Tag: Sydney

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

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

Posted on by Lauren Katulka

Phil Collins @ QUDOS Bank Arena, Sydney – 22 January 2019

I get very critical when I hear musicians referred to as legends. Most media outlets seem to love this buzzword, using it to refer to all the hottest acts, but in my mind becoming a legend takes time. It takes a consistent body of work. Most people never get there, regardless of how many songs or albums they release. We have very few musical legends left, but Phil Collins is undoubtedly one of them.

His musical legacy speaks for itself. There’s the impressive body of work with Genesis, a solo career that if anything surpassed that. There’s been number ones, Grammys, American Music Awards, Brit Awards, even an Oscar and some Golden Globes. It’s no coincidence that at 67 he can still sell out our largest music venues.

I’ve seen several artists who start showing their age. Physically, Phil is among them. His dodgy hip and back mean he spends most of his show seated. But where it counts, vocally, age hasn’t touched his performance. His voice rang out clear as a bell, sounding just as strong as it ever did on the recordings.

That voice delivered a set list that might end up being the best I hear all year. I leaned over to my mum after he started with “Against All Odds” and said “Well there’s my favourite. Where does he go from here?” But of course, Phil has so much in his arsenal that he can keep you entertained even when he’s already delivered the song you wanted to hear most. “Another Day in Paradise” came next, “I Missed Again” … hit after hit. He doesn’t need to keep any up his sleeve for the back end of the show because he’s written so many stellar songs. I remembered just how much I love tracks like “Invisible Touch,” “Something Happened on the Way to Hear,” “Easy Lover,” and “Chances Are.” The atmosphere for “In the Air Tonight” was electric. Phil might not be pounding the drum kit any more, but his son Nic was a worthy replacement.

The whole band really deserves a special mention. Many of these musicians have been with Phil for 40 to 50 years. They knew this music intimately, creating one of the tightest sounds I’ve ever heard. While Phil couldn’t get up and dance they filled that gap too, making the show feel like a real party from start to finish.

When Phil and band said their goodbyes I didn’t expect an encore. I’d heard everything I expected to and then some. It also seemed like an awful lot of effort for Phil to hobble off with his cane only to return again. However, he maintained the rock and roll charade, returning for one more song, “Take Me Home.” So stirring, the perfect closer for a real celebration of music.

Phil Collins was one of those bucket list artists for me, someone I knew I’d see if I ever had the chance but wasn’t sure I would. At one point the world thought he’d never tour again after all. When you anticipate seeing someone for so long, it can be difficult for the artist to meet your expectations. But Phil did and more. I feel so privileged to have spent time with one of the world’s true musical legends.

Phil Collins plays Perth’s RAC Arena tonight before heading to Melbourne’s AAMI Park on February 1 and 2.

Image source: own photos

Posted on by Lauren Katulka

The Book of Mormon @ Lyric Theatre, Sydney

Ordinarily when I see a musical theatre production I can’t wait to tell you all about it. But more than a week has passed since I saw The Book of Mormon and I still haven’t put fingers to keyboard.

It’s certainly not because the production was disappointing. It’s up there with the best things I’ve seen on a stage.

It’s not that I was reluctant to recommend it, although it’s not a musical I’d suggest everyone see. Chatting to a saleswoman at one of the fashion boutiques, I learned there have been many walkouts. During one of the earliest numbers, when F-bombs and C-bombs starting flying, I wondered about my own decision to take my parents for their birthdays. However, when they raved about how much fun they were having at intermission, I realised my parents are made of tougher stuff than I imagined. It’s certainly not for the easily offended or sensitive ears, but if you buy tickets for a musical by the creators of South Park you probably have some idea whether you can handle it.

Perhaps I’ve hesitated because I’m not quite sure what to say beyond what you probably already know. Unless you’ve been hiding under a rock, you know The Book of Mormon follows the journey of some American Mormon missionaries keen to save the people of Uganda through the power of the Good Book. The thing is, I think that’s all you really need to know. The less you learn about the intricacies of the musical beyond that, the better. I found it so rewarding to see a production that surprised me. In the recent past the musical theatre scene has been dominated by retellings of popular stories like Aladdin and Mary Poppins and biopics charting the rise of legendary musicians like Carole King and Bobby Darin. I’ve enjoyed those musicals, but I also knew where they were going. Even something original like Kinky Boots had an air of predictability about it. True love and our hero’s dreams would always win in the end. But you’re never quite sure where The Book of Mormon will take you, and that’s exciting.

