordinarily playing several songs from a new album is a risk, but when you’re returning to swing standards, arguably David’s most popular covers, it just makes sense. I loved hearing those new songs from his latest record: “Buona Sera,” “Make Love,” and “New York State of Mind” were highlights. Although I couldn’t help but feel a wee bit disappointed that Ian Moss didn’t surprise us and duet on my favourite song from the album, “In the Wee Small Hours of the Morning.” And you know DC can’t ever play a show without giving us a little Johnny O’Keefe.

But it was the songs that I didn’t expect to hear, that I was truly surprised by, that made the biggest impression on me. After seeing an artist so many times you assume everything but the new album tracks will feel familiar, but DC likes to throw in a few curveballs. I’d heard him play a few Louis Prima tracks in the past, but an extended passage of songs from my husband’s favourite swing artist had us in raptures. I was right there with David, wiping away a few tears when he sang Charles Aznavour’s “She” for his daughter Betty.

Watching David Campbell live again reminded me why I didn’t let a tour go by back in the day. I understand he’s a busy man these days, but I really hope he finds more time to get back on stage. It’s where he shines brightest.

Posted on by Lauren Katulka

Tim Minchin @ State Theatre, Sydney – 27 March 2019

The rise of technology has largely changed the concert-going experience. I often see people snapping photos on their phones or recording entire songs to watch later. In some cases I even observe people checking Facebook or messaging friends during lull moments. We’re so tied to the technology that taking a couple of hours out from it seems unthinkable. So it was refreshing to attend a show on Wednesday night where we told to put the phones on airplane mode, that we should take time out from the virtue signalling, that the sports scores wouldn’t change because we weren’t monitoring them. Thank you, Tim Minchin for creating an environment where we were all in the moment.

Of course, that means no photos, except for the one above I snapped while others were finding their seats. So you’ll just have to imagine his glorious ginger mane, his lean frame clad in black jeans and graphic T-shirt, those sparkling blue eyes framed in guyliner. You’ll have to imagine how furiously he banged on the piano. How he struggled to keep still when he was chatting to us, so he spent the time pacing the stage or performing lunges.

My husband and I have always enjoyed seeing Tim perform on comedy galas and the like, but this was our first introduction to his shows. Given the enthusiastic responses to different songs, I think we might have been in the minority. I kind of liked that though. There’s nothing quite like hearing punchlines for the first time. The laughs came thick and fast, but there was also time for Tim to sound off on the workings of modern society, how we treat one another, and the church. He touched on the George Pell ruling, although he wouldn’t play “that song,” feeling it has served its purpose. Although as any Tim Minchin fan knows, there are plenty of other songs with religious commentary that can still stand in. There were those moments that set my mind whirring, and others where Tim was declaring his love of cheese in a funk-soaked musical number.

While his was the name on the posters, this was no one-man show. He assembled a fantastic band, including Jak Housden (The Whitlams, The Badloves) and one of the tightest brass trios I’ve heard in a while. Even RocKwiz’s Dougal was on hand. I suppose he needs a gig since its axing! It all amounted to a whole lot of fun, laced with some serious social and political commentary. As the poster says, Tim Minchin is “Back,” and given the world’s current climate, just in time too.

Image source: own photo

Posted on by Lauren Katulka

Anthony Callea @ State Theatre, Sydney – 11 August 2018

In 2004, I voted for Casey Donovan. If you’d have told me then that I’d be making a trip into the city to see her Australian Idol competition Anthony Callea live, I would have laughed. It’s not that I didn’t think he was talented. His voice was always undeniable. But I didn’t quite connect to him as a performer.

I didn’t become an Anthony Callea fan until he released his album of George Michael covers in 2014. With every subsequent album release I became a little more of a fan. After arriving late to the party, it was a real thrill to see Anthony perform his ARIA Number 1 Hits in Concert show at the State Theatre in Sydney on the weekend.

While the concert celebrated Anthony’s last number one album, ARIA Number 1 Hits in Symphony, with the bulk of the show made up of those beloved covers, it was really a retrospective of his career. Original songs from recordings as early as his first EP were no doubt a real treat to the diehard fans who were there when it all began. For me, it gave me an opportunity to catch up on the music I missed.

While I appreciated the originals, Anthony’s excellent cover versions provided some of the show’s highlights. A stripped back mash-up of Whitney Houston hits “I Wanna Dance With Somebody” and “How Will I Know” performed with his childhood friends was really special. An unexpected take on Keith Urban’s “Tonight I Want to Cry,” a song that didn’t appear on any of the recent cover albums, brought tears to my eyes. And if you don’t get goosebumps when Anthony performs “The Prayer” I’d check for a pulse. I was also thrilled to hear a couple of those George Michael classics that converted me into a true fan. By the time “Freedom ‘90” came around, I was regretting my decision to buy seats in the circle. Bouncing around in my chair, near the sign that reminded us all standing up and dancing was strictly prohibited, I wished I was down the front in the thick of the action.

