20 February 2020 at Melbourne Recital Centre - The New Pornographers
A 7 piece band on stage, viewed from Seat CC9. Lead by Carl Newman and Neko Case, the band performed an energetic set, showcasing their latest record 'In the Morse Code of Brakelights', but not ignoring the back calalog. Kathryn Calder supplied enticing keyboard and vocals, whilst Simi Stone was prominent on violin. Joe Seiders held the rhythm on drums.
A 7 piece band on stage, viewed from Seat CC9. Lead by Carl Newman and Neko Case, the band performed an energetic set, showcasing their latest record 'In the Morse Code of Brakelights', but not ignoring the back calalog. Kathryn Calder supplied enticing keyboard and vocals, whilst Simi Stone was prominent on violin. Joe Seiders held the rhythm on drums.
24 January 1997 - Patti Smith - Palais Theatre
That would be Patti Smith at the Palais Theatre way back in 1997. She had recently returned to performing, and her comeback album 'Gone Again' was recently released. She began the show with an incendiary performance of the title song, declaiming 'This is for Fred Smith. Don't forget him!' before hitting the lyrics from the first verse. The show was passionate and engaging over nearly 2 hours with the band in wonderful form. Many of the songs were from the latest album with an eclectic selection form the back catalogue. A heartfelt version of 'About a Boy', dedicated to the recently departed Kurt Cobain sticks in the mind, as does my narrow miss at collecting a signed sandwich platter, thrown into the crowd before a rousing encore of 'Gloria' sent the crowd out into the summer night with ears ringing. My first time seeing Patti live, and experience I try to repeat as often as I am able.
Edit your response
The link is to a competition to describe your best ever concert. Funny that my recollection does not quite tally with the setlist found online!
That would be Patti Smith at the Palais Theatre way back in 1997. She had recently returned to performing, and her comeback album 'Gone Again' was recently released. She began the show with an incendiary performance of the title song, declaiming 'This is for Fred Smith. Don't forget him!' before hitting the lyrics from the first verse. The show was passionate and engaging over nearly 2 hours with the band in wonderful form. Many of the songs were from the latest album with an eclectic selection form the back catalogue. A heartfelt version of 'About a Boy', dedicated to the recently departed Kurt Cobain sticks in the mind, as does my narrow miss at collecting a signed sandwich platter, thrown into the crowd before a rousing encore of 'Gloria' sent the crowd out into the summer night with ears ringing. My first time seeing Patti live, and experience I try to repeat as often as I am able.
Edit your response
The link is to a competition to describe your best ever concert. Funny that my recollection does not quite tally with the setlist found online!
Thursday 14 March 2019 at Melbourne Recital Centre - Neko Case
A very relaxed and pleasing performance by Case and her band. A strong focus on the recent 'Hell-on' album, but with many selections from the extensive back catalogue.
A very relaxed and pleasing performance by Case and her band. A strong focus on the recent 'Hell-on' album, but with many selections from the extensive back catalogue.
20 October 2018 at Melbourne Recital Centre - Songs for Woody, featuring Bruce Hearn and the Machinists with many special guests. Always good to kill some fascists with song.
14 July 2018 at Melbourne Recital Centre - My Friend the Chocolate Cake
A fine show by the Chocolate Cakes.. with tunes spanning their entire oevre
Set list is here
A fine show by the Chocolate Cakes.. with tunes spanning their entire oevre
Set list is here
![Picture](/uploads/1/6/7/8/16787882/p1050725_orig.jpg)
Sunday July 8 at Hamer Hall - Regina Spektor
A solo performance, just the warmly welcoming Regina Spektor, a grand piano, keyboards and turquoise guitar. When it came to percussion, a drumstick and a chair sufficed. Or clapping of the hands. She played 24 songs in the near 2 hour long set, bantering with the audience between numbers.
Setlist is here
A solo performance, just the warmly welcoming Regina Spektor, a grand piano, keyboards and turquoise guitar. When it came to percussion, a drumstick and a chair sufficed. Or clapping of the hands. She played 24 songs in the near 2 hour long set, bantering with the audience between numbers.
Setlist is here
![Picture](/uploads/1/6/7/8/16787882/p1050611_orig.jpg)
29 March 2018 at Melbourne Recital Centre - Seu Jorge
Seu Jorge is a Brazilian musician who was catapulted to world wide notoriety when asked by Wes Anderson's to contribute to the soundtrack of The Life Aquatic with Steve Zissou, These contributions were specifically, classic David Bowie songs, to be performed in Portuguese. And so it came to pass that Seu Jorge in a red beanie and blue pajamas came to the Recital Centre to play a tribute to David Bowie, with just his six nylon stringed acoustic guitar. In portuguese, with just a tinge of bossa nova, the songs were from 'Space Oddity', 'The Man Who Sold The World', 'Hunky Dory', 'Ziggy Stardust' and 'Aladdin Sane'.
Seu Jorge is a Brazilian musician who was catapulted to world wide notoriety when asked by Wes Anderson's to contribute to the soundtrack of The Life Aquatic with Steve Zissou, These contributions were specifically, classic David Bowie songs, to be performed in Portuguese. And so it came to pass that Seu Jorge in a red beanie and blue pajamas came to the Recital Centre to play a tribute to David Bowie, with just his six nylon stringed acoustic guitar. In portuguese, with just a tinge of bossa nova, the songs were from 'Space Oddity', 'The Man Who Sold The World', 'Hunky Dory', 'Ziggy Stardust' and 'Aladdin Sane'.
![Picture](/uploads/1/6/7/8/16787882/megan-washington_orig.jpg)
Friday 10 November - Megan Washington & the Impossible Orchestra
There was not much space to move on stage as Megan Washington wowed with a lush and bittersweet set of songs.
There was not much space to move on stage as Megan Washington wowed with a lush and bittersweet set of songs.
Saturday 22 April at Melbourne Recital Centre - Billy Bragg & Joe Henry
With the state of the world as it is, going from bad to worse at a rate of knots, why then, would Billy Bragg and Joe Henry be touring an album of classic American Train songs? Surely the barricades wanted manning? It was a good question that Bragg posed of himself during the introduction to the second set of selections from 'Shine a Light'. Back in March 2016, Trump, Brexit, Leicester City and Footscray were just ridiculous fever dreams. No one could be that stupid, surely.......
And so to the performance, which included all of the songs on the album, duets on acoustic guitar, and short sets by Bragg and Henry either side of an intermission to pad out the bar takings. The old train songs brought a melancholy air to the evening, a sense of the loss of past glories. The album had been recorded as Bragg and Henry travelled from Chicago to LA, via San Antonio, Stops en route enabled the perormers to set up their recording gear in the grand old stations, the temples to the American Railroad era, now almost totally devoid of passenger trains, just one a day between Chicago and San Antonio, every 2nd day between San Antonio and LA.
Either Bragg or Henry would introduce each selection with an anecdote or reflection, so it was in these interludes that we learned that without Huddie Ledbetter's 'Rock Island Line', there'd be no Lonnie Donegan, and hence no Beatles. We learned that the only boon which Billy Bragg had obtained in any dealings with the devil in room 414 at the Gunter Hotel in San Antonio (scene of Robert Johnson's only extant recordings), was the acquisition of the talent of yodelling, which he proceeded to demonstrate during Hank Williams' 'Lonesome Whistle'. We learned that Joe Henry had NEVER bought an embarassing recording (as distinct from the Bragg family admitting to Benny Hill's 'Ernie the Milkman'), his taste being demonstrated by the rendition of John Hartford's 'Gentle on My Mind'. A key aspect these songs is the train as the metaphor for escape, for movement, most poighnant in the prison songs, where the sound of the train whistle is the reminder to the prisoner of lost liberty. And we learn the true meaning of 'Midnight Special', and what is meant to have the light of the midnight train shine through the prison bars, its rays playing over the prisoner.The hope of parole beckoning.
The individual sets contrast Joe Henry's reticence about being political, and why Harry Belafonte made him rethink that stance, producing the brilliant 'Our Song', with Bragg's forceful defiance repurposing Dylan in 'The Times They ar a-Changin' Back'. Henry sings 'After the War', whilst Bragg responds with 'Between the Wars', a paen to compassion and tolerance in intolerant times. Henry tributes Alain Toussaint with 'Freedom For the Stallion', whilst Bragg introduces the audience to Anais Mitchell's precient 'Why We Build the Wall' ('we build the wall to make us free.....'). And Bragg sings us Melbourne's very own 'Yarra Song', still rooting for St Kilda, whist Henry laments the ground not being reliable and firm in 'Trampoline'.
