I remember so vividly the punch to my gut that came on Boxing Day morning last year. My phone alerted me to a news report which told me George Michael had passed away. I can’t remember what I said, but I remember the way my knees buckled. I was still reeling from losing Prince in April and now another of the musical figures who had shaped me was gone.
George might be gone but his music lives on in the albums and live performances like George Michael: Praying for Time, a start-studded tribute night staged at the Sydney Opera House last week. On paper artists like David Campbell, Diesel, Sam Sparro, and Brendan Maclean are very different. But George Michael was one of those artists of such breadth that entrusting his music to such a wide range of artists was essential I think. These four musicians largely took the lead, supported ably by Gary Pinto, Jade McRae, Carmen Smith, Natasha Stuart, and the always incredible Sydney Symphony Orchestra. The supporting players were mostly relegated to back-up vocals, but each had time to shine. Aretha Franklin set a high bar, but Jade McRae filled her shoes admirably when she duetted on “Knew You Were Waiting For Me” with David Campbell. The three women showed they could become the next big female vocal group if they ever wanted to with super-tight renditions of “Fast Love” and “Too Funky.” Gary Pinto showed a side of him I never saw in CDB with a killer version of “Wham Rap.”
I’m a long-time David Campbell fan, and his takes on iconic tracks like “Kissing a Fool” and “Careless Whisper” was flawless. I wasn’t so sure how Diesel’s rougher rock vocals would sit on George’s smooth tracks, but listening to him cover songs like “Waiting for that Day” and “Praying for Time” made so much sense. Sam Sparro’s cover of “Spinning the Wheel” hit just the right emotional note. I was familiar with the work of all these artists, except Brendan Maclean who proved to be the biggest revelation for me. Fabulously camp and committed, he had in his diverse cover versions. Watching him sing into the mirror for “Older,” my heart broke. But soon enough he was there in ‘80s acid wash overalls delivering a high-energy rendition of “Monkey.” When he paired up with Sam Sparro for “Outside,” it was every bit as flamboyant and defiant as the song should be.
As a long-time fan, I loved that this show celebrated the breadth of George’s artistry. It went beyond the commercial hits that Anthony Callea’s tribute concert showcased a couple of years ago and brought us many of the album tracks fans like me and the artists on stage hold close to our hearts. My mum attended the show, standing in for my sick husband. Even though I blasted George’s music while I was growing up, it was something she never really absorbed. She leaned over to me at one point and asked “Did George Michael write all these songs?” She told me that for the first time, she realised he was much more than simply a pop singer.
I like to think the audience was made up of people who loved George and people who were fans of the artists on the bill who got the opportunity to truly discover George’s music for the first time. If it was, looking at all the people up on the feet during the encore, it seems both groups got what they came for. I know I did. I like to think that if George were looking down on our celebrations, he’d be happy with the way these Aussie artists honoured his legacy.
Image source: own photos
I fell in love at first note with Patrick James, a sweet young acoustic guitar-playing troubadour from Port Macquarie. He was a cutie, but his modest personality and superb lyrics really won me. Despite being a support act the crowd around me was so respectful that I could really take in the words he sang. Just when I thought his set couldn’t get any better he was joined by his banjo-playing pal. Together they created the perfect indie folk tunes to set the stage for the evening ahead.
I must admit, I was flagging after Patrick. Pub gigs always get so late for this middle-aged music lover! I whispered to my husband that I wished there wasn’t another support act; I wanted to hear Howie and head on home! But there was Brendan Maclean, a magnificent musician who turned my fatigue around. He made a big impression with his colourful jacket and Dwayne Wayne style sunglasses, but as his first impassioned piano driven song unfolded it was clear this guy wasn’t just about looks. His set flew by with quirky originals and cover versions of songs by Leonard Cohen and Lady Gaga. You’re not going to find that combination very often folks! Whether on piano or his beloved ukulele Murphy Brown, Brendan wowed me.
And then there was Howie Day. He’s still largely unknown in this country but I’ve been following his career for the past decade. In fact, my husband and I realised as we sat waiting for him to appear that we’d seen him first eight years ago in New York City. It was the first show we ever saw together, something I was thrilled to tell the man himself once his set wrapped up. But before I reverted to teenage fangirl it was time to soak up his brilliance. His set drew from his three albums and the brand new EP Ceasefire, something that pleased a long-time fan like me greatly. The simplicity of his lone acoustic guitar and plaintive vocals was matched perfectly by his tech wizardry. What that man does with looped recordings blows my mind each time I witness it. It’s such a neat trick that he uses like a pro, making the right songs feel bigger and more lush. However in the more intimate tunes like “She Says” and “No Longer What You Require” he does away with the trickery and lets his guitar and voice speak for themselves. It’s just magic.