While the songs and Anthony’s incomparable voice took centre stage, his ease as an entertainer was what really struck me. He chatted easily with the crowd, regaling us with tales of his time in the music business. That included his time on Idol. When so many people shy away from acknowledging reality TV stints, his candour and appreciation for that experience was refreshing. Anthony apologised countless times for going off on tangents, but I don’t think any of us minded his rambling. If I want to hear someone simply sing, I’ll stay home and listen to the CD. I come to concerts for a real show, and those stories are such a key part of that.

As I sat on the train heading back to the Central Coast, I spotted several people wearing Pink! T-shirts, all smiles after seeing her perform at Qudos Arena. Her show was at the other end of the spectrum, a sell-out spectacular in a large arena. There were no such theatrics about Anthony’s show, unless you count his blingy clothes. But he didn’t need them. Some might say Pink! doesn’t either, that her voice and songs could stand up if all the fanfare was stripped away and that she simply puts on the kind of big show she does because she can. But I was reminded of something that Anthony said during the night, about how he loved Australian Idol for its simplicity. Our first TV singing show didn’t need use backing dancers or elaborate staging. What Anthony does now continues that tradition. In a world that constantly tries to up the entertainment factor, bringing a show back to an incredible voice, great songs, and a winning personality is so refreshing.

Anthony Callea wraps up his ARIA Number 1 Hits in Concert tour at the Palms at Crown in Melbourne on August 24.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Rob Thomas @ State Theatre, Sydney – 26 February 2016

When I was in my late teens and early 20s, one Matchbox Twenty or Rob Thomas show was never enough. I’d see multiple gigs, never wanting the tour to be over. They were so much fun, but the sets rarely changed from night to night. I’d get excited about the odd cover that was different and insist that was worth the price of admission alone.

So when I bought tickets for Rob Thomas’ State Theatre show, despite having plans to catch him at the Opera House Forecourt, I expected a similar scenario. What I got was two completely shows this tour, both wonderful in their own way. After the party atmosphere of the Opera House show, it was wonderful to have a quieter night and enjoy the intimate and personal vibe of the State Theatre show.

Rob downsized his band to a trio and delivered stripped back versions of songs, ensuring their lyrics came to the fore. It was so exciting to hear a new complexion to upbeat tracks I’d heard a couple of nights before like “This Is How a Heart Breaks” and “Lonely No More.” I also loved the chance to hear the songs that didn’t make Wednesday night’s performance. “Heaven Help Me” from The Great Unknown probably would have been lost in the electric set, but it was perfect for this more intimate evening. “Sunday Morning, New York Blue,” a track lifted not from an album but the Someday EP, was another welcome new addition.

But for a girl whose love for Rob’s music began with Matchbox Twenty, the number of tracks that came from his band was really exciting. Ordinarily Rob plays just a couple of Matchbox songs, preferring to stick to the solo material. However, the stars aligned on Friday night and we heard everything from hits like “Bright Lights,” “Disease,” and “Bent” to the moody “You Won’t Be Mine,” an album track from Mad Season.

Anyone who’s read this blog for a while knows I love an acoustic show. Jumping around and dancing to a band turned up to 11 is a blast, but it rarely moves me as much as sitting down listening to songs stripped back to their core. Add in personal stories about the origin of those songs and I’m sold. I’ve seen Rob Thomas perform many times, and I’m sure I’ll see him many more, but Friday night’s acoustic show is the one that will stand out from the rest. It was perfection.

Image source: Stephen Katulka

Posted on by Lauren Katulka

Prince @ State Theatre, Sydney – 21 February 2016

I feel like I’ve been floating on a bit of a cloud since Sunday night. Not even a workload so heavy that I haven’t been able to write up a review until now has been able to penetrate my post-concert haze. That is the feeling you get when you leave one of the very best concerts you’ve ever seen. That’s how I feel after witnessing the first State Theatre show of Prince’s Piano and a Microphone tour.

In true rock star style, Prince had us waiting half an hour after the time the show was scheduled to start before gracing us with his presence. Despite sitting alone, a result of the very strict two-limit ticket that forced my party of three to split up, I didn’t feel lonely. I was surrounded by amazing people whose enthusiasm for the Purple One matched my own. As we recounted tales of tours past and watched the officious security guards enforcing the “no photos” rule, the time flew. Certainly all was forgiven by the time the words, “Dearly beloved, we are gathered here today to celebrate this thing we call life” echoed from the speakers. Prince stood dramatically in silhouette at the back of the stage, pausing for applause before taking his place at the piano and launching into “Let’s Go Crazy,” a rollicking good time which set the tone for the evening.

