Attending a Club Broadway event has been on my bucket list for a while. As an unashamed theatre nerd, the thought of coming together with other theatre nerds, singing along to showtunes while I danced like nobody’s watching always seemed like some kind of heaven. But as someone who remains a little COVID-cautious, I couldn’t quite bring myself to attend one of the indoor club events. I couldn’t believe it when they announced a free outdoor event for Vivid, which unfortunately clashed with last week’s Jason Singh show. But then the rains came down, the event was washed out, and the stars aligned with a rescheduled show. Last night I was off to my first ever Club Broadway event!
It was every bit as glorious as I hoped for. The generous space in Tumbalong Park meant that my husband and I could find a little bit of room away from the throng, while others could make connections with like-minded folk near the stage. An overture of musical hits psyched up the crowd before the appearance of Carmen Geddit doing her best Tracy Turnblad to “Good Morning Baltimore” from Hairspray. DJ Dan Murphy was a generous host, warm and welcoming to the Club Broadway veterans and newcomers alike. We were encouraged to sing and dance, to Shazam songs we weren’t familiar with and relish the ones we were. The set was a celebration of Broadway, from classic musicals to newer smashes like Hamilton and Wicked. Every 15 minutes or so, guest performers would treat us to a “show”. I relished every moment of Coco Jumbo’s “Circle of Life,” Minnie Cooper’s, “Singing in the Rain”, and Erin Clare’s “Part of Your World.” The mix of local drag queens and theatre royalty was perfect.
I must say, at my age I doubted whether I could last the three hours on my feet. However, even though there were seats available not far from us, my husband and I were never even tempted to sit down. We were having far too much singing and dancing. I’ll forever remember him playing Alexander Hamilton to my Angelica in “Satisfied,” belting like Idina to “Defying Gravity,” and shaking and shimmying until our vocals were severely compromised during “You Can’t Stop the Beat.” I loved DJ Dan’s costume changes and props. His enormous flag brought the right amount of gravitas to “Do You Hear the People Sing,” while his sequined nun’s outfit worked double-duty for “Do-Re-Mi” and “I Will Follow Him.”
While I’m not sure when I’ll get to another Club Broadway event, I know it won’t be my last. I can only hope it won’t be too long before they take the show outdoors again! Until then, you can enjoy the Club Broadway experience at one of the following shows:
If it wasn’t already abundantly clear, I love Avoca Beach Theatre. It’s such a charming venue committed to showcasing the country’s best artists. It doesn’t hurt that it’s also less than half an hour from my house. So even though I already had tickets for Richard Clapton on Friday night, when Jason Singh’s show was moved to the Saturday I held on to my tickets. I’m still young enough to back up, right? At least I am if they’re local!
I must admit, for a while there I wasn’t sure whether the gig would happen. There was that postponement, and I wondered whether slow ticket sales were to blame. When I checked in on the seating chart a couple of days before the gig, less than a third of the venue’s 280 seats sold. With torrential rains on the night, there were plenty of no-shows. However, rather than lacking in atmosphere, this was probably the most electric gig I’ve witnessed at the venue.
Support act Brett Wood got a warm reaction for his bluesy originals. He was good. Really good. The sort of good that’s worked with Tommy Emmanuel and Stevie Ray Vaughan’s drummer good. The sort of good that leaves me impressed by his guitar prowess, even though I’ve seen masters like Prince, Carlos Santana, Brian May, and Mr Emmanuel live. He knows how to play, but he’s also an exceptional songwriter. He’s got such a magnetic presence too. I found myself hanging on to his every word as he told stories about his career and songs. He’s the sort of guy who deserves to be at the front of the stage every night, so I was a little surprised to see him slotting into Jason Singh’s band when he finished his own set.
As I mentioned, this was an intimate gig even by Avoca Beach Theatre standards. But as Jason reminded us all, he didn’t care about the people who didn’t show up; he cared about the ones that did. Right attitude. Those that did show up were some of the most enthusiastic I’ve been amongst. They came from as far as Meeanjin/Brisbane and were up and dancing in the aisles from the first couple of songs. They knew every word of every song, not just the big Taxiride singles but the solo originals from Hummanequin. They even brought him cakes with his face on them to celebrate the 25th birthday of Imaginate!