There are further train songs in the encore, which includes Bob Dylan and Woody Guthrie songs, and reminds us that the folk on our island prisons and only refugees, just 'Ramblin' Round', hoping for shelter and succour.
(setlist here: http://www.setlist.fm/…/melbourne-recital-centre-melbourne-…
With the state of the world as it is, going from bad to worse at a rate of knots, why then, would Billy Bragg and Joe Henry be touring an album of classic American Train songs? Surely the barricades wanted manning? It was a good question that Bragg posed of himself during the introduction to the second set of selections from 'Shine a Light'. Back in March 2016, Trump, Brexit, Leicester City and Footscray were just ridiculous fever dreams. No one could be that stupid, surely.......
And so to the performance, which included all of the songs on the album, duets on acoustic guitar, and short sets by Bragg and Henry either side of an intermission to pad out the bar takings. The old train songs brought a melancholy air to the evening, a sense of the loss of past glories. The album had been recorded as Bragg and Henry travelled from Chicago to LA, via San Antonio, Stops en route enabled the perormers to set up their recording gear in the grand old stations, the temples to the American Railroad era, now almost totally devoid of passenger trains, just one a day between Chicago and San Antonio, every 2nd day between San Antonio and LA.
Either Bragg or Henry would introduce each selection with an anecdote or reflection, so it was in these interludes that we learned that without Huddie Ledbetter's 'Rock Island Line', there'd be no Lonnie Donegan, and hence no Beatles. We learned that the only boon which Billy Bragg had obtained in any dealings with the devil in room 414 at the Gunter Hotel in San Antonio (scene of Robert Johnson's only extant recordings), was the acquisition of the talent of yodelling, which he proceeded to demonstrate during Hank Williams' 'Lonesome Whistle'. We learned that Joe Henry had NEVER bought an embarassing recording (as distinct from the Bragg family admitting to Benny Hill's 'Ernie the Milkman'), his taste being demonstrated by the rendition of John Hartford's 'Gentle on My Mind'. A key aspect these songs is the train as the metaphor for escape, for movement, most poighnant in the prison songs, where the sound of the train whistle is the reminder to the prisoner of lost liberty. And we learn the true meaning of 'Midnight Special', and what is meant to have the light of the midnight train shine through the prison bars, its rays playing over the prisoner.The hope of parole beckoning.
The individual sets contrast Joe Henry's reticence about being political, and why Harry Belafonte made him rethink that stance, producing the brilliant 'Our Song', with Bragg's forceful defiance repurposing Dylan in 'The Times They ar a-Changin' Back'. Henry sings 'After the War', whilst Bragg responds with 'Between the Wars', a paen to compassion and tolerance in intolerant times. Henry tributes Alain Toussaint with 'Freedom For the Stallion', whilst Bragg introduces the audience to Anais Mitchell's precient 'Why We Build the Wall' ('we build the wall to make us free.....'). And Bragg sings us Melbourne's very own 'Yarra Song', still rooting for St Kilda, whist Henry laments the ground not being reliable and firm in 'Trampoline'.
There are further train songs in the encore, which includes Bob Dylan and Woody Guthrie songs, and reminds us that the folk on our island prisons and only refugees, just 'Ramblin' Round', hoping for shelter and succour.
(setlist here: http://www.setlist.fm/…/melbourne-recital-centre-melbourne-…
Thursday April 20 at Festival Hall - Patti Smith and Courtney Barnett
Blistering set from Courtney Barnett. Then Patti Smith and band came on Patti Smith for a final Melbourne show which was even more awesome than last Sunday's one, including 'Pumping My Heart' (in honour of Festival Hall's history as a boxing stadium, a brilliant rendition of 'A Hard Rain's a Gonna Fall', a magnificent 'Under the Southern Cross', plus a tour de-force performance of 'Land/Gloria' And as a bonus, the encore finished with a slashing 'Rock'n'Roll Nigger' and an ethereal unaccompanied 'Wing')
Setlist here with Courtney's here
Blistering set from Courtney Barnett. Then Patti Smith and band came on Patti Smith for a final Melbourne show which was even more awesome than last Sunday's one, including 'Pumping My Heart' (in honour of Festival Hall's history as a boxing stadium, a brilliant rendition of 'A Hard Rain's a Gonna Fall', a magnificent 'Under the Southern Cross', plus a tour de-force performance of 'Land/Gloria' And as a bonus, the encore finished with a slashing 'Rock'n'Roll Nigger' and an ethereal unaccompanied 'Wing')
Setlist here with Courtney's here
![Picture](/uploads/1/6/7/8/16787882/dsc09607_orig.jpg)
Sunday April 19 at Hamer Hall - Patti Smith
I scored front row seats at Hamer Hall, for an Easter Sunday rendition of Horses in its entirety, plus a greatest hits selection, and Patti's constant exhortation to the crowd to 'Use Your Voice'. Up close and personal, the power and the passion which which she performs her 'work' is hugely engaging. Left the theatre with ears buzzing following a chashing and discordant rendition of 'My Generation'
The set list is found here - www.setlist.fm/setlist/patti-smith/2017/hamer-hall-the-arts-centre-melbourne-australia-23e6c8cf.html
I scored front row seats at Hamer Hall, for an Easter Sunday rendition of Horses in its entirety, plus a greatest hits selection, and Patti's constant exhortation to the crowd to 'Use Your Voice'. Up close and personal, the power and the passion which which she performs her 'work' is hugely engaging. Left the theatre with ears buzzing following a chashing and discordant rendition of 'My Generation'
The set list is found here - www.setlist.fm/setlist/patti-smith/2017/hamer-hall-the-arts-centre-melbourne-australia-23e6c8cf.html
![Picture](/uploads/1/6/7/8/16787882/wdsc09546_orig.jpg)
4 February 2017 at the Maggotdome - Bruce Springsteen and the E Street Band
I'd scored last minute bargain $99 tickets to the show through the agency of long time friend Lilian Young, who is a big fan. Our seats were on the sunny side of the second level of this soccer stadium, named currently for an insurance company, but which resembles most particularly, a pile of maggots.
Arrived early, before the support bans (Diesel and Jet), who played enthusiastic sets before a sparse crowd. Lilian and I sheltered in the conveniently located AC corporate suites behind our seats out on the terrace, enjoying the bar and the facilities. But as the sun descended below the crests of the stands opposite, the increasingly dense crowd, and heightened murmur hinted at the arrival on the big stage of the main act, at just on 7:30pm.
Since the L-Plated president of the US had not done anything egregiously stupid in the past 2 days(concerning Australia at least), there was no need for the Boss to begin the show with an apology and special song as an 'embarrassed American', but he did once again kick off the show with 'American Land', as if in reference to counterproductive Executive Orders on immigration matters.
The 'fast four' are all introduced with the iconic countup '1., 2, 3, 4....', but the pace is slower on 'Lonesome Day' before exploding into the sequence of 'My love Will Not Let you Down', 'Out in the Street', 'Sherry Darling' and 'Hungry Heart '. Bruce's white shirt is already sweat-soaked, but one more dance tune is called for as the band flays 'Glory Days', before slowing down for the night's 2nd crowd sourced request, 'This Hard Land'. Then the piano tinkles the intro as the Fish Lady sings the to the tenements, Jazz man and junk man alike, the band segueing into 'new York Serenade', backed by lush strings.
Nils Lofgren blasts that serenity with a titanic intro solo to 'Prove It All Night'. A followup political statement in song, the Jimmy cliff standard 'Trapped' exclaims
'Good will conquer evil and the truth will set me free
And I know someday I will find the key'
and the brooding 'Youngstown' follows reminding Emperor Littlehands and his ilk that those to whom he has made promises, may not forget them, even if he does.