I do want to tell you The Book of Mormon is exceptionally funny. I mean proper laugh out loud from your belly kind of funny. It’s also a very good musical. Don’t underestimate it on that front because Trey Parker and Matt Stone are behind it. The songs are as well-crafted as any you’d find in a Broadway hit. The cast is exceptional, singing and dancing with the best of them. It was no fluke that this show won the Helpmann award for best musical last year, and that goes beyond the edgy comedy. Perhaps one of the key reasons is that this is a show with real heart. I cared about the characters. I was invested in the storyline.

The Book of Mormon is certainly a musical with the power to offend. The walkouts are proof positive of that. But true art plays on the edges. If you appreciate that, make sure you don’t miss The Book of Mormon.

The Book of Mormon is currently playing at the Lyric Theatre, in Sydney’s Star Casino. It will then travel to Brisbane and Adelaide.

Posted on by Lauren Katulka

Aussie Cruises Inspire Fantastic New Singles From Hunter deBlanc

Mondays are never easy, but that first Monday after holidays is particularly trying. This time last week my husband and I were living it up on the Pacific Aria. We love so much about cruising, from lazy days on the deck to the seemingly never-ending supply of food, but what we love most is discovering great live music. Cruise performers have a reputation for being a bit loungy, but over our last four cruises we’ve been entertained by an artist who breaks the mould: Hunter deBlanc.

Hunter hails from New Orleans, but after 18 months on Australian cruise ships he considers himself right at home here in Oz. At night he covers everything from Billy Joel to Blink-182 in the piano bar, but by day he works on his original music. Those original songs have been so well received Hunter will soon leave the ships behind and announce his own Australian shows. With that Aussie tour in the works, there’s no better time to become familiar with this exciting independent artist.

While cruising around Australia and the South Pacific playing to packed-out rooms each night might seem glamorous, the life of a cruise ship entertainer isn’t always easy. Hunter touches on the isolation and tedium of those cruise contracts, and the way a visit from someone special can brighten the dark times, with his latest single “Sydney.” It’s got a great pop-punk feel, which makes me nostalgic for the late ‘90s, although I can hear the influence of our own INXS creeping in. Fittingly the lyric video for Sydney shows the New South Wales capital at its brightest during the annual Vivid festival.

If you’ve never cruised before, don’t be surprised if the lyric video for “Tides” tempts you to take the plunge. Its ocean imagery is just stunning, the perfect support for this banging tune. Released in late May, this dynamic synth-driven track tells of the way Hunter’s first cruise contract reignited his love of music and gave him the drive to pursue his dreams.

“It challenged me in so many ways, and made me grow as a person, a performer, a musician, and a songwriter. It gave me the confidence and reassurance I needed to come back from that first contract and hit the ground running,” he explained. “The lyrics of the song say ‘Right when I was about to sink, I started flying. I came alive, started to live like I was dying,’ because that’s exactly how I felt— almost as if I had caught a second wind. I felt revitalized, rejuvenated, and ready to complete my unfinished album (Daydreaming) and get back out there writing new material, and use every day to continue to further my music career.

“Sydney” and “Tides” are both available now on all your favourite digital platforms including Spotify, iTunes, and Google Play. Look out for Hunter deBlanc’s shows around the country later this year.

Photo credit: Nicole Bell Photography

Posted on by Lauren Katulka

Mr. Big & Extreme @ Enmore Theatre, Newtown – 3 June 2018

It might be 2018, but you wouldn’t know it looking at the gig guides. They’re filled with musical throwbacks keen to reunite with fans and give them a blast from the past with all the hits they know and love. The latest to hit our shores is the early 90s double-shot of Mr. Big and Extreme.

Mr. Big were the band I was really there to see. I have such fond memories of busting out “To Be With You” and “Just Take My Heart” as a kid and I was sure the band’s harmonies and big chords would be just as impressive in the live arena. Yet before too long I was feeling restless. I didn’t know any songs beyond those two hits (although that’s probably one more track than the average person), and it felt like this band was performing just to those people who did. While those folks down the front were having a grand old time singing along, I was fast becoming bored. I started to wonder whether perhaps I just wasn’t a real rock music fan as the guitarist launched into another shredding solo. The musicians were first-rate by the way, but frontman Eric Martin seemed a little by the numbers.