As the show unfolded, I understood why they were so dedicated. I’d seen Jason play on board P&O’s 90s cruise in January and marvelled at his enthusiasm and energy, but the show reached another level here in Darkinjung Country/Avoca Beach. Here he was amongst people who celebrated the breadth of his artistry, not just those hits. The show celebrated his full discography, Taxiride music, original solo material, and the covers close to his heart that formed his Heaven’s Greatest Hits shows a couple of years ago. I can be a harsh critic when it comes to people covering Bowie, but his section featuring some of the Thin White Duke’s biggest hits was amazing.
While it seemed like most of the crowd would be happy for Jason to sing anything, I relished hearing big hits like “Get Set” and “Everywhere You Go.” Jason’s assembled a brilliant band who help him replicate the harmonies Taxiride were famous for. It’s a good thing too, given the bad blood between Jason and his former bandmates. He alluded to the drama a few times, clearly stung by the way things turned out. However, watching him sharing the stage with his new brothers, it seems he’s embracing this new chapter in his musical story.
This show was probably one of the loosest I’ve been to. I mentioned that when I saw Ian Moss recently it felt like that traditional divide between artist and audience vanished. This show took that up a notch, literally removing the divide as Jason jumped down from the stage to dance with his fans and share the microphone with them. On spying my phone on my lap, he told me he wouldn’t continue the show until I started following him on Instagram. Of course, I had to oblige. He encouraged us all to mimic his drummer’s hip-thrusting dance moves during “Roadhouse Blues”. It was a wild night, but fabulously fun. I must admit, like so many people I considered piking when the rain started pelting down. I even might have if we weren’t meeting friends for the gig. But I’m so glad I pushed through because I’m sure it’ll be one of my most memorable concerts this year.
We’ve all got our comfort artists. The ones that we go see every couple of years because we can count on them singing songs we want to hear and simply making us feel good. They’re probably musicians you grew up listening to, so they feel like home. Richard Clapton is definitely one of those artists for me. As I look back at my blog it seems I’ve somehow let almost nine years go by without seeing Richard live, so a show was long overdue. And when he’s playing locally, who can refuse?
Anyone planning on skipping the support act would have been sorely disappointed, because there wasn’t one. Richard was more than happy to just get on with things. After so many years away from his shows, the set had plenty of twists and turns for me. Excited by the reissues of The Great Escape, Goodbye Tiger, and Prussian Blue, he gleefully played lesser-known tracks from those releases. Although they weren’t lesser known for this crowd, who expressed their excitement over those deep cuts. I wasn’t familiar with a lot of it, but Richard’s the sort of artist that entertains you regardless of what they’re singing. He also sprinkled hits throughout the set, encouraging us to sing along. Goodness, he’s written some hits. “Capricorn Dancer,” “Glory Road,” “Deep Water,” what gems.
It’s funny, when you don’t see an artist for a while it can seem like no time has passed, but at the same time, you see reminders of those passing years. Richard’s voice wasn’t quite as strong as I remember, but it still commands a room. I noticed his guitarist giving him a supportive hand as he climbed the steps onto the stage. We get an intermission now, rather than the show moving straight through.
Richard admitted he was 76, but he doesn’t look like he really wants to slow down. He praised our crowd as one of the best, relished the espresso martinis the venue served him, and encouraged us to book tickets for his shows at the same venue next January. I just might. If it’s been too long since you’ve see Richard live, make sure you catch him at one of his upcoming gigs:
As I stepped into Lizotte’s on Saturday night, I realised that it’s been far too long. It’s the kind of venue that welcomes you back like an old friend, no matter how much time has passed though. It may be under new management, but other than the hosts wearing more sequins and the décor receiving a few more fairy lights, little has changed. The rotating menu still features old favourites like the salt and pepper squid with passionfruit sauce and classic fish and chips. If anything, the dishes were even better than we remembered. With bellies and glasses full, we settled in for a fantastic night of music.
Lachlan Edwards hit my radar back in 2020 with the release of his EP Once More, and I relished the opportunity to discover his new music. He was just 17 back then, a teen showing great promise but certainly green. He’s blossomed over the last few years, with European travel under his belt and a bunch of songs inspired by it set to be released later this year. While love songs dominated his EP, this set revealed some heartbreak. Never easy to navigate, but if you can come away from it with some great songs, so much the better. I loved hearing all this new material, stripped back and raw. Although it’s made me pretty excited for the new EP to come.