Now sir you tell me the world's changed
Once I made you rich enough
Rich enough to forget my name
Back to business, 'Cover Me' is followed by a rollicking 'Death to my Hometown', before the crown is exhorted to use their hand to 'Rise Up' from 'My City Of Ruins'. And then everyone is invited for a turn about the 'Cadillac Ranch'. It is an up and down world to be sure. Bruce and the Band sing 'I'm Goin'Down', but the crowd differs. They're 'Waiting on a Summer's Day', and everyone sings along, the girl pulled from the audience no more able to hold a tune than most everyone else! Then guitar solos ring out again for 'Because the Night' and 'Badlands'
Finally, Bruce unveils the kazoo, and plays the opening licks of 'Thunder Road'. The crowd roars and sings along as one. We're pulling out of here to wi-in.
Six songs make up the encore, beginning with 'Born to Run', house lights blazing, turning night into day as the suicide machines blaze down alongside those mansions of glory. The E Street Band returns to it rockabilly roots with 'Seven Days to Rock' (easy lyric for crowd singalong), before the obligatory crowd participation of 'Dancing in the Dark' brings half the mosh pit up on stage. Dancing grannies abound. There is a tribute to the 'Big Man' Clarence Clemmons in 'Tenth Avenue Freeze Out' before 'Shout' and 'Twist and Shout' round out the evening. Set List here
I'd scored last minute bargain $99 tickets to the show through the agency of long time friend Lilian Young, who is a big fan. Our seats were on the sunny side of the second level of this soccer stadium, named currently for an insurance company, but which resembles most particularly, a pile of maggots.
Arrived early, before the support bans (Diesel and Jet), who played enthusiastic sets before a sparse crowd. Lilian and I sheltered in the conveniently located AC corporate suites behind our seats out on the terrace, enjoying the bar and the facilities. But as the sun descended below the crests of the stands opposite, the increasingly dense crowd, and heightened murmur hinted at the arrival on the big stage of the main act, at just on 7:30pm.
Since the L-Plated president of the US had not done anything egregiously stupid in the past 2 days(concerning Australia at least), there was no need for the Boss to begin the show with an apology and special song as an 'embarrassed American', but he did once again kick off the show with 'American Land', as if in reference to counterproductive Executive Orders on immigration matters.
The 'fast four' are all introduced with the iconic countup '1., 2, 3, 4....', but the pace is slower on 'Lonesome Day' before exploding into the sequence of 'My love Will Not Let you Down', 'Out in the Street', 'Sherry Darling' and 'Hungry Heart '. Bruce's white shirt is already sweat-soaked, but one more dance tune is called for as the band flays 'Glory Days', before slowing down for the night's 2nd crowd sourced request, 'This Hard Land'. Then the piano tinkles the intro as the Fish Lady sings the to the tenements, Jazz man and junk man alike, the band segueing into 'new York Serenade', backed by lush strings.
Nils Lofgren blasts that serenity with a titanic intro solo to 'Prove It All Night'. A followup political statement in song, the Jimmy cliff standard 'Trapped' exclaims
'Good will conquer evil and the truth will set me free
And I know someday I will find the key'
and the brooding 'Youngstown' follows reminding Emperor Littlehands and his ilk that those to whom he has made promises, may not forget them, even if he does.
Now sir you tell me the world's changed
Once I made you rich enough
Rich enough to forget my name
Back to business, 'Cover Me' is followed by a rollicking 'Death to my Hometown', before the crown is exhorted to use their hand to 'Rise Up' from 'My City Of Ruins'. And then everyone is invited for a turn about the 'Cadillac Ranch'. It is an up and down world to be sure. Bruce and the Band sing 'I'm Goin'Down', but the crowd differs. They're 'Waiting on a Summer's Day', and everyone sings along, the girl pulled from the audience no more able to hold a tune than most everyone else! Then guitar solos ring out again for 'Because the Night' and 'Badlands'
Finally, Bruce unveils the kazoo, and plays the opening licks of 'Thunder Road'. The crowd roars and sings along as one. We're pulling out of here to wi-in.
Six songs make up the encore, beginning with 'Born to Run', house lights blazing, turning night into day as the suicide machines blaze down alongside those mansions of glory. The E Street Band returns to it rockabilly roots with 'Seven Days to Rock' (easy lyric for crowd singalong), before the obligatory crowd participation of 'Dancing in the Dark' brings half the mosh pit up on stage. Dancing grannies abound. There is a tribute to the 'Big Man' Clarence Clemmons in 'Tenth Avenue Freeze Out' before 'Shout' and 'Twist and Shout' round out the evening. Set List here
![Picture](/uploads/1/6/7/8/16787882/7853404.jpg?286)
29 March 2016 at Hamer Hall - The Decemberists
At Hamer Hall, an enthusiastic audience awaited 7 piece folk rock band 'The Decemberists', on a fine autumn evening. But first, feedback and eerie howling from support act Shakey Graves, whose half hour set was unexpected and engaging.
Lead singer Colin Maloy walks on stage, glass of wine in hand, and adresses his audience to thunderous applause. The remainder of the band join him during this opening number, which is followed by the infectious 'Cavalry Captain'. The material is heavy on selections from latest CD 'What a Terrible World, What a Beautiful World' (the two opening numbers, and 'Carolina Low' the highlights), and it's predesessor 'The King is Dead' (well represented by 'Calamity Song' and an upbeat 'Rox in the Box'), but not without delvings into the back catalogue, including 'O Valencia' and 'Culling of the Fold', from 'The Crane Wife', and 'Here I Dreamt I was an Architect' from 'Castaways and Cutouts'. After '16 Military Wives', the bald left tyhe stage, only to return for an extended encore, the first of 3, showcasing pieces form 'The Hazards of Love', a Hoodoo Guru cover 'Death Defying', 'The Mariner's Revenge Song' (with giant cardboard whale and crowdsourced screaming), to finish with the reserved 'Dear Avery'. A very satisfying and enjoyable show, with a younger demographic than last week's, many enthusiastically belting out the words to the tunes
Link to setlist here
At Hamer Hall, an enthusiastic audience awaited 7 piece folk rock band 'The Decemberists', on a fine autumn evening. But first, feedback and eerie howling from support act Shakey Graves, whose half hour set was unexpected and engaging.
Lead singer Colin Maloy walks on stage, glass of wine in hand, and adresses his audience to thunderous applause. The remainder of the band join him during this opening number, which is followed by the infectious 'Cavalry Captain'. The material is heavy on selections from latest CD 'What a Terrible World, What a Beautiful World' (the two opening numbers, and 'Carolina Low' the highlights), and it's predesessor 'The King is Dead' (well represented by 'Calamity Song' and an upbeat 'Rox in the Box'), but not without delvings into the back catalogue, including 'O Valencia' and 'Culling of the Fold', from 'The Crane Wife', and 'Here I Dreamt I was an Architect' from 'Castaways and Cutouts'. After '16 Military Wives', the bald left tyhe stage, only to return for an extended encore, the first of 3, showcasing pieces form 'The Hazards of Love', a Hoodoo Guru cover 'Death Defying', 'The Mariner's Revenge Song' (with giant cardboard whale and crowdsourced screaming), to finish with the reserved 'Dear Avery'. A very satisfying and enjoyable show, with a younger demographic than last week's, many enthusiastically belting out the words to the tunes
Link to setlist here
![Picture](/uploads/1/6/7/8/16787882/2159945.jpg?247)
19 March 2016 at Recital Centre - Steve Earle and the Dukes (and Duchesses)
Steve Earle and the Dukes played a pretty fine show. Blues, Bluegrass plus a liberal dose of Rock'n'Roll. Great view from the 3rd row
Steve Earle and the Dukes played a pretty fine show. Blues, Bluegrass plus a liberal dose of Rock'n'Roll. Great view from the 3rd row
![Picture](/uploads/1/6/7/8/16787882/6148977.jpg?306)
19 October 2015 at Hamer Hall - Laura Marling
As a counterpoint to the mayhem of 'Horses', my 'bonus third' concert selection for the Melbourne Festival was restrained and pure. Laura Marling sings songs of longing and sorrow, backed by double bass (Nick) and drums (Tom). The set began with an intense 20 minute rendition of 'Take The Night Off', from her 2013 album 'Once I Was An Eagle'. replete with repetitions guitar beats. Other highlights included 'Master Hunter', a fluffed line during the more well known 'ghosts'. and a crystalline 'Goodbyye England'. A wry anecdote contrasting the reality arriving of the town of Salinas with the imagined town from Steinbeck folloed the eponymous song. Covers of songs by Dolly parton, Chet Atkins and Jackson Frank. The 90 minute show was a great introduction to Marling's work.
