Category: Concert Reviews

Posted on by Lauren Katulka

Hair @ The Art House, Wyong – 22 September 2019

I’ve seen many musical productions in my time, but I can’t remember ever being greeted by a sign warning me of what was to come. There’d be sexual references, drug references, racial slurs, and strobe lighting effects. Oh yeah, and full frontal nudity. In all honesty, that was one of the few things I knew about Hair before arriving at The Art House in Wyong last week. However, I soon discovered that while the pink bits are what Hair is best known for, it’s far from the most important thing about this musical.

If the warning sign out the front wasn’t reminder enough that this musical might take us out of our comfort zone, the sight of Hugh Sheridan’s Berger crawling over the audience in little more than a loin cloth just a few minutes in did it. Seeing Hair certainly isn’t like your average night of musical theatre. It’s bold and funny. There’s a real youthful energy about it, despite its ‘60s setting. In fact, perhaps the young characters have a greater energy than the current crop because they’re connecting with one another rather than their smartphones!

Hair does an incredible job of capturing a moment of time. The characters live life, embrace experience, laugh, and love, but the spectre of the Vietnam War looms large. It catches you at moments, when the laughs give way to pathos. I have been lucky enough to live my life fairly removed from war. I remember the Gulf War in my youth, but watching it on TV didn’t feel too dissimilar to watching a Hollywood action film. It’s palpable here, like another character just waiting to tap the characters we quickly grow to love on the shoulder. They can shake it off for a time and sing another song or smoke another joint, but we know it’ll catch up to them.

Speaking of the songs, it’d be remiss of me not to mention this cast. There are the big names like Hugh Sheridan, Paulini, and Prinnie Stevens, with voices as striking and personalities as sparkling as you would expect of people with their profiles. But there were no weak links here. Matthew Manahan as Claude, Stefanie Cacamo as Crissy, and Callan Purcell as Woof were especially strong.

As the lights faded to black I found myself thinking that Hair was one of the most powerful pieces of theatre I’ve seen. A week later I’m still turning it over in my mind. It’s not like anything I’ve seen before, but that’s one of the things that makes it so special. Let the sunshine in.

This production is travelling all around the country. You can still see it at the following venues.

28 September 2019 – Illawarra Performing Arts Centre, Wollongong (1.30pm & 7.30pm)
29 September 2019 – Illawarra Performing Arts Centre, Wollongong (5pm)
3 October 2019 – Sydney Opera House, Sydney (8pm)
4 October 2019 – Sydney Opera House, Sydney (8pm)
5 October 2019 – Sydney Opera House, Sydney (2pm & 8pm)
6 October 2019 – Sydney Opera House, Sydney (2pm & 7pm)
11 October 2019 – Home of the Arts, Surfers Paradise (7pm)
12 October 2019 – Home of the Arts, Surfers Paradise (7pm)

Posted on by Lauren Katulka

Dami Im @ The Art House, Wyong – 6 September 2019

Since opening just three years ago, The Art House has attracted a steady stream of talent to the Central Coast and the region is much better for it. I might not have ventured out on a stormy, windy Friday night if I had to travel all the way to Newcastle or Sydney for entertainment, but knowing this modern venue was just a short trip up the freeway inspired me to shake off my fatigue and chill and see Dami Im live.

I even arrived early enough for the support act, Brittany Maggs. The theatre’s “no photos” policy means I don’t have a shot, so you’ll just have to take my word for it. She has all the makings of the next pop princess, flawless good looks and a delicate but pitch-perfect voice. With her guitarist H playing over a backing track, the performance felt a smidge karaoke but her catchy songs are strong. Even the oldies keeping company with me in the theatre box said they were impressed, even though they clearly weren’t the intended demographic of Brittany’s upbeat tunes.

Dami was the one we were all there to see though. She arrived looking every inch the superstar with a sparkly jumpsuit and flaming red hair. Then she opens her mouth and nothing else matters. Her voice is undeniable, just as clear and strong as it is on records and her TV stints. There’s no trickery here; what you see is what you get with Dami. And that’s a large part of her charm.