Lachlan warmed up the stage for Ian Moss, who delivered a similarly stripped-back show. I’ve seen Mossy more times than I can count now, and he never disappoints. This kind of acoustic show is my favourite. The set list can change on a dime, so you never know what’s coming, and he has the space to chat to the crowd. It’s so loose, easy, and lovely. We heard about his frustrations with his Apple Watch always wanting to give advice; it ended up on the floor after the first song. “Rivers Run Dry”, the title track from his new album, was so much more poignant after learning about the decades-long friendship that inspired it. We laughed hearing about the generous steak meal he enjoyed after volunteering to get a flat tyre fixed and leaving the rest of the Cold Chisel boys freezing in the middle of nowhere. It was one of those special nights where you didn’t feel that traditional divide between artist and audience; we were all just there to have a good time.
It almost goes without saying that the music was stellar. Mossy has a voice and presence that fills the room, and he’s one of the best guitarists we’ve got. The set was a rare treat, littered with songs from the fantastic new album Rivers Run Dry, hits from Matchbook and the Chisel days, and some unexpected treats. “Message from Baghdad” from Six Strings! A stunning cover of “Cry Me a River”! What a joy. And of course, there were those classic singalongs. Nothing makes me feel like I belong more than being in a room of Aussies belting out tracks like “When the War is Over”, “Flame Trees,” and “Tucker’s Daughter”.
After a pretty stressful week, this show was exactly what I needed. Two fantastic artists, one near the start of their journey, the other a seasoned veteran showing no signs of slowing down. Mossy wraps up his Solo & Acoustic Rivers Run Dry shows next weekend but he’s got gigs all through the rest of the year, including a few in the United Kingdom. If you can see him anywhere, make sure you do. You will not be disappointed.
Parade may be the best musical you’ve never heard of. Its original 1998 Broadway run lasted just three months. The 2023 Broadway revival also ran for less than six months, although it did take home a key Tony Award for Best Revival of a Musical. I get it. It’s a hard sell. In a market saturated by jukebox musicals and productions based on familiar stories, an original musical about a Jewish factory manager accused of a young girl’s murder in 1913 seems pretty dreary. Yet Parade endures because it’s incredible. Independent Naarm/Melbourne theatre company Soundworks Productions staged Parade in their hometown late last year and have now brought it to Eora/Sydney. I’m so glad they did.
So you might wonder when such crowd-pleasing fare like Grease and & Juliet are currently playing, why would I decide to see Parade instead? I’m so glad you asked. Firstly, Jason Robert Brown. We loved his musical “The Last Five Years,” and trusted that he’d do something wonderful with this true story. I was also so moved watching New York director Michael Arden’s empassioned speech at last year’s Tonys. He said “Parade tells the story of a life that was cut short at the hands of the belief that one group of people is more of less valuable than another and that they might be more deserving of justice.” It might be set in the aftermath of the Civil War, but this is a modern story that still resonates today.
The Broadway production starred one of my favourite actors, Ben Platt, who was nominated for a Tony for his role, so I wondered how an Aussie might possibly come close to his performance of Leo Frank. It’s such a pivotal role, the casting is everything. But wow, Aaron Robuck is sensational. As I listen to the Broadway cast recording today, I’m convinced that so many of the players in this Aussie production are just as good, if not better, than many of their American counterparts. Montana Sharp brought a beautiful warmth to her performance of Lucille that seems lacking in Micaela Diamond’s portrayal. As a longtime Australian Idol fan, I was thrilled to see Tarasai Vushe playing the dual roles of Minola McKnight and Angela. After they wowed me in The 25th Annual Putnam County Spelling Bee last year, it was so exciting to see Adeline Hunter and Rebecca Ordiz shining again.
There’s no getting around it: Parade is a tough sell. It’s difficult to watch in parts, but it’s such an important story. It’s themes of prejudice and trial by media resonate today. And at its core, it’s a love story. I haven’t been as moved in the theatre in a few years. It’s honestly one of the most incredible shows I’ve ever seen. If you’re anywhere near Eora/Naarm, go. You will not be disappointed. It’s on at the Seymour Centre until May 26.