The night was bookended by two unusual moments - the support act was so unassuming that he only identified himself after a stentorian voice from the back of the stalls yelled 'What's your name!!' (it was DD Dumbo, aka Oliver), and the Marling's announcement to the uninitiated that there would be no encore, so those wishing for one might like to consider the 2nd last song to have been the last.....so.. well, everyone is happy.
As a counterpoint to the mayhem of 'Horses', my 'bonus third' concert selection for the Melbourne Festival was restrained and pure. Laura Marling sings songs of longing and sorrow, backed by double bass (Nick) and drums (Tom). The set began with an intense 20 minute rendition of 'Take The Night Off', from her 2013 album 'Once I Was An Eagle'. replete with repetitions guitar beats. Other highlights included 'Master Hunter', a fluffed line during the more well known 'ghosts'. and a crystalline 'Goodbyye England'. A wry anecdote contrasting the reality arriving of the town of Salinas with the imagined town from Steinbeck folloed the eponymous song. Covers of songs by Dolly parton, Chet Atkins and Jackson Frank. The 90 minute show was a great introduction to Marling's work.
The night was bookended by two unusual moments - the support act was so unassuming that he only identified himself after a stentorian voice from the back of the stalls yelled 'What's your name!!' (it was DD Dumbo, aka Oliver), and the Marling's announcement to the uninitiated that there would be no encore, so those wishing for one might like to consider the 2nd last song to have been the last.....so.. well, everyone is happy.
![Picture](/uploads/1/6/7/8/16787882/4894096.jpg?306)
18 October 2015 at Melbourne Town Hall - 'Horses' - (Jen Cloher, Adalita, Courtney Barnett and Gareth Liddiard}
Forty years ago, in November 1975, I read a review in NME that alerted me to Patti Smith's stunning debut. Charles Shaar Murray's words are found at this link, and convinced me to go out and buy 'Horses'. It remains one of my all-time favourites. This Year, Patti Smith is touring a 40th Anniversary show in Europe and America, but not, alas, in the Antipodes. Fortunately, Jen Cloher, Courtney Barnett, Adalita and Gareth Liddiard were inspired to schedule a live performance of the album for the Melbourne Festival.
The Melbourne Town Hall was packed for the second of two Sold Out Shows. I was seated up on the balcony, the floor below packed with grey haired superannuated punks and their progeny. The pre-show was all Drones droning guitar, overlaid with snippets of Patti’s verse, segueing into a rendition of ‘Piss Factory’. The house lights dimmed, and backstage floodlight flared as Adalita declaimed the opening lines of ‘Gloria’ (Jesus died for somebody's sins, but not mine...) and the show was away. Courtney Barnett followed up with an Aussifed reggae rendition of ‘Redondo Beach’, before handing the microphone over to Gareth Liddiard, who proceeded to slaughter ‘Birdland’.
Fortunately, Adalita righted the ship with a blistering version of ‘Free Money’, which had the floors pounding. Then it was over to Jen Cloher whose ‘Kimberley’ was spritely, before Courtney Barnett returned to crash and burn through ‘Break It Up’, with a counterpoint guitar solo from Liddiard. Jen Cloher returned for a clear and masterful interpretation of ‘Land’, building from Johhny by the locker to the rousing of Rimbaud chant, dancing the Watusi into the Sea of possibilities which morphed to the finale - a Gloria reprise. Gareth Liddiard redeemed himself with a searing ‘Elegie’, before the whole company encored with a rousing and anarchic ‘My Generation’. Bows taken to thunderous applause the company skipped and pranced offstage. House lights up, and off into the night! A fitting celebration of one of the greatest pieces of rock music of all time.
Forty years ago, in November 1975, I read a review in NME that alerted me to Patti Smith's stunning debut. Charles Shaar Murray's words are found at this link, and convinced me to go out and buy 'Horses'. It remains one of my all-time favourites. This Year, Patti Smith is touring a 40th Anniversary show in Europe and America, but not, alas, in the Antipodes. Fortunately, Jen Cloher, Courtney Barnett, Adalita and Gareth Liddiard were inspired to schedule a live performance of the album for the Melbourne Festival.
The Melbourne Town Hall was packed for the second of two Sold Out Shows. I was seated up on the balcony, the floor below packed with grey haired superannuated punks and their progeny. The pre-show was all Drones droning guitar, overlaid with snippets of Patti’s verse, segueing into a rendition of ‘Piss Factory’. The house lights dimmed, and backstage floodlight flared as Adalita declaimed the opening lines of ‘Gloria’ (Jesus died for somebody's sins, but not mine...) and the show was away. Courtney Barnett followed up with an Aussifed reggae rendition of ‘Redondo Beach’, before handing the microphone over to Gareth Liddiard, who proceeded to slaughter ‘Birdland’.
Fortunately, Adalita righted the ship with a blistering version of ‘Free Money’, which had the floors pounding. Then it was over to Jen Cloher whose ‘Kimberley’ was spritely, before Courtney Barnett returned to crash and burn through ‘Break It Up’, with a counterpoint guitar solo from Liddiard. Jen Cloher returned for a clear and masterful interpretation of ‘Land’, building from Johhny by the locker to the rousing of Rimbaud chant, dancing the Watusi into the Sea of possibilities which morphed to the finale - a Gloria reprise. Gareth Liddiard redeemed himself with a searing ‘Elegie’, before the whole company encored with a rousing and anarchic ‘My Generation’. Bows taken to thunderous applause the company skipped and pranced offstage. House lights up, and off into the night! A fitting celebration of one of the greatest pieces of rock music of all time.
27 March 2015 at Elisabeth Murdoch Hall, Melbourne Recital Centre - The Waterboys
My first concert of the year, and it is the return of the Mike Scott's Waterboys. Just over a year has passed since I saw them last at Hamer Hall, and the band has morphed once more. This time, playing as a six-piece, and heavy on the blues, with Scott, fiddler extraordinaire Steve Wickham and drummer Ralph Simini ('survived 4 years in Van Morrison's band') joined by the swirling gospel inspired organ of Brother Paul, soaring lead guitar of New Yorker Zach Ernst and insistent basslines of Muscle Shoals’ David Hood. They are showcasing the band's strong new album 'Modern Blues', and kick off with a powerful rendering of its opening track 'Destinies Entwined', with Scott's angular scarecrow frame swinging, guitar thrusting and legs kicking to the rhythm. The follow-up is also from 'Modern Blues', and Scott spits out the words to 'Still a Freak', the band not missing a beat.
Scott pauses to describe the hall as 'Flinstonian', before delving into the past, way back to 1983 with first single 'A Girl Called Johnny' before returning again to the now with new single 'November Tale'. Then it is singalong time with 'Glastonbury Song' ('I just found God where he always was...'), two more cuts from Modern Blues in 'Rosalind' and 'The Girl Who Slept for Scotland' before another plunge into history with the rarely performed 'Three Day Man'.
'The Nearest Thing to Hip' laments the passing of quirky shops for the comatose High Streets of today (but Melbourne is OK because it has Brunswick Street!), and 'I Can See Elvis' imagines Presley as if he'd shed the management of the odious Colonel Parker and lived up to his 50s promise.
There are cheers when the first notes of 'Whole of the Moon' are recognised, and the audience are gifted with another extended singalong. But that is topped by a brilliant stripped back 'Don't Bang the Drum', with just Scott on piano and Wickham on fiddle making the song more a plea than a demand.
The band returns for a joyous 'Fisherman's Blues, followed by an extended 11 minute rampage through the new record's brilliant closing track 'Long Strange Golden Road' before returning for an encore of 'Purple Rain'. The band exits to about the 3rd standing ovation of the gig, and we file out of the auditorium realising that 8 of the 9 tracks of the new record have got an airing tonight, testament to the strength of the material. The future looks bright for the Waterboys.