I must admit, after Mr. Big failed to fire for me I was prepared for this to be a long night. After all, I wasn’t much more familiar with Extreme’s back catalogue and they weren’t the act that got me through the door. They were the act that kept my butt on the seat though, except for the part near the end where I couldn’t resist giving them the standing ovation they deserved.

It turns out, I love a good rock show when it’s done well. Extreme gave us a masterclass. Gary Cherone is more energetic than most singers have his age. I was transfixed watching him bounce around the stage with all the swagger and sex appeal of a real rock star. His chemistry with lead guitarist Nuno Bettencourt is palpable. It’s a joy watching them play off one another. Speaking of playing, I’m not sure I’ll see many guitarists in my lifetime better than Nuno. His hand speed is incredible. My husband swears that at one point he was playing 300 beats a minute.

Singing along to the hits like “Hole Hearted” and “More Than Words” was great fun, but I didn’t find myself waiting for them as did during Mr. Big’s set. Everything was so entertaining that Extreme didn’t need to play on my taste for nostalgia.

While I loved those songs, they didn’t bring me my favourite moment of the night. That came when Extreme busted out “Play With Me” from Bill & Ted’s Excellent Adventure. It’s one of my husband’s favourite songs of all time. I’d suggested to him that they might not play it, not wanting him to be potentially disappointed, but he assured me it was coming. Watching the joy spread across his face as he punched his fist in the air and screamed out the lyrics is one of the greatest things I’ve ever experienced at a show.

It’s a bit of an effort for me to see a show in Sydney. There’s transport and often hotels to coordinate, time off to organise, so I want it to be worthwhile. Mr. Big might have been lacklustre, but Extreme made my night. I’m not overstating the point when I tell you that they put on one of the best concerts I’ve ever seen. I had a healthy level of appreciation of their music before, but now I’m a fan for life.

Image source: own photos

Posted on by Lauren Katulka

CLIPPED Music Video Festival Heads to Redfern for Vivid

Vivid is always such an exciting time in Sydney, but with the arts festival celebrating its 10th year you can bet this one will be big. One of the highlights of the 2018 celebrations for music lovers is the CLIPPED Music Video Festival.

This unique event celebrates the past, present, and future of music videos through interactive exhibitions, competitions, live performances, VR explorations, and heaps more. Acclaimed music video director Jesse Kanda, known for his work with Björk, FKA Twigs, and Arca, will appear alongside out own Sarah Blasko, McLean Stephenson, and ABC Rage curator Tyson Koh.

“I’m so proud that CLIPPED is heading into our third year as part of Vivid Sydney. It’s a beautiful city and an amazing time to hold such a unique event, now well known for putting a spotlight on the best music videos from Australian & New Zealand.’ says CLIPPED Festival Director Sam Bright.

The CLIPPED Music Video Festival hits Carriageworks in Redfern on June 2. Tickets are availabl now from the CLIPPED Music Video Festival website.

Image used with permission from Inmocean; Photo credit: Kylie Coutts

Posted on by Lauren Katulka

Live & The Tea Party @ ICC Theatre, Sydney – 1 March 2018

Ordinarily when a band I’ve seen announces follow-up shows shortly after their last lap of the country, I give them a miss. I reason that not much will have changed and that there are always more artists tempting me to spend my money. Yet not even four months after catching them in the Hunter, I saw Live again last week. And I was every bit as psyched.

This was a very different gig from the 2017 Live show though. Rather than a soggy day out in the picturesque Hunter Valley, we filed into the modern ICC Theatre in Sydney. In the Hunter, Thirsty Merc, The Calling, and Lifehouse delivered crowd-pleasing pop-rock, but it seemed slightly out of step with Live’s angsty ‘90s rock. At this year’s tour The Tea Party provided an interesting foil, rocking every bit as hard as the headliners.

The Tea Party are such a revered act, but my exposure to them had been limited to their set at M-One (anyone else remember M-One?), when I think I might have been chatting to friends, and whatever filtered through the walls from my young sister’s bedroom. When they first hit the stage I worried they might have been a little too dark for my tastes. But as the set wore on, I started to appreciate them a little more. These guys are such exemplary musicians and Jeff Martin is one of the most charismatic frontmen you’ll ever see. He has such a cool, brooding quality that’s utterly mesmerising. I was surprised that I recognised “Sister Awake” and “Temptation.” I guess more filtered through those bedroom walls than I realised. Snippets of classic rock songs like “Paint it Black” and “With Or Without You” gave those of us less familiar with their work than those enthusiastically jumping around on the floor something to latch on to. The Tea Party might have passed me by in the ‘90s, but I feel like I got an education on what they’re all about.