With the rain well and truly setting in this week, it’s hard to believe that just a few days ago I was kicking back at James Taylor’s Bimbadgen Estate show. The last time I attended a Day on the Green show we were evacuated, so I felt blessed that Saturday’s conditions were perfect. The cool but not cold weather was such a welcome change from the 40-degree day I experienced last time. Maybe we need more Day on the Green seasons stretching into autumn. At any rate, I couldn’t have asked for better weather for an outdoor show.
I had just enough time to grab a couple of bottles of bubbles before settling in for Ella Hooper’s set. The frontwoman of an early naughties rock act might seem a little out of place on this bill, but like so many of us Ella’s mellowed over the years. The folky tracks from her latest album Small Town Temple were the perfect soundtrack for a cruisy Saturday afternoon. The stories she shared encouraged us to tap into the lyrics. After a friend told me Killing Heidi tracks didn’t make the cut at her recent Darkinjung Country/Avoca Beach, I was pretty excited to hear a stripped-back take on “Weir.” Believe it or not, adding a fiddle works!
It’s also a pleasure watching Josh Pyke perform. He’s been a force in the Australian music scene for so long that every song feels familiar, at least for me. My mum leaned over and told me she thought he was very good … it was then that I realised that while I know Josh’s music well, this was her introduction. In fact, looking around I’d wager that many of the James Taylor lovers in the audience were hearing Josh for the first time. His gentle folk and poetic lyrics aren’t a world away from the music James makes though, so like Mum I’m sure plenty left impressed. Even if he didn’t end getting as many new Instagram followers as he aimed for. My Mum, bless her, was keen to help Josh beat Phil Jamieson’s tally, but alas she discovered she doesn’t have Instagram. Perhaps sensing that his music was new to so many in the audience, Josh also treated us to a few choice covers. His take on “New Slang” was spectacular, even if it wasn’t quite as crowd-pleasing as his version of “Blackbird.”
James Taylor is a music legend, but he doesn’t make a lot of fuss about it. Most bands take the stage first, encouraging the crowd to get hyped up before the artist graces us with their presence. Not James. He just strolls out, waves shyly to the crowd, and gets on with it. And get on with it he did, serving up a beautiful version of my favourite James Taylor song “Something in the Way She Moves” straight out of the gate. Where do you go from there? Of course, there are plenty more incredible songs where that came from.
I’d be remiss if I didn’t mention that James’ voice is showing signs of age. It’s a little shaky, without the ease heard on previous tours. The stripped-back acoustic songs that made James a household name leave nowhere to hide. But I’ll take a performance with heart over one with perfect vocals any day. I’ve seen shows where I felt like older performers were phoning it in, clearly tired of the material they’d performed for decades. Not James. He seemed so connected, so present, so happy to bring us this music. He praised the beautiful venue, gushed about the moon, and let us know he was so happy to play for us all. It’s been a long while since I’ve seen a veteran performer so in the moment.
He wasn’t alone though. The marketing promised an all-star band and boy did it deliver. Backing vocalists who’ve sung with Michael Jackson, Whitney Houston, Billy Joel, k.d lang, Warren Zevon. A drummer who’s played with Steely Dan, Paul Simon, Chick Corea, and Eric Clapton. A guitarist who also played with Steely Dan, along with Bread, David Crosby, and Graham Nash. Reading the resumes of these top-tier session musicians is mindblowing.
The set was incredible. When artists have such a rich back catalogue, you usually leave wishing they’d played something or other, but there was nothing I was left wanting for. I loved seeing my Dad’s face light up as he sang along to songs we didn’t expect like “Yellow and Rose” and “Steamroller Blues.” In fact, James’ catalogue is so vast that he faked us out a few times. He introduced a song about his home in Carolina, and upon hearing our applause he told us it wasn’t the one we were thinking about. Oh not “Carolina on Mind”, or at least not yet … “Copperline.” And the song his dear friend Carole wrote … well that wasn’t “You’ve Got a Friend,” or again not yet, but “Up On the Roof.