Set List
Destinies Entwined
Still A Freak
A Girl Called Johnny
November Tale
Glastonbury Song
Rosalind (You Married The Wrong Guy)
The Girl Who Slept For Scotland
Three Day Man
Nearest Thing To Hip
I Can See Elvis
The Whole Of The Moon
Don’t Bang The Drum
Fisherman’s Blues
Long Strange Golden Road
Encore
Purple Rain (Prince cover)
http://www.thedwarf.com.au/live_review/20792/the-waterboys
My first concert of the year, and it is the return of the Mike Scott's Waterboys. Just over a year has passed since I saw them last at Hamer Hall, and the band has morphed once more. This time, playing as a six-piece, and heavy on the blues, with Scott, fiddler extraordinaire Steve Wickham and drummer Ralph Simini ('survived 4 years in Van Morrison's band') joined by the swirling gospel inspired organ of Brother Paul, soaring lead guitar of New Yorker Zach Ernst and insistent basslines of Muscle Shoals’ David Hood. They are showcasing the band's strong new album 'Modern Blues', and kick off with a powerful rendering of its opening track 'Destinies Entwined', with Scott's angular scarecrow frame swinging, guitar thrusting and legs kicking to the rhythm. The follow-up is also from 'Modern Blues', and Scott spits out the words to 'Still a Freak', the band not missing a beat.
Scott pauses to describe the hall as 'Flinstonian', before delving into the past, way back to 1983 with first single 'A Girl Called Johnny' before returning again to the now with new single 'November Tale'. Then it is singalong time with 'Glastonbury Song' ('I just found God where he always was...'), two more cuts from Modern Blues in 'Rosalind' and 'The Girl Who Slept for Scotland' before another plunge into history with the rarely performed 'Three Day Man'.
'The Nearest Thing to Hip' laments the passing of quirky shops for the comatose High Streets of today (but Melbourne is OK because it has Brunswick Street!), and 'I Can See Elvis' imagines Presley as if he'd shed the management of the odious Colonel Parker and lived up to his 50s promise.
There are cheers when the first notes of 'Whole of the Moon' are recognised, and the audience are gifted with another extended singalong. But that is topped by a brilliant stripped back 'Don't Bang the Drum', with just Scott on piano and Wickham on fiddle making the song more a plea than a demand.
The band returns for a joyous 'Fisherman's Blues, followed by an extended 11 minute rampage through the new record's brilliant closing track 'Long Strange Golden Road' before returning for an encore of 'Purple Rain'. The band exits to about the 3rd standing ovation of the gig, and we file out of the auditorium realising that 8 of the 9 tracks of the new record have got an airing tonight, testament to the strength of the material. The future looks bright for the Waterboys.
Set List
Destinies Entwined
Still A Freak
A Girl Called Johnny
November Tale
Glastonbury Song
Rosalind (You Married The Wrong Guy)
The Girl Who Slept For Scotland
Three Day Man
Nearest Thing To Hip
I Can See Elvis
The Whole Of The Moon
Don’t Bang The Drum
Fisherman’s Blues
Long Strange Golden Road
Encore
Purple Rain (Prince cover)
http://www.thedwarf.com.au/live_review/20792/the-waterboys
![Picture](/uploads/1/6/7/8/16787882/9638586_orig.jpg)
15 December 2014 at the Palais Theatre - Ian Anderson
Ian Anderson struts the stage of the Palais Theatre like a superannuated elf (or perhaps Alf Garnett, dancing on one leg and playing virtuoso flute solos). He fronts what must be the best Jethro Tull cover band in the World. He has lost most of the wild mane of hair, and sadly, much of the range of his voice. As a solution of sorts, actor Ryan O'Donnell, is the co-singer, filling the missing mid range and freeing Anderson on the flute.
The remainder of the band includes Florian Opahle on lead guitar, David Goodler on bass, John O'Hara on keyboards and Scott Hammond on drums. They are a good tight band, with Opahle's solos occassionally dazzling.
I was there with Steve Jones, a Tull tragic from way back. We fitted the demographic very well as we took our seats in the orchestra a dozen rows from the stage (old, grey, male...). The show opened with 3 selections from new album 'Homo Erraticus', with back projected feet tromping through images of the history of the British Isles from flooded Doggerland to Romans and Kings and even Isembard Brunel.
But the show is billed 'the Best of Jethro Tull, and indeed, with the aid of Salavdor Dali's melting clock and a digital timer, the back catalogue (mostly 60's and 70's given that the audience is of course 'Living in the Past') is well explored. A 30 minute rendition of 'Thick as a Brick' is the essential opener. The whole crowd sings the final 'Brick', amid thunderous applause. Anderson considers Gerald Bostock's possible future (psychiatric patient or Investment banker 'Banker Bets, Banker Wins'), before reminding the audience that he is 'Too Old to Rock'n'Roll, Too Young To Die'. He does not need the interval as he is 'a 67 year old man with a bladder of iron'. But we are sent off to the toilet of bar regardless.
After interval (or perhaps before, the show is timeless), selections include 'Sweet Dreams', 'Bourée', 'With You There To Help Me', 'Teacher', 'Critique Oblique;, 'Songs from the Wood' and 'Farm on the Freeway'. The show closes at a crescendo, with a thunderous 'Aqualung' preceding the only possible encore (and the backdrop video of a looming train dispelled any doubt) a highly incendiary 'Locomotive Breath'. The bows over, Steve and I shuffle out, skating away on the thin ice of a balmy evening and home.
Ian Anderson struts the stage of the Palais Theatre like a superannuated elf (or perhaps Alf Garnett, dancing on one leg and playing virtuoso flute solos). He fronts what must be the best Jethro Tull cover band in the World. He has lost most of the wild mane of hair, and sadly, much of the range of his voice. As a solution of sorts, actor Ryan O'Donnell, is the co-singer, filling the missing mid range and freeing Anderson on the flute.
The remainder of the band includes Florian Opahle on lead guitar, David Goodler on bass, John O'Hara on keyboards and Scott Hammond on drums. They are a good tight band, with Opahle's solos occassionally dazzling.
I was there with Steve Jones, a Tull tragic from way back. We fitted the demographic very well as we took our seats in the orchestra a dozen rows from the stage (old, grey, male...). The show opened with 3 selections from new album 'Homo Erraticus', with back projected feet tromping through images of the history of the British Isles from flooded Doggerland to Romans and Kings and even Isembard Brunel.
But the show is billed 'the Best of Jethro Tull, and indeed, with the aid of Salavdor Dali's melting clock and a digital timer, the back catalogue (mostly 60's and 70's given that the audience is of course 'Living in the Past') is well explored. A 30 minute rendition of 'Thick as a Brick' is the essential opener. The whole crowd sings the final 'Brick', amid thunderous applause. Anderson considers Gerald Bostock's possible future (psychiatric patient or Investment banker 'Banker Bets, Banker Wins'), before reminding the audience that he is 'Too Old to Rock'n'Roll, Too Young To Die'. He does not need the interval as he is 'a 67 year old man with a bladder of iron'. But we are sent off to the toilet of bar regardless.
After interval (or perhaps before, the show is timeless), selections include 'Sweet Dreams', 'Bourée', 'With You There To Help Me', 'Teacher', 'Critique Oblique;, 'Songs from the Wood' and 'Farm on the Freeway'. The show closes at a crescendo, with a thunderous 'Aqualung' preceding the only possible encore (and the backdrop video of a looming train dispelled any doubt) a highly incendiary 'Locomotive Breath'. The bows over, Steve and I shuffle out, skating away on the thin ice of a balmy evening and home.
19 August 2014 at the Palais Theatre - Bob Dylan
At the Palais of a chilly Tuesday night, The stage is backlit by golden lamps and Bob Dylan is for the most part in shadow. He is most of the way through croaking and crooning 'Spirit on the Water', when the crowd reacts to the now famous lyrics - it's a classic call & response.
'You think I'm over the hill, - audience yells 'No!
you think I'm past my prime. - audience disagrees again 'No!!'
Let's see what you got.
We can have a hell of a time.' - cheers and agreement from all
And a hell of a time was had by all in a short and tight concert, featuring principally songs from the current millennium, and the 73 year old's last half dozen records. It is by no means a greatest hits show, instead a glance to the future. While his voice may growl, fade and croak, his harmonica sounds clear as a bell, becoming his second voice.