Dami might have been in the public eye for five years now, but she’s retained the quiet humbleness that endeared her to X Factor audiences. She takes time to ask the audience if she can play new songs and seems genuinely shocked when they are well received. She’s so thankful of the support of her fans that she promises souvenir towels to anyone who shows her they’ve pre-ordered her amazing new single, “Crying Underwater.” She encourages us to break that no photos policy and whip out our phones for selfies during one song. She joins us too, wanting to capture her appreciative audience as much as they want to take photos of her.

Dami has evolved greatly as an artist since she took the X Factor title. She released the prerequisite pop material early in her career, but that has given way in recent years to jazzy tunes and introspective piano ballads. The different ends of her catalogue don’t always marry naturally. However, I appreciate that she wants to cater for those fans who have supported her from the beginning, even as her musical journey takes her in new directions.

Dami Im’s Dreamer tour continues winding its way around regional Australia for the next couple of months. Limited tickets are still available for the following shows.

27 September 2019 – The Palms at Crown Melbourne, Southbank
28 September 2019 – Wendouree Centre for Performing Arts, Wendouree
4 October 2019 – Lighthouse Theatre, Warrnambool
5 October 2019 – Horsham Town Hall, Horsham
6 October 2019 – Capital Theatre, Bendigo
19 October 2019 – The Tivoli, Brisbane
24 October 2019 – The Metro, Sydney
25 October 2019 – Nelson Bay Diggers, Nelson Bay
26 October 2019 – Belmont 16s, Belmont
14 November 2019 – Albany Entertainment Centre, Albany
15 November 2019 – Mandurah Performing Arts Centre, Mandurah
16 November 2019 – Astor, Perth

Image source: own photo

Posted on by Lauren Katulka

LANY @ Enmore Theatre, Newtown – 14 July 2019

Do you remember the excitement you felt at your first concert? The electricity in the air, the pure joy that came from seeing favourite performers create the music you hold so dear right in front of you? Live music has become a bit of a drug for me over the decades, but I’m not sure I’ll ever get the same high I did back in the early days. Now I choose the seats over general admission. While I try to make the support acts, and mostly do, I’ve been known to linger too long over a meal or drinks. Since I typically attend gigs with crowds around my age or much older, the way I experience concerts has mellowed. I didn’t realise how much I missed that “lose your mind” concert excitement until I saw LANY recently at The Enmore.

I’ve never felt so old at a concert. I’m not sure I was the oldest person there, but I’m sure I was the oldest person without a teenage child in tow. I marvelled at the way the young crowd packed out the floor area before Los Leo, the first support act, graced the stage and the way they screamed for the Adelaide opener. I’m not sure they were familiar with his music, but they were more than receptive to his synth-pop tunes. While he’s still a little green, his ‘80s influenced tunes are stellar. With a little more experience, I think he could be a real force.

My inner old fart grumbled at the thought of another support act. It was Sunday night, after all, and while the young audience might have been on school holidays some of us had to get to work the next day. I quickly forgot my reservations watching Robinson perform though. This talented Kiwi is an absolute superstar. Her voice is incredible and she has such a magnetic presence on stage. This woman can move! The room loved her, singing along enthusiastically to songs I didn’t know but quickly warmed to.

I thought the crowd was loud for the support act, but they showed they could reach 11 when LANY graced the stage. Deafening cheers gave way to an enthusiastic singalong of “Thick and Thin,” one of the biggest hits from their 2018 album Malibu Nights. That album was what brought me to the show. It was my favourite release of last year. I think it’s one of the greatest break-up albums ever recorded, so I was thrilled to hear so many of its songs make the set list. Long-time fans weren’t forgotten though, with just as many tracks from their self-titled debut also making an appearance along with a handful from earlier EPs.