This was exactly the intimate show I was hoping for. With just his voice, a kaleidoscopic projection screen, and a piano with synchronised synth strings triggered by the keys to give some songs a little more depth, Prince put on a show that reinforced what a special artist he is. The set list spanned the breadth of his discography, from early 80s songs like “Controversy” to “RockNRoll LoveAffair” and “Black Muse,” two songs from his new album HitNRun Phase Two. Covers of “Stand!” from Sly and the Family Stone and “A Case of You” from Joni Mitchell paid tribute to his influences.

Prince has always been an enigmatic figure, but I felt the walls came down on this tour. His version of “Love Thy Will Be Done,” which he wrote for Martika, was truly breathtaking. “I Love U In Me” was just as sexy as we all hoped it would be. We squealed with delight as Prince invited a dancing female fan up on stage to groove by his piano during “Raspberry Beret.” He again called for dancing reinforcements during “Kiss,” when he spotted a young boy boogying with some of the fastest feet I’ve ever seen. I was sure he might trip over as he danced frenetically to the obvious amusement of the Purple One. He invited us to sing the backup parts for “Cream,” and admonished us playfully when we would sing off key or encroach on his parts, insisting we’d need to start that bit again.

After seeing Prince perform with a full band in 2012, it was so exciting to see him bring a different complexion to these songs. There was a wistfulness about “I Could Never Take the Place Of Your Man” that I’d never heard before. “How Come U Don’t Call Me Anymore” had a soul that had me stamping my feet in appreciation. I’ve always considering Prince one of the most underappreciated guitarists of our time, but he’s also breathtaking on the piano. I marvelled as “The Question of U” morphed into Beethoven’s “Fur Elise.” On his third and final encore, Prince treated us to “Purple Rain,” the perfect song to close out an incredible night.

I have never spent $400 on a concert ticket before and I listened to plenty of people who said I was mad to do it this time. But this show was worth every single cent. I expected something magical for the price, and Prince delivered in spades. I feel so blessed to have been in the audience of this very special show, one of the very best I have ever seen and am likely to see.

Image source: own photo

Posted on by Lauren Katulka

Peter Cetera @ State Theatre, Sydney – 11 December 2015

It’s a big call to name someone “the voice of a generation.” It’s the sort of thing you typically read on marketing posters, knowing it’s about selling tickets more than the truth. But if there is an artist that’s earned that mantle, I think it’s Peter Cetera. My dad, the source of almost all of my early music knowledge, didn’t own one of his albums, yet the distinctive sound of his voice is one that’s synonymous with my childhood. I was reminded of that as the Sydney Symphony Orchestra took the seated crowd at the State Theatre on Friday night through a medley of his hits before the man himself came out. Whether with Chicago or out on his own, Peter Cetera truly was a musical force in the ‘80s. He still occupies a very special place in my heart today.

When Peter stepped out, my excitement was at fever pitch, even though I didn’t know the song “Restless Heart” that he started with. It gave me a little time to calm down before he brought out the big gun, “Glory of Love.” I could scarcely believe three songs in I was going to hear that song, the song that my husband and I danced our “first dance” to at our wedding, but there it was. When your discography is as loaded as Peter Cetera’s, you don’t need to wait for an encore to play the hits. And they kept on coming, all with the expert backing of the Sydney Symphony making these special songs even richer.

It’d be remiss of me to suggest this was the perfect concert. At 71 years of age, Peter’s voice is starting to show some limitations. He can still hit the high notes he’s famous for, but he can’t sustain them as he once could. When he’s in his comfort zone, he sounds just as good as he ever did though. He also cleverly surrounds himself with talented young musicians who can now do what he once did. Whether he’s singing a duet like “After All” with his gorgeous young backup singer Tania Hancheroff or sharing vocals on a song like “Hard Habit to Break” with his guitarist Chris Rodriguez, he knows when he needs reinforcements to make the songs sound as they should.

Peter Cetera’s passion also impressed me. He’s probably sung these songs more times than he can remember, yet he seems to genuinely enjoy sharing them with an audience. He sang with such enthusiasm, truly giving us everything he had. He also took the time to share fascinating facts about the songs and himself with us. Did you know “Glory of Love” was originally written for Rocky 4? Or that he wrote “You’re the Inspiration” for Kenny Rogers, who lost a serious hit when he passed on the track? Neither did I, and as a music trivia buff I loved discovering this stuff.

With a back catalogue as rich as Peter Cetera’s, it may seem impossible to hear every song you want, but I did. Even songs that I hadn’t remembered he did, like “After All” with Cher, and “No Explanation” from Pretty Woman. As he took his final bow after two encores, I clapped until my hands were sore.

Image source: Wikimedia Commons

Posted on by Lauren Katulka

5 Best Places to see Live Music in Sydney, NSW

The Entertainment Centre and Allphones Arena might get the lion’s share of the big-name acts, but there are plenty of better places to see bands in Sydney. Read on to discover five of the best.