James’ music has been the soundtrack to many road trips, board game nights, and lazy days at home for my family. Just as I’m conscious of James’ advancing years, I know my parents aren’t getting any younger. I relished the opportunity to see James performing these songs for us all, one last time. I linked arms with my mum as we sang “Shower the People” at top note. She put her hand reassuringly on my knee as I wiped away tears during “You’ve Got a Friend.” You rarely know when you’ll see a performer for the last time, and thinking about that brought me undone. Thankfully James was there to pick me right back up and encourage me to get on my feet with “How Sweet It Is (To Be Loved By You).” He might be getting older, but James has still got some moves! It seemed like a fitting finale, but none of us were quite ready for that, so he asked whether he could play one more. Of course. The most exquisite version of “You Can Close Your Eyes.”
It’s bittersweet watching a performer, knowing it’ll be the last time. He could have called it a day without taking this final lap of the country, but I’m so thrilled he gave us a chance to say goodbye. I did my best to take in every moment, to soak it all in knowing I won’t be able to share his live music with the special people who introduced it to me again. Thank you James, for returning to our shores one last time and leaving us all with such special memories.
I dragged my feet to see The Band CAMINO last night. The show was my third Tuesday night gig in as many weeks. I was off to The Metro, which really isn’t my favourite venue. They attract buzzy bands, but the sound quality is often subpar, the lighting feels like something from a Tim Burton film, and I’m too old for venues that don’t have a generous amount of seats. Any night out in Sydney usually means arriving home after 1am. I also wasn’t sure I was ready to switch gears after such an incredible time with Matchbox Twenty. But despite my reservations, I made another trip down the highway to Eora/Sydney. I am so glad that I did.
I swear, arriving to a line of 300 or so keen punters snaking around the block did nothing to quell my reservations. But then miraculously we found some seats by the bar, with a clear view of the stage, I got a Young Henrys in my hand, and I started to soften a bit. Support act Kian brought the energy, as did the crowd. I’d listened to a couple of his tracks on Spotify, but I think he’s much better in the live arena. He lapped up the enthusiasm of the crowd and was thoroughly enjoyable.
That crowd’s fervour hit another gear once The Band CAMINO took the stage, and didn’t the US band relish it. This was their first visit to Australia, one that was long-awaited if the audience’s reaction was anything to go by. They jumped around and sang out every lyric, whether the band played tracks from their new album The Dark or a song from their very first EP My Thoughts on You. This is the beauty of seeing a band at this stage of their careers. Plenty of people at the Matchbox Twenty shows probably enjoy singles on the radio so thought they’d come to the shows. I’m sure they had a great time, but most of them couldn’t match the enthusiasm of last night’s crowd. I love being a part of audiences like that, even if most of the punters there are less than half my age.
You can see the way the band appreciates it too. It must be surreal to travel half-way across the world, to a country you’ve never charted, to find such ardent support. They lapped it up and put on such a show. I found myself appreciating their musicianship more than ever before. The rock edge to their material came through a little more in the live space, with guitars taking precedence over the synths. Upbeat bangers dominated the set: I loved hearing songs like “1 Last Cigarette”, “Told You So”, and “What Am I Missing?” live. But honestly it was all so good.
I might have been reluctant to head into the city last night, but The Band CAMINO and their exceptional crowd made it easy to leave my misgivings at the door. I am so glad I pushed through that midweek funk, even if I am exhausted today! Image source: own photos
I recently shared my jubilation after attending Matchbox Twenty’sfirst Eora/Sydney show on the long-awaited Slow Dream tour. That was one of three Matchbox shows I attended in just eight days this tour. I considered writing a review of each one, as each was special in its own right, but instead, with the dust settling on that frenetic, fantastic period I thought instead I’d write a post about embracing your deep passion for a band.
Twelve years is an awfully long time to be without live shows from your favourite band. It’s what inspired me to buy tickets to several concerts this tour. Depending on your perspective, three shows in a single tour might be a lot or it might be fairly conservative for a hardcore fan. For me it was the sweet spot. In 2012, the last time Matchbox played Australia, I bought tickets to a single show. I reasoned that I was a wife now, we were saving for a house, I had more important things to spend my money on. In truth though, nothing is more important than embracing a deep passion. I saw my single show and I loved it, but then I crashed hard. So much build-up to a tour and then it was all over in a matter of hours. I swore I’d never just do a single show for this band or Rob solo again.