The five-piece band featuring Charlie Sexton (lead guitar), Stu Kimball (rhythm), Tony Garnier (Bass), Donnie Herron (multi) and George Recile (drums) establishes a club-show mood. Dylan's swaps between standing at a quartet of microphones and sitting at the grand piano. He leaves the guitar work to the band these days.
Dylan says just seven words to the audience 'We thank you. We're having a break' before heading off for intermission. The band let their instruments do the talking through the 100 minutes of music. Highlights include 'Workingman's Blues #2', Long and Wasted Years (with its distinctive descending guitar riff), Love Sick, and Early Roman Kings, where Bob's voice is it's most distinct and a rollicking Duquesne Whistle.
The encore is a blast form the past, with a restrained version of All Along the Watchtower' building to a crescendo, before the closing 'Blowing in the Wind'. Bob and the band gather for a brief bow, then disappear into the shadows. Will we ever see him again?
http://www.bobdylan.com/us/tour/2014-08-19-palais-theatre
At the Palais of a chilly Tuesday night, The stage is backlit by golden lamps and Bob Dylan is for the most part in shadow. He is most of the way through croaking and crooning 'Spirit on the Water', when the crowd reacts to the now famous lyrics - it's a classic call & response.
'You think I'm over the hill, - audience yells 'No!
you think I'm past my prime. - audience disagrees again 'No!!'
Let's see what you got.
We can have a hell of a time.' - cheers and agreement from all
And a hell of a time was had by all in a short and tight concert, featuring principally songs from the current millennium, and the 73 year old's last half dozen records. It is by no means a greatest hits show, instead a glance to the future. While his voice may growl, fade and croak, his harmonica sounds clear as a bell, becoming his second voice.
The five-piece band featuring Charlie Sexton (lead guitar), Stu Kimball (rhythm), Tony Garnier (Bass), Donnie Herron (multi) and George Recile (drums) establishes a club-show mood. Dylan's swaps between standing at a quartet of microphones and sitting at the grand piano. He leaves the guitar work to the band these days.
Dylan says just seven words to the audience 'We thank you. We're having a break' before heading off for intermission. The band let their instruments do the talking through the 100 minutes of music. Highlights include 'Workingman's Blues #2', Long and Wasted Years (with its distinctive descending guitar riff), Love Sick, and Early Roman Kings, where Bob's voice is it's most distinct and a rollicking Duquesne Whistle.
The encore is a blast form the past, with a restrained version of All Along the Watchtower' building to a crescendo, before the closing 'Blowing in the Wind'. Bob and the band gather for a brief bow, then disappear into the shadows. Will we ever see him again?
http://www.bobdylan.com/us/tour/2014-08-19-palais-theatre
![Picture](/uploads/1/6/7/8/16787882/4688270.jpg)
26 June at The Recital Centre - Melanie - People in the Front Row Tour
Melanie gave a delightfully intimate concert in the beautiful Elizabeth Murdoch Hall ('what a beautiful place, it's like playing inside a tree') at Melbourne's Recital Centre. Full of old songs, new songs and her rambling commentary between them, the concert showcased a sometimes forgotten talent. She last played in Australia in 1977, twelve sold out shows at Dallas Brooks Hall, on the back of the album 'Photograph', and began this return visit by singing to 'The People in the Front Row' and wondering just how she got to be old, exhorting the 60 year old women in the audience to sing along with her.
Throughout the concert, her son Beau, made sure his Mum's guitar was in tune, in between playing fine flamenco and electric cello. The band also included Andrew Worboys on piano, Dave Hatch on drums and Tina Harris on bass.
The highlights included an extended version of 'Look What They've Done to My Song Ma?', imagined as the movie of the performer's life, complete with breakdown and triumphal return (roll end credits), and a reminiscence of her performance as an unknown 19 year old at Woodstock (from nobody to celebrity), before a rousing rendition of the song it engendered (Candles in the Rain), segueing into 'Give peace a Chance and the reprise of new tune 'Angel Watching Over You', complete with Melanie rapping. The lady still believes that 'men can live as brothers', and left stage to a standing ovation, before returning to sing 'Ruby Tuesday' before farewelling the crowd with 'Hushabye'.
http://www.setlist.fm/setlist/melanie/2014/melbourne-recital-centre-melbourne-australia-1bc19d90.html
Melanie gave a delightfully intimate concert in the beautiful Elizabeth Murdoch Hall ('what a beautiful place, it's like playing inside a tree') at Melbourne's Recital Centre. Full of old songs, new songs and her rambling commentary between them, the concert showcased a sometimes forgotten talent. She last played in Australia in 1977, twelve sold out shows at Dallas Brooks Hall, on the back of the album 'Photograph', and began this return visit by singing to 'The People in the Front Row' and wondering just how she got to be old, exhorting the 60 year old women in the audience to sing along with her.
Throughout the concert, her son Beau, made sure his Mum's guitar was in tune, in between playing fine flamenco and electric cello. The band also included Andrew Worboys on piano, Dave Hatch on drums and Tina Harris on bass.
The highlights included an extended version of 'Look What They've Done to My Song Ma?', imagined as the movie of the performer's life, complete with breakdown and triumphal return (roll end credits), and a reminiscence of her performance as an unknown 19 year old at Woodstock (from nobody to celebrity), before a rousing rendition of the song it engendered (Candles in the Rain), segueing into 'Give peace a Chance and the reprise of new tune 'Angel Watching Over You', complete with Melanie rapping. The lady still believes that 'men can live as brothers', and left stage to a standing ovation, before returning to sing 'Ruby Tuesday' before farewelling the crowd with 'Hushabye'.
http://www.setlist.fm/setlist/melanie/2014/melbourne-recital-centre-melbourne-australia-1bc19d90.html
![Picture](/uploads/1/6/7/8/16787882/3692037.jpg?193)
30 May 2014at the Flying Saucer Club in Elsternwick.
A return date with Mr Hitchcock, attended by Minuk and Lilian, who were less impressed with Robyn's eccentric commentary than I was. The Flying Saucer Club is an intimate venue, our seats were right in front of the stage. Robyn played a solo acoustic set, including great versions of 'Visions of Johanna' and 'Desolation Row', whilst after a short interval, returned with Chris from Brisbane on guitar, Em on vocals and Dave from a folk club in Cambridge on violin and mandolin, to play a menacing 'Senor', and exuberant 'Simple Twist of Fate' and a serene 'I Shall Be Released' with Em sharing the vocals.
http://www.flyingsaucerclub.com.au/gig/robyn-hitchcock/
A return date with Mr Hitchcock, attended by Minuk and Lilian, who were less impressed with Robyn's eccentric commentary than I was. The Flying Saucer Club is an intimate venue, our seats were right in front of the stage. Robyn played a solo acoustic set, including great versions of 'Visions of Johanna' and 'Desolation Row', whilst after a short interval, returned with Chris from Brisbane on guitar, Em on vocals and Dave from a folk club in Cambridge on violin and mandolin, to play a menacing 'Senor', and exuberant 'Simple Twist of Fate' and a serene 'I Shall Be Released' with Em sharing the vocals.
http://www.flyingsaucerclub.com.au/gig/robyn-hitchcock/
![Picture](/uploads/1/6/7/8/16787882/5944640.jpg)
3 May 2014 at the Playhouse. Robyn Hitchcock, Steve Kilbey ands Dave Mason
A great concert at a great venue. Dave Mason (The Reels) was engagingly funny and still has a fine voice. Steve Kilbey (The Church), was intense and powerful. Robyn Hitchcock was eccentric and electric and a real hoot to boot. He played songs from 'Ole Tarantula', which I even recognised(!). Each played a 50 minute set, then Steve & Robyn played together, closing with a slashing version of Lou Reed's 'Heroin' followed by the Stones' 'Dead Flowers'.
http://www.artscentremelbourne.com.au/whats-on/popular-music/robyn-hitchcock-and-steve-kilbey — at The Playhouse.
A great concert at a great venue. Dave Mason (The Reels) was engagingly funny and still has a fine voice. Steve Kilbey (The Church), was intense and powerful. Robyn Hitchcock was eccentric and electric and a real hoot to boot. He played songs from 'Ole Tarantula', which I even recognised(!). Each played a 50 minute set, then Steve & Robyn played together, closing with a slashing version of Lou Reed's 'Heroin' followed by the Stones' 'Dead Flowers'.
http://www.artscentremelbourne.com.au/whats-on/popular-music/robyn-hitchcock-and-steve-kilbey — at The Playhouse.
