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Palais Theatre

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Gig ReviewsReviews
April 8, 2023
Josh Mak

[Review] Jason Bonham’s Led Zeppelin Evening @ Palais Theatre, Melbourne 7/04/2023

Review By Josh Mak

There are influential giants in the world of Classical music that have shaped what we have come to know as western civilisation. Mozart, Chopin, Bach etc…

Seldom do we think of Rock n’ Roll in the same regard as Classical, but it is no less relevant in its contribution to our society and culture.

Among the pioneers of the genre it would be unanimously agreed that Led Zeppelin would surely have a seat at that table of legends and Jason Bonham might very well be the last custodian of these sacred works of art.

The show began with the unmistakable charging rhythms, accompanied by the banshee howls of Immigrant Song and the hits kept coming as the band followed this with Good Times Bad Times and Over The Hills and Faraway.

Having been born too late to have seen the original line up perform live I’ve always had to be content with watching videos of Led Zeppelin’s concerts. For the first time in my life I got to see and hear The Song Remains The Same, Rain Song and No Quarter played live and that was a really magical experience .

I would like to spend some time talking about Led Zeppelin’s music and Jason Bonham’s role in carrying the torch not just as a fan but also as a son of what many would consider, Rock n’ Roll’s greatest drummer – John “Bonzo” Bonham.

Led Zeppelin’s music is akin to a mighty river; sometimes a raging rapid; sometimes a gentle brook. Always flowing forward and unstoppable.

Jason Bonham, together with singer James Dylan, guitarist Jimmy Sakurai, and bassist Dorian Heartsong deliver a very faithful and respectful performance of Led Zeppelin’s material. Meticulous care has been taken to not only play the songs right but also in the authenticity in the tone of their individual instruments.

Jason promised to take us on a journey back to the old ways and for awhile we would forget where we were and simply enjoy being in the moment.

I witnessed a band not just playing in sync with each other and being in the pocket but constantly communicating through their instruments with one another and with the audience. Truly a rare thing to behold in our modern era where almost no aspect of art has been corrupted in someway by the digital.

Between each song, we were enchanted as Jason Bonham told us stories of times he had spent with John Bonham and Led Zeppelin. From the grandeur of playing in stadiums to the personal memories they shared at home as a family. We were given a little peek into his world and what it was like growing up around such influential musicians.

Jason Bonham is evidently inspired by the drumming of John Bonham and has miraculously managed to capture his essence in his playing. This is no simple task and many great drummers have failed or simply refused to try to touch such sacred material.

The pacing of the set was expertly crafted and with the final four songs the band reached a level higher than a crescendo. It is genuinely hard to put into words how amazing it was so I will simply list the songs and let you the reader experience the magic as you read each title.

Kashmir, Stairway To Heaven, Whole Lotta Love and Rock and Roll.

Jason Bonham is