Lead singer Paul Klein told the crowd this was the band’s 78th show of the year, an amazing feat considering we’re only just past the halfway point. You might expect a little fatigue to set in, especially with jetlag in the mix, but LANY’s set was one of the most explosive I’ve seen. Paul is such a charismatic front man, whether he’s jumping around during an upbeat number or taking a quiet moment behind the keys. I was absolutely mesmerised. This is no one-man operation though. LANY are one of the tightest bands I’ve ever heard, and that’s because of every person on that stage.

I once read music is the universal language. It crosses cultures and generations. I felt a bit like a fish out of water amongst the young things at LANY, but once the lights went down and we all started singing at the top of our lungs I realised I haven’t left my teenage self too far behind. Paul gushed about how much they love Australia and assured us they’ll be back soon. I will be too, perhaps the oldest in the room but happy to be so.

Image source: own photos

Posted on by Lauren Katulka

Megan Hilty @ Opera House, Sydney – 17 June 2019

I looked back at my first review of a Megan Hilty concert before writing this one. It’s been roughly three years to the day since she first wowed me with her show. Little has changed in terms of what Megan does, but this time around she’s doing it on a much grander scale.

Like the first tour, Megan’s set drew heavily from Broadway standards and the music of her own hit shows, Wicked on Broadway and Smash on the small screen. Like that first tour, “Heart of the Matter,” her Don Henley cover, seemed a little out of place. Yet again though, I could forgive that because it’s such a beautiful song. She even finished on the same song for the same reason. She’s played “Rainbow Connection” for her daughter at the close of each show since she was in the womb. It’s such a lovely tradition that I didn’t mind the degree of predictability the second time around.

The scale of this production really made this show something special though. Staging anything at the Sydney Opera House brings a certain level of gravitas. The 40-piece orchestra made songs like “Let Me Be Your Star” from Smash and Gershwin’s “Someone to Watch Over Me” really soar. Her beautiful sparkly dress, which would have been right at home on any red carpet, was so fitting for a show like this.

Now after three years and with so many shows in between, my memory of that first Sydney gig is a little foggy. So I can’t remember if she was so animated, so charismatic, the first time around. If she was, Megan, I apologise. But this time I was so struck by her charm. Whether she was joking about her time at university dying to land those lead parts or gushing about her love for our country, she was so warm and genuine. A beautiful voice is one thing, and she has that in spades, but charm like hers can elevate any concert experience.

The final element of any concert is the audience. Sydney, you outdid yourself. Megan was greeted with such rapturous applause she begged us to not make her cry. Not yet, not at the beginning. We sat respectfully for the songs, hanging on their every note, then erupted with appreciation when every one was done. I felt true electricity and appreciation in the room, and I’m sure she did too.

Monday was one of those concerts where everything came together so beautifully. Megan said she was anticipating this show for such a long time, so I hoped it lived up to her expectations. It certainly did for me.

Image source: own photos

Posted on by Lauren Katulka

Jack Jones @ Lizotte’s, Newcastle – 9 June 2019

Jack Jones insists he isn’t a nostalgic person. But on the 30-year anniversary of the reformation of his breakthrough band Southern Sons, he admits he’s looking back on their body of work with fondness. That affection he has for his early work and so much great music of the past made Sunday’s show at Lizotte’s a celebration of what could only be called nostalgia.

Decades have passed since the Southern Sons hey-day, yet the rapturous reception to the opening strains of “Always and Ever” are a testament to the place those songs still have in the hearts of the packed-out Newcastle venue. Stripped back and acoustic, Jack’s incredible voice really came to the fore. He’s lost nothing over the years. It wasn’t just the big hits that earned applause though. Album tracks like “Something More” and “Wildest Love” were received just as rapturously. I marvelled at the way the human mind works. These songs aren’t on Spotify and my cassettes have long since given up the ghost, so at least 20 years must have passed since I heard these songs. Yet I still found myself singing along to every word without missing a beat. I guess the music you listen to in your formative years really doesn’t leave you.

Jack punctuated the songs with tales of his own formative years in music and caught us up on his what he’s been doing since the band parted ways. He joked that there’s never a quick story where he’s concerned, and I sensed some of the crowd getting restless as he reminisced, but I hung on his every word. I’ve always felt like if you simply want to hear the music, you could stay home with a CD. Lizotte’s has always given audiences a little more than that, and I relished the opportunity to learn more than those Smash Hits magazines of my youth ever taught me.