![Picture](/uploads/1/6/7/8/16787882/7642812.jpg)
Enjoyed a scintillating concert by Muse, at Rod Laver Arena. Support act 'Birds of Tokyo' played a fine set, closing with 'Lanterns' an ode to the modern lantern - the mobile phone torch! - which much of the crowd indeed held high. During interval, black clad minions high above the stage made the final connections to the setpiece inverted pyramid, with, it seemed, most of the plasma screens in the surrounding area. The lights dimmed and the words of 'The 2nd Law: Isolated System' set the show in motion. Highlights included a rousing 'Hysteria' (with the first of many nods to others in the 'Back to Black' outro), which was followed by 'Knights of Cydonia' (harmonica courtesy Ennio Morricone) and the light show enhanced 'Madness' and 'Stockholm Syndrome'.
The arrowhead platform poking into the moshpit was rather underused, though Matthew Bellamy would make occasional dashes out there to rouse the moshers, before scurrying back to the safety of the plasma saturated stage.
The finale included a singalong version of 'Uprising', the crowd indeed were victorious!, before a 2 song encore, the first 'Starlight', a shout-out to Nelson Mandela and 'Survival' closing out as the plasma screens flickered out.
Setlist below, and some pictures in the gallery
http://www.setlist.fm/setlist/muse/2013/rod-laver-arena-melbourne-australia-5bc413c0.html
The arrowhead platform poking into the moshpit was rather underused, though Matthew Bellamy would make occasional dashes out there to rouse the moshers, before scurrying back to the safety of the plasma saturated stage.
The finale included a singalong version of 'Uprising', the crowd indeed were victorious!, before a 2 song encore, the first 'Starlight', a shout-out to Nelson Mandela and 'Survival' closing out as the plasma screens flickered out.
Setlist below, and some pictures in the gallery
http://www.setlist.fm/setlist/muse/2013/rod-laver-arena-melbourne-australia-5bc413c0.html
![Picture](/uploads/1/6/7/8/16787882/5712436.jpg)
The first concert I ever attended was a 1972 performance by Don McLean at Festival Hall. Just Don, a chair and his guitar (plus occasional banjo) at the height of the popularity of 'American Pie'.
So I was looking forward to I was looking forward to this reprise 40 years on. Country singer Catherine Britt played the support act, gifting seven of her own songs, and 'Big Rock Candy Mountain'.
Don was onto the stage preceded by his Nashville band members: Tony Migliore (keyboards, piano), David Smith (bass guitar), Vip Vipperman (guitar), and Jerry Kroon (drums), and bounced out on stage, having stolen Donald trump's hair, and opining that the largely greyhaired crowd was 'a great audience!', and launched into Buddy Holly's 'Everyday'. It took a while for the sound balance to be corrected, with Don's voice too far back in the mix. There were new songs ('Addicted to Black' - a perfect Melbourne Song), 'In A museum', 'I Was Always Young', some I'd never heard before ('Superman's Ghost', 'Billy The Kid'), and of course classics and favourites 'Vincent', 'Crossroads', 'Empty Chairs' and 'Homeless Brother'. Everyone sung along to 'American Pie', even the bonus extra chorus and verse. The encore included 'Castles in the Air' and concluded with a rousing singalong 'Hard Travellin', so it was great that Woody was with us too.
http://www.vintagevinylnews.com/2013/08/review-don-mclean-hamer-hall-melbourne.html — at Hamer Hall.
So I was looking forward to I was looking forward to this reprise 40 years on. Country singer Catherine Britt played the support act, gifting seven of her own songs, and 'Big Rock Candy Mountain'.
Don was onto the stage preceded by his Nashville band members: Tony Migliore (keyboards, piano), David Smith (bass guitar), Vip Vipperman (guitar), and Jerry Kroon (drums), and bounced out on stage, having stolen Donald trump's hair, and opining that the largely greyhaired crowd was 'a great audience!', and launched into Buddy Holly's 'Everyday'. It took a while for the sound balance to be corrected, with Don's voice too far back in the mix. There were new songs ('Addicted to Black' - a perfect Melbourne Song), 'In A museum', 'I Was Always Young', some I'd never heard before ('Superman's Ghost', 'Billy The Kid'), and of course classics and favourites 'Vincent', 'Crossroads', 'Empty Chairs' and 'Homeless Brother'. Everyone sung along to 'American Pie', even the bonus extra chorus and verse. The encore included 'Castles in the Air' and concluded with a rousing singalong 'Hard Travellin', so it was great that Woody was with us too.
http://www.vintagevinylnews.com/2013/08/review-don-mclean-hamer-hall-melbourne.html — at Hamer Hall.
![Picture](/uploads/1/6/7/8/16787882/6088567.jpg)
Joan Baez last came to Australia in 1974 ' ...a couple of lifetimes ago...'. A few years ago I vowed to see her if she ever toured again. So I was delighted to get the opportunity. The crowd was mostly greyhairs, and Baez voice has mellowed from the searing soprano of her youth. The crowd loved all the songs, especially the ones with the 'lalalalala' ('The Boxer' and 'Gracias a la Vida') refrains that we could sing along to! Songwriters referenced included Dylan ('It's all Over Baby Blue' & 'Seven Curses'), Lennon ('Imagine') Kelly ('From little Things big Things Grow') and Earle ('Jerusalem' & 'God is God'), and Baez's own 'Diamonds & Rust'. After 3 or 4 encores though, it was time to go, so we went out into the chill of the August air, most satisfied.
http://au.artshub.com/au/newsprint.aspx?listingId=196278 — at Hamer Hall.
http://au.artshub.com/au/newsprint.aspx?listingId=196278 — at Hamer Hall.
![Picture](/uploads/1/6/7/8/16787882/4377659.jpg)
I last saw Black Sabbath at Festival Hall in 1973, with Steve Jones and perhaps Gavin White(??). So 40 years on, with Alan Crute and again with Steve Jones, a reprise.
Ozzie Osbourne was in remarkably good voice, given the beating he has given himself over the journey. He did have to plunge his head into a bucket of water from time to time to keep himself going! Geezer and Tommy just played with style and panache, and covered for the odd missed note or mumbled lyric from the front man. And wow, that wiry drummer Tommy Clufetos. Not an old man's job, drumming for Sabbath!
Ozzie's catchphrase of the night was 'I can't see your fucking hands!!' (or was it 'I can't fucking hear you!!'). Whenever he so declaimed, the mosh pit responded with fist pumps and chorused 'Oi's.
The show was packed with classics, from the 'War Pig' sirens which opened the show, to the closing crescendo of 'Paranoid' (with teasing 'Sabbath Bloody Sabbath' intro). My highlights, the menacing 'Black Sabbath', all repression and frenzy, a grinding 'Iron Man', and the triplet of 'Into the Void', Under the Sun' and 'Snowblind' where Ozzie's voice was at its best. Two new songs debuted, but it was the frenetic drum solo by Clufetos that had the crowd cheering as the band took a rest!
A fine closing to my 'Big 5' set of concerts, ears ringing, we wandered off...
http://www.setlist.fm/setlist/black-sabbath/2013/rod-laver-arena-melbourne-australia-53d81bf1.html — at Rod Laver Arena.
Ozzie Osbourne was in remarkably good voice, given the beating he has given himself over the journey. He did have to plunge his head into a bucket of water from time to time to keep himself going! Geezer and Tommy just played with style and panache, and covered for the odd missed note or mumbled lyric from the front man. And wow, that wiry drummer Tommy Clufetos. Not an old man's job, drumming for Sabbath!
Ozzie's catchphrase of the night was 'I can't see your fucking hands!!' (or was it 'I can't fucking hear you!!'). Whenever he so declaimed, the mosh pit responded with fist pumps and chorused 'Oi's.
The show was packed with classics, from the 'War Pig' sirens which opened the show, to the closing crescendo of 'Paranoid' (with teasing 'Sabbath Bloody Sabbath' intro). My highlights, the menacing 'Black Sabbath', all repression and frenzy, a grinding 'Iron Man', and the triplet of 'Into the Void', Under the Sun' and 'Snowblind' where Ozzie's voice was at its best. Two new songs debuted, but it was the frenetic drum solo by Clufetos that had the crowd cheering as the band took a rest!