I haven’t done three shows in a tour since Matchbox came out here for their More Than You Think You Are tour in 2003. I haven’t seen a local show and still travelled interstate since John Mayer came out for his Room for Squares tour in 2002. Back then I was a single woman, still living with my parents. I had no responsibilities beyond a retail job, so I thought nothing of just taking off for a little “me” time. What I learned this tour is that you’re never too far away from that person, no matter how years pass. And you owe it to yourself to nurture that part of you when you can.
So this time, three shows. A couple of days in between each one to catch my breath and get excited about the next one. I’m so glad I did it. The first show totally overwhelmed me. It was a whirlwind, with my emotions just on the surface through the whole thing. It was beautiful, but I was so glad I had Mulubinba/Newcastle a few days later to enjoy a little more calmly. I was a couple of rows further back, so I felt I could take that one in a little more, without all my heightened emotions getting in the way. In Meeanjin/Brisbane a few days after that I had second row seats, so I was just in it. I allowed myself to take photos in just two songs and put my camera away for the rest of it. In Mulubinba/Newcastle, without my husband there, I felt pressure to capture all the moments and that took me out of songs. In Meeanjin/Brisbane, I told myself just to remember them, feel them. They’re all in there. I danced hard, I sang loud (the evidence it all over my friend’s videos!), I was there.
Oh, and somewhere in there, I happened to catch a flight with my favourite band. I’m not a great believer in manifesting or things of that nature, but I’m thrilled I got some time to chat to them, to thank them for returning after all this time, to get signatures on my favourite album 15 years after my original signed copy was stolen. It really made this tour better than I could have ever hoped it to be.
The beautiful thing about seeing more than one show on a tour is that every extra gig feels like a bonus. I have had the most wonderful, exciting, week or so of my life, but I’m not crashing as I rejoin the real world. I’m holding memories close and they’ll satisfy me until the next time, whenever that may be. I know with the cost of living, not everyone is in the position to see multiple shows on a tour, to travel interstate. Not everyone has friends and family willing to put them up or drive them around when they’re there. Not everyone has a spouse willing to support them taking time out from their adult responsibilities for a while or a job that’s as flexible as mine. But if you CAN do it, I definitely recommend that you do. It’s good for the soul. As Rob Thomas encourages in one of their new songs “Rebels”, “Let go and be yourself right now.” Believe me, it’s really good advice. Image source: own photos
Music can be such a powerful force. It can help you feel seen and understood at times when you think no one in your orbit gets you. It can lift you up and it can comfort you. If you’re lucky, you find a band that resonates with you so deeply that their music becomes a companion for you throughout your life. The band evolves as you do, and you somehow stay in alignment. For me, that band is Matchbox Twenty. I can’t write a review of their Eora/Sydney show last night with any sense of objectivity, but I can share what it was like to see my favourite band after 12 long years. Siobhan Cotchin was an interesting choice of opener for a night featuring two bands who had their biggest hits in the ’90s. Personally I was thrilled to see her perform live after being impressed by so many of her singles. She’s such a fierce presence on stage. She sounded incredible, and looked every inch the rock chick flanked by nearly identical long-haired male guitarists. But there were a few things working against her. She was a fresh artist playing on a bill with some fairly-established bands. And her set started at 6:45, so people were still shuffling around and finding their seats. If it got to her she didn’t show it, but I wish she’d been able to have the captive audience she deserved.
You could feel the energy levels lift a notch when the Goo Goo Dolls took the stage. These guys haven’t toured Australia for 22 years and I could tell there were many die-hard fans relishing their return. Just not enough for lead singer John Rzeznik’s liking apparently. I hate to be a downer when there was so much to like about their set. They played everything I wanted to hear in their generous 45 minutes on stage, which is impressive considering how closely I’ve followed their career over the years. They sounded great and performed with a lot of energy. But there was a sense of entitlement from John that I found so off-putting. He made comments that the people sitting near the front must really love their expensive seats, because they didn’t want to get off them, and later called them miserable. When people did respond enthusiastically, he commented that we did have a pulse. I’m not into artists who want to tell me how to spend my time at their shows. If it feels right to stand, I’ll stand. But often I want to sit, especially as I get older, and that’s my right too. I think he needs to remember that his band was the support act, one who had just two top 30 hits in this country. I love their music, and many more than those two big songs, but his attitude really took the gloss off their solid set.