While The Tea Party invigorated me with their set so out of my comfort zone, when Live took the stage I felt right at home. The set started explosively with “All Over You,” with the band’s energy matched by all of us excitedly singing along as we punched our fists in the air. And from that moment, Live had us. Just like Jeff Martin did earlier in the night, Ed Kowalczyk captivated me. He is such a powerful performer, whether he’s leading us all in a big rock number or bearing his soul in an intimate ballad.

The set had the perfect balance of hits and album tracks us fans hold close to our heart. And well it should, because it was almost the same set we heard in the Hunter. There were some notable exceptions though. We didn’t hear “Rattlesnake,” part of the encore at Roche Estate. But the set was a little longer, with the addition of “The Distance,” “Iris,” and the fantastic “Shit Towne.”

The songs that remained were so stellar and even though I’d seen them live mere months before, they lost none of the power. I was still so moved when the band played tribute to Chris Cornell with Audioslave’s “I Am The Highway.” My very favourite Live song, “Turn My Head” still gave me chills. I was on my feet with “Lakini’s Juice.” And if you’re not overcome by songs like “I Alone,” “Selling The Drama,” and “Lightning Crashes,” you probably weren’t a teen in the ‘90s.

They might have just visited us, but Live gave us the kind of dynamic performance you might expect if they hadn’t played here in years. They seemed on such a high, so appreciative of the crowd and feeding off its energy. We all felt it, and it was glorious.

Image source: own photos

Posted on by Lauren Katulka

Roger Waters @ Qudos Bank Arena, Sydney – 2 February 2018

I was strangely reminded of those wacky experimental nights on MasterChef as we waited for Roger Waters to take the stage. The more impatient punters might say that he was 20-odd minutes late, but I knew the show had already started. The image of a woman sitting on a beach staring out at the waves, her back to us, was projected on a screen in front, as we heard the sounds of the ocean and seagulls all around us, projected out of speakers that filled the room. Just like visiting a Heston Blumenthal restaurant isn’t just about the meal, this was to be a night that wasn’t just about music but a sense of theatre. It set the scene, priming us for what was to come. And then when “Speak To Me” ran into “Breathe,” just as it does on Dark Side of the Moon, we were more than ready for it.

This was a Roger Water show, but it was one which really celebrated that epic breakthrough Pink Floyd album. I was thrilled for that; after he brought us The Wall a few years ago enjoying a set which drew so much from that other big album was so special. The Wall got a look in, with tracks like “Another Brick in the Wall Parts 2 and 3,” and “Mother,” as did other iconic songs like “Wish You Were Here” and but it was really Dark Side of the Moon’s night. I was glad for that, because while I appreciated Roger’s new material on an artistic level it didn’t move me to the same degree. I’m thrilled musicians like him continue to fight the good fight and rail against the machine, especially in this modern political climate, but there was something so special about that music he made with Pink Floyd.

As I said though, this was a show that was about much more than music. It was a sensory spectacular. I’m in two minds about that, honestly. It was incredible to watch the colourful lasers, the light projections, the rising smoke stacks, and the flying pig. But at the same time, Roger said little beyond telling us there’d be a short intermission and introducing his band. I remember seeing him live about 15 years ago and listening to him share a little more about the songs and himself. We still had a flying pig, but there was a bit more balance between the personal and the theatrical. I miss that.

Speaking of the band, I’d be remiss if I didn’t give them props. It might have taken two guitarists to replicate what Dave Gilmour does, but they were excellent. The female vocalists were outstanding. What incredible voices they have. The gentleman who shared vocal duties was also wonderful.

Roger Waters’ Us + Them show took us on a real journey. Before I knew it the final triumphant strains of “Comfortably Numb” had faded away and we were back on that beach with the woman, now joined by her child, as the house lights came up. This show gave us a trip down memory lane, but also felt so dynamic and modern and relevant. For a man of 74 to continue challenging his audience and being truly creative, rather than resting on his laurels, is impressive. It might not have always been to my tastes, but true art rarely is.

Roger Waters’ Us + Them tour plays Melbourne’s Rod Laver Arena on February 10, 11, and 13, Adelaide Entertainment Centre on February 16, and Perth Arena on February 20.

Image source: own photos