While Southern Sons’ music was the focus, Jack also took time to celebrate the classics. “Norwegian Wood” and “Blackbird” were a nod to his recent Beatles tribute shows. Covers of over iconic songs including “Stairway to Heaven,” “Dear Prudence,” and “Satisfied Mind” were less predictable and greatly received.

I was just 10 when Southern Sons released their debut album, so I was too young to join in when they played the pubs and clubs in the ‘90s. This show gave me a chance to experience the music I loved, and then some, as I couldn’t before. Thankfully, I’m not done. When Southern Sons announced their reformation for the upcoming One Electric Day shows, I snapped up tickets for Sydney in the presale. Seeing Jack at Lizotte’s on Sunday put on such an amazing show has made me only more excited for the band’s return.

Image source: own photo

Posted on by Lauren Katulka

Ray LaMontagne @ State Theatre – 24 April 2019

I first saw Ray LaMontagne live in 2005. Around a year had passed after the release of his breakthrough debut album Trouble, and the Gaelic Club was packed to the rafters with people keen to hear this American troubadour in person. His set was understated, something I expected knowing how painfully shy he was. But beautiful, so beautiful that I didn’t miss the banter musicians ordinarily deliver because I felt he spoke to us through his music.

It took him 14 years to make the return journey to us. He’s released so many albums since then. The venues have been upgraded. The State Theatre is a much more refined joint. If he had a support act back then I can’t remember them, but I have a feeling Tori Forsyth will be etched into my mind. She has one of those voices that just grabs you and doesn’t let go. I wasn’t familiar with her material but I was instantly captivated, so glad I’d followed a friend’s advice and arrived early enough for her performance. She’s a performer not too dissimilar to Ray really, with a voice wise beyond her years, an old soul and style to her Americana tunes that makes them accessible on the first listen. The obvious appreciation she had for our beautiful theatre earned her a few brownie points too.

Ray wasn’t alone with his acoustic guitar this time. Wilco’s bassist John Stirratt joined him, bringing another dimension to the music. Like a modern-day Simon and Garfunkel they gently strummed and harmonised, creating some of the most beautiful folk music you’re likely to hear. I must admit, I lost touch with Ray’s new recordings somewhere along the way, but it was a real treat to hear so many new songs with such a respectful crowd. However, the songs from Trouble were real highlights for me. I even had to brush away a tear during “Burn.” He’s probably lost count of the number of times he’s sung it since 2004, but all the pain that fuelled its creation still felt so raw. And the title track, the jubilant chorus, was so stirring.

Someone who was unfamiliar with Ray might have felt disappointed by his quiet demeanour. He managed little more than a mumbled “Thank you Sydney” between songs. But knowing how shy he is, I can forgive a lack of showmanship. I was even surprised when returned to the stage for a lengthy encore. Even if performing is a little difficult for him, clearly he wanted to show us how much he appreciated our support.

Seeing Ray live wasn’t like your typical concert experience. It was without witty banter, without theatrics we were left to focus on arguably what matters most: the music. And it was flawless.

Posted on by Lauren Katulka

Allen Stone @ The Metro, Sydney – 17 April 2019

I see so many shows these days that I rarely get the adrenaline rush of anticipation that I did when I was younger. However, this year I felt that familiar buzz as I counted down for one show: Allen Stone. I’m a relative newcomer to his music, discovering him last year when he partnered up with some hopefuls on American Idol. However, in the last year I’ve made up for lost time, making him my number one streamed artist on Spotify according to those end-of-year rankings. While I adore the recordings, I had an inkling that he’d be even better live. It’s hard for an artist to match your expectations when they’re so sky high, but this talented soul artist from Washington nailed it in Sydney last week.