1. Sydney Opera House

Image via Flickr by cogdogblog

There’s a reason why international artists revere the Sydney Opera House. Its Concert Hall was purpose-built to offer some of the best acoustics around. Of course it hosts symphonies and operas, but in recent years it’s also played host to an eclectic mix of big-name acts like Tori Amos, Ben Folds, Michael Buble, and Jason Mraz. Seeing a show there always feels extra special.

2. State Theatre

Image via Flickr by Eva Rinaldi Celebrity and Live Music Photographer

I get chills whenever I hear that one of my favourite musicians is performing at the State Theatre. This beautiful heritage-listed building feels a lot like the Civic in my old stomping ground of Newcastle, with its dramatic staircases and eclectic mix of Gothic, Italian, and Art Deco design features. The sound is always exquisite, and it’s so intimate that there really are no bad seats. David Byrne, Human Nature, Cyndi Lauper, and Dave Matthews Band are some of the amazing artists I’ve seen here over the years.

3. Enmore Theatre

Image via Flickr by Eva Rinaldi Celebrity and Live Music Photographer

The Enmore’s another intimate venue that has a real charm. It’s a long way from the beauty of the State; there are no frills about it at all. But you’ve got to have respect for a venue that’s still going strong 106 years after it opened its doors. That makes it the longest-running, currently operational live music venue in the state. The Rolling Stones, Counting Crows, Coldplay, and John Mayer are just a handful of the artists who’ve played in this hallowed hall.

4. The Annandale Hotel

Image via Flickr by Newtown Graffiti

Of course it can’t all be about posh venues with plush seating though. If you want to see a band before they break you need to brave the sticky floors of Sydney’s pubs and clubs. Some of my fondest early music memories centred around the Annandale. I remember catching artists like Howie Day and Thirsty Merc here for next to nothing back in the day. I haven’t been for years, but a quick look at its website shows me the Annandale’s still showcasing the best up and comers.

5. The Standard Bowl

I was so impressed with The Standard when I visited a few years ago, even if I did feel far too old for its hipster crowd. If, like me, you’re too old to stand around all night waiting for the bands to appear, arrive early and sneak up to the top level where you can enjoy a few bevvies while you survey the action below. I loved the bird’s eye view I got upstairs, but there’s also plenty of space on the lower level for punters wanting to get a little closer to the action. And it just got even cooler this year with the addition of a bowling alley!

Where do you like to see live music in Sydney? Add your views to the discussion below!

Posted on by Lauren Katulka

Tony Hadley @ State Theatre, Sydney – 1 November 2013

Tony Hadley seems to have developed a liking for Australia. He’s visited our shores four times in the last five years, which isn’t bad for someone who hasn’t had a hit for decades. The Spandau Ballet frontman peddles nostalgia, and he does it so well that I haven’t missed one of those recent tours.

I also continue to see Tony because he never rests on his laurels. Sure, he mostly sings the same songs, but it’s always packaged up just slightly differently. There was the tour with Paul Young, with his Spandau Ballet bandmates, with Go West, and now with a symphony. This was the most intriguing for me. I was curious to hear how Spandau’s legendary synth and guitar-driven sound would work with strings and wind instruments.

The result was honestly mixed. If it was simply Tony and the Sydney Symphonia musicians, I think the sound might have been more coherent. However, with those trademark electric guitars and keys still present, sometimes the sound got confused. Sometimes it seemed like the musicians were competing against one another, but in other places the marriage was perfect. It was certainly an interesting experiment, but not one that always worked.

The show was cleverly split up into two halves. The first saw Tony playing a few tracks from his soon to be released solo album as well as the songs that have influenced his career. This was really interesting for a music buff like me. I never imagined I’d get to hear him sing The Eagles’ “New York Minute,” “David Bowie’s “Life on Mars,” or “Jimmy Buffet’s “Time in a Bottle.” The latter was particularly touching, with stripped back instrumentation letting those beautiful lyrics come to the fore.

After intermission it was time for the Spandau Ballet hits that brought us there. These certainly took on a new dimension with the orchestral arrangements. I even found myself enjoying some songs, like “Muscle Bound,” which hadn’t struck a chord with me before. “Through the Barricades” was suitably epic, and the favourites “True” and “Gold” had everyone in the stalls dancing. What a shame the State Theatre’s “no dancing in the dress circle” policy prevented me from joining them!

No matter what he’s singing, Tony is the consummate professional. He’s trimmed down since his last visit to Oz, and I think it’s given him even more energy. His voice also only seems to get stronger as the years march on. He had the audience in the palm of his hand from the first song, and kept them there. He just doesn’t disappoint. That’s why I’m wondering when his next visit to our part of the world will be!

Image source: Stephen Katulka