A fine closing to my 'Big 5' set of concerts, ears ringing, we wandered off...
http://www.setlist.fm/setlist/black-sabbath/2013/rod-laver-arena-melbourne-australia-53d81bf1.html — at Rod Laver Arena.
![Picture](/uploads/1/6/7/8/16787882/724052.jpg)
27 March at the Tennis Centre
In town with Lilian & Jeremy for Bruce Springsteen's 3rd Tennis Centre show, a powerful 3 hour 27 song show, replete with crowd walks, a surf across the Mosh Pit, and exhortations to the 'polite' crowd to 'get off their aaarses'.
Highlights were 'Ghost of Tom Joad' (with a great Tom Morello solo), a dramatic 'Youngstown' and the Irish gig numbers 'We Take Care of Our Own', 'Pay Me My Money Down' and the rousing Finale of 'American Land'.
Great renditions of 'Jungleland', 'Better Days' and 'Badlands' were also top notch.
Set list:
1. Long Walk Home
2. Radio Nowhere
3. My Love Will Not Let You Down
4. Better Days (tour premiere)
5. We Take Care Of Our Own
6. Wrecking Ball
7. Death To My Hometown
8. Out In The Street
9. Factory
10. Lost In The Flood
11. High Hopes
12. Does This Bus Stop At 82nd Street?
13. Candy's Room
14. Youngstown
15. Murder Incorprated.
16. Pay Me My Money Down
17. I'm Goin' Down
18. Shackled & Drawn
19. Waiting On A Sunny Day
20. The Rising
21. The Ghost Of Tom Joad
22. Badlands
Encores:
23. Jungleland
24. Born To Run
25. Dancing In The Dark
26. Tenth Avenue Freeze Out
27. American Land — at Rod Laver Arena.
In town with Lilian & Jeremy for Bruce Springsteen's 3rd Tennis Centre show, a powerful 3 hour 27 song show, replete with crowd walks, a surf across the Mosh Pit, and exhortations to the 'polite' crowd to 'get off their aaarses'.
Highlights were 'Ghost of Tom Joad' (with a great Tom Morello solo), a dramatic 'Youngstown' and the Irish gig numbers 'We Take Care of Our Own', 'Pay Me My Money Down' and the rousing Finale of 'American Land'.
Great renditions of 'Jungleland', 'Better Days' and 'Badlands' were also top notch.
Set list:
1. Long Walk Home
2. Radio Nowhere
3. My Love Will Not Let You Down
4. Better Days (tour premiere)
5. We Take Care Of Our Own
6. Wrecking Ball
7. Death To My Hometown
8. Out In The Street
9. Factory
10. Lost In The Flood
11. High Hopes
12. Does This Bus Stop At 82nd Street?
13. Candy's Room
14. Youngstown
15. Murder Incorprated.
16. Pay Me My Money Down
17. I'm Goin' Down
18. Shackled & Drawn
19. Waiting On A Sunny Day
20. The Rising
21. The Ghost Of Tom Joad
22. Badlands
Encores:
23. Jungleland
24. Born To Run
25. Dancing In The Dark
26. Tenth Avenue Freeze Out
27. American Land — at Rod Laver Arena.
![Picture](https://www.editmysite.com/editor/images/na.png)
A second sizzling dose of Neil Young and Crazy Horse tonight -went with Jeremy, his friend Ian and Ian's son Ruben. Tonight's show had 2 support acts - first Husky and then the Drones. Both good tight short sets. Neil and Crazy Horse on stage at 8:40 or so, opened with 'Powderfinger', and rearranged the set somewhat - we had 'Love to Burn' instead of 'Love & Only Love', the encore substituted a powerful 'Mr Soul' and 'Roll Another Number for the Road' for Wednesday's 'Like a Hurricane, and instead of the Zuma Set, we got 'Welfare Mothers' AND 'Sedan Delivery', which to me was just a little to much. The feedback and industrial noise were less prominent between numbers, and 'Cortez the Killer' didn't quite reach the heights of the previous show. Left satisfied with 5 and a half hours of Neil & Crazy Horse under my belt.
Here's what others said http://neilyoungnews.thrasherswheat.org/2013/03/neil-young-crazy-horse-melbourne-aus.html — at Rod Laver Arena.
Here's what others said http://neilyoungnews.thrasherswheat.org/2013/03/neil-young-crazy-horse-melbourne-aus.html — at Rod Laver Arena.
![Picture](https://www.editmysite.com/editor/images/na.png)
http://www.fasterlouder.com.au/reviews/events/35177/Neil-Young-The-Drones-The-Plenary-Melbourne-1332013
March 15th at the Plenary - Neil Young & Crazy Horse
Awesome concert last night. Drones were great in the opening set, but Neil & Crazy Horse produced a sustained attack of fuzz, feedback and noise you could feel in your chest. Three hours and an array of Crazy Horse classics and rarities separated 'Love & Only Love' and 'Like a Hurricane'. Looking forward to round 2 tomorrow at the Tennis Centre
March 15th at the Plenary - Neil Young & Crazy Horse
Awesome concert last night. Drones were great in the opening set, but Neil & Crazy Horse produced a sustained attack of fuzz, feedback and noise you could feel in your chest. Three hours and an array of Crazy Horse classics and rarities separated 'Love & Only Love' and 'Like a Hurricane'. Looking forward to round 2 tomorrow at the Tennis Centre
![Picture](/uploads/1/6/7/8/16787882/9452340.jpg)
This year's second concert was much anticipated, and worth the wait. The Waterboys played their first show in Melbourne at Hamer Hall on a balmy Wednesday 30th January. Support act 'Oh Mercy' were good, the sound so loud you could feel the bass in your chest. Unlike 'Disgruntled of Richmond' who complained in 'The Age' of the brittle sound experience in the Circle, I found the sound fine, with Mike Scott's voice carrying through, and the peals of Steve Wickham's fiddle playing clear and bright.
I have not found a setlist, but recall the band entering to the strains of 'Don't Bang the Drum', and leaving after a 2nd encore with the whole auditorium dancing an Irish jig to 'Fisherman's Blues'. In between there was time for a selection from the entire back catalogue, from 'A Girl called Johnny', to 'Glastonbury Song' and selections from 'An Appointment With Mr Yeats' (a shout out for 'White Birds' and 'Song of Wandering Aengus'). We treated to a cover of 'Purple Rain', and the hits 'Whole of the Moon', and 'The Pan Within'. The band played driving rock, they played Irish reels, and were not afraid to mix light with shade, loud with soft. An eerie spoken word interlude ('The Second Coming'http://www.potw.org/archive/potw351.html) was preceded by a violin vs keyboard duel, and Mike Scott ditching his had for a multifaced mask to declaim the words!
Hopefully it won't be 25 years before they return
http://www.songkick.com/concerts/14759809-waterboys-at-hamer-hall-arts-centre
I have not found a setlist, but recall the band entering to the strains of 'Don't Bang the Drum', and leaving after a 2nd encore with the whole auditorium dancing an Irish jig to 'Fisherman's Blues'. In between there was time for a selection from the entire back catalogue, from 'A Girl called Johnny', to 'Glastonbury Song' and selections from 'An Appointment With Mr Yeats' (a shout out for 'White Birds' and 'Song of Wandering Aengus'). We treated to a cover of 'Purple Rain', and the hits 'Whole of the Moon', and 'The Pan Within'. The band played driving rock, they played Irish reels, and were not afraid to mix light with shade, loud with soft. An eerie spoken word interlude ('The Second Coming'http://www.potw.org/archive/potw351.html) was preceded by a violin vs keyboard duel, and Mike Scott ditching his had for a multifaced mask to declaim the words!
Hopefully it won't be 25 years before they return
http://www.songkick.com/concerts/14759809-waterboys-at-hamer-hall-arts-centre
![Picture](/uploads/1/6/7/8/16787882/1193139.jpg)
Kicked the year off with Elvis Costello & the Attractions, playing all the hits with crowd participation at the Palais Theatre in St Kilda.
http://www.elviscostello.info/wiki/index.php/Concert_2013-01-25_Melbourne
http://www.elviscostello.info/wiki/index.php/Concert_2013-01-25_Melbourne