New Zealand’s Louis Baker had a tough job winning me over when I was so keen for the headliner, but he rose to the challenge admirably. What a voice, what a vibe. I was so captivated by his music that I didn’t once wonder how many songs he had left. In fact, as his soulful set drew to a close, I was disappointed. Such was the strength of his originals. While I hung on them, I got just a little nervous when he announced he wanted to play tribute to Prince. That’s hallowed ground, and I’ll judge you harshly if you mess up. Despite my reservations, he wowed me with his performance of “Purple Rain.” It was delicate, restrained, respectful, a masterclass in the “less is more” approach. It was really something special. I entered Louis’ set wishing we were skipping onto the main act, but finished it a real fan. Job done young man.

The crowd were into Louis, but their excitement kicked up a notch when Allen and his band graced the stage. The energy was electric. You could feel the love the audience had for what Allen Stone does, and that set the scene for one of the most fun nights of music I’ve ever had.

Allen certainly doesn’t look like the soul singers of old. A gangly white guy with flowing blond locks, tinted John Lennon-esque glasses, and hipster attire. But he channels the greats of the Stax stable, a little edgier and funkier than the Motown crowd. He feels the music and encourages us to do the same, leading us in hand claps and call and response. He danced with wild abandon to those up-tempo favourites, but showed he’s just as capable of delivering a tender ballad with a solo passage. Without the support of his band mates, you could really appreciate just how stratospheric his voice is.

Allen might be the front man with his name on the posters, but he took great pains to stress how important the band were to the show. That speaks to his endearing, humble character and also just how good those musicians are. Many of these guys have played with Allen for years. They’re tight together, but so talented in their own right. Major props to them.

Allen and band delivered an exceptional set featuring so many of my favourite cuts from his albums and a few choice covers. A little “Killing Me Softly” and “I Can’t Feel My Face” mashed up so well with “Love.” A frenetic take on “Message in a Bottle” was a real delight in the encore. But it was those album tracks that the enthusiastic crowd really lapped up. Those albums didn’t have songs that charted here. In fact, I’ve had to scour the internet to find Australian retailers selling them at all. But this crowd was switched on. They knew this music and clearly relished being in the company of others who understood just how good it was.

Last Wednesday was one of those shows where everything just comes together. I set myself up to be disappointed with lofty expectations, but this gig delivered. I might have been late to the Allen Stone party, but now I’ve attended I’m sure it won’t be my last. It’s only April, but I won’t be surprised if this is my favourite concert of the year.

Image source: own photos

Posted on by Lauren Katulka

John Mayer @ QUDOS Bank Arena, Sydney – 29 March 2019

Last night my best friend Lisa was telling me it was 16 years, four months, and 29 days since I took her to her first John Mayer show. I flew out to Brisbane because I was so enamoured with this young singer-songwriter that I wanted more than just the Sydney show. She came with me, despite knowing just two songs, because she trusted my music taste. Just quietly, I think she still does. That seems a lifetime ago, but really not much has changed. This time though Lisa flew to Sydney, wanting more than just the Brisbane show this tour. But there we were, cheering just as hard for the clean-cut singer-songwriter who has barely seemed to age since our first shows at The Metro and The Tivoli.

The venues have gotten bigger. I loathe QUDOS, because it usually feels so impersonal. I remember at my first show, John reached over and placed a plectrum directly in my hand, then closed his hand over mine to hold it in place. Now the people in the front row are behind a barrier placed far enough back for photographers to weave in and out. They’re also paying top dollar for standing there. It’s the way the music scene works of course. You get bigger as an artist and the gulf between you and your fans grows. It takes a special musician to bridge that, but somehow John does. He chatted to the room like it was much smaller, just the way he always has. There was no pretense there, whether he was thanking us for taking songs into our hearts or wondering whether he takes his shirt off the right way.

The music fills a space like QUDOS now. The band has gotten bigger, more guitars, back-up singers, a wall of sound, yet John gets the balance right. While the sound is layered, it doesn’t overshadow the songs which at their heart are well-crafted poetry. The lyrics, the simple melodies, they never get lost. Even in the jam portions, it all works like a well-oiled machine. I love the evolution of John’s music, but I was also thrilled to hear him take it back to its roots with an acoustic section after the intermission. What a perfect way to ease us into the second set.