Oh Matchbox Twenty. The love I have for this band runs so deep. I spent the whole first song, “Friends,” sobbing because I was just so overwhelmed. Listening to those lyrics which reference being surrounded by community, the way I always feel at a Matchbox show, really hit home. My feelings were so heightened all the way through this gig as I listened to the songs that were the soundtrack to my life and spent time with the men that created them.
Matchbox know how to get the balance right. There were almost as many songs from their debut album Yourself or Someone Like You as there were from their latest release, Where the Light Goes. Casual fans who only listened to the band on the radio could check off every hit. But then there were those deep album cuts like “Hand Me Down” and “Parade” that those of us who followed their careers more closely relished. More tears.
There’s a special magic about a band who’ve been together for decades. Especially when they aren’t constantly on the road, you can see the camaraderie, the love they have for one another and the music they make together. We missed bassist Brian “Pookie” Yale, who couldn’t make the trip, terribly, but getting to see Rob Thomas, Paul Doucette, and Kyle Cook together was beautiful. I’ve gushed about Rob Thomas before, but I honestly love every member of this band. They play so well together, and they surround themselves with some outstanding musicians who step up and fill the gaps. I can’t express how much I loved spending time with them and the songs that made me last night. I’m so thrilled that I have tickets to two more shows on the Slow Dream tour. I’ve waited far too long for these concerts to be done just yet. Bring on the next one.
Avoca Beach Theatre has a way of encouraging me to see those Australian artists I’ve always intended to see. Who can resist when these talents play in such a charming, intimate venue so close to home in front of such respectful, enthusiastic audiences? A night at Avoca Beach Theatre is always a real treat. So much so that I’m almost loathe to tell you, because I don’t want it to get so popular that I can no longer get tickets! It’s the risk I take though; it’s such a special place. And it was the perfect place to see Kate Miller-Heidke on her Catching Diamonds tour.
While I was looking forward to Kate’s set, I was honestly less enthusiastic about seeing Georgia Mooney’s support slot. I’d loved her work in All Our Exes Live in Texas, but her solo album wasn’t for me. The vocals were pretty, but the music just didn’t quite grab me. In the live arena though, I was captivated. Her voice is so unique and special. She’s such a giving performer, keen to share a joke and the stories behind her music. The songs were a little more stripped back than on the recording, with just Georgia and her guitarist Marcus Hamblett bringing them to life. Honestly, I think they were better for it. I also think getting to experience the songs like this, with no other distractions, was key. Georgia’s music doesn’t make the best workday soundtrack. Her songs are slow burners, with a beauty that you might miss if you’re not paying attention. I’ll have to revisit them.
Kate also stripped things back, playing the show with her husband Keir Nuttall on acoustic guitar rather than a big band. Honestly, I’m glad this was the way I got to experience my first full-length Kate Miller-Heidke show. Minimal instrumentation ensured those once-in-a-lifetime vocals could really shine. It was also a joy watching Kate watching her husband. She beamed with admiration as he relished his guitar solos, and I smiled right along with her.
The set was a beautiful celebration of all that is Kate, from her breakthrough single “Words” to music from her forthcoming album. There were songs from her latest musical theatre effort Bananaland, the stunning version of “Paint it Black” that kick=started her Masked Singer journey, and even a delightfully operatic take on Talking Heads’ “Psycho Killer” to close the show. There were too many highlights to mention, but one of the most special was when she brought 13-year-old local talent Erin up to sing “Caught in the Crowd”. This beautiful song had extra gravitas coming from the mouth of a teen still in high school and likely caught up in the kind of politics the song references. And what a brilliant singer Erin is! I didn’t have half the courage she did at her age. Watching Kate’s face full of admiration as she graciously took backing vocals was really something special. But honestly, the whole show was.
The Catching Diamonds tour has only just kicked off, so most of the country still has the opportunity to see one of these magical shows. Many dates have sold out though, so get tickets anywhere you can.