Back in the early days, you could feel confident about the songs you’d hear. Now though John’s back catalogue is so exhaustive you’re never quite sure what you’re going to get. He’s not one of those artists who sticks to the singles, and judging by the rapturous applause for album tracks like “In Repair” and “Changing,” fans are thankful for that. The unpredictably of the sets makes it so much special when you do hear your favourites. I didn’t dare dream I’d hear “Edge of Desire” or “Walt Grace,” let along both in the same set. For this Prince fan, hearing David Ryan Harris sing a little of “The Beautiful Ones” before John launched into “Slow Dancing in a Burning Room” was magic.

What a set. What a night. There’s a part of me that gets nostalgic for those small venues and intimate crowds, but gazing around at the masses last night, with their phones ablaze swaying in time to the music was special. What John Mayer does is something bigger now, and that’s more than OK.

Image source: own photos

Posted on by Lauren Katulka

Tim Minchin @ State Theatre, Sydney – 27 March 2019

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

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

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

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

Image source: own photo

Posted on by Lauren Katulka

The Eagles @ Qudos Bank Arena, Sydney – 13 March 2019

Life has been moving at such a frantic pace that I know if I don’t take a little time out of my Sunday to get down my thoughts of The Eagles show a couple of weeks ago, I’m never going to get there. That’d be a shame, because while it’s only March, I’m pretty sure it’ll be the best show I see all year.

My dad passed his love of The Eagles down to me. It’s as much a part of me as my grey eyes that are a spitting image of his own and the way our noses get stuffy when we drink too much red wine. Every time they tour, I’m right there by his side, singing along to the songs that have such a special place in our hearts.

This was a different tour though, one tinged with sadness. We lost Glenn Frey a couple of years ago now. I cried then, and I felt the tears welling up at certain points during this show. When his image was beamed onto the back of the stage in tribute. When the band played “Already Gone,” a song usually so joyous that didn’t quite have the same spark. When the band introduced Vince Gill and Deacon Frey, Glenn’s son. They took over Glenn’s vocals admirably, but it says something that it takes two men to even attempt to replace my favourite Eagles member.

Acknowledging Glenn and his passing was important, but not as important as the music and the brotherhood on stage. While there’s a little hole in the band now, and arguably a bigger one than that experienced when Bernie Leadon, Randy Meisner, or Don Felder left the band, there’s still a great camaraderie between these guys. The new recruits felt every bit a part of the show as the old guard. In time I imagine we might struggle to imagine the Eagles without them, just as I do “new kid” Timothy B. Schmidt.

Music is such a powerful healer. While my thoughts turned to Glenn from time to time, most of the show I spend singing along to those hits. “One of These Nights,” “I Can’t Tell You Why,” “Lyin Eyes,” a killer version of “Heartache Tonight.” I was in raptures. The harmonies, always an Eagles signature, were flawless. It was fitting to hear Vince Gill’s “Don’t Let Our Love Start Slipping Away” alongside solo hits from Don Henley and Joe Walsh, a true acknowledgement that he’s one of the guys now.

Speaking of Joe Walsh, can I just take a moment to mention just how fantastic he is? My dad has often joked that Joe’s legendary partying has killed just about every brain cell except for those that play guitar. He does that perhaps better than any musician I’ve ever seen, and I’ve seen many of the greats. He’s also hilarious. His solo tracks “Life’s Been Good” and “Rocky Mountain Way,” so special that it made the first encore, were among the gig’s highlights, no mean feat in a show with so many smash songs.

When Glenn passed away, my family and I counted our blessings that we’d been lucky enough to see The Eagles as many times as we have. We didn’t think there’d be another tour. We said our goodbyes then, made peace with it. This time Don said these shows are probably the last we’ll get. If this is goodbye, what a farewell. Again we count our blessings, thankful we got the opportunity to see this outstanding band one last time.

Image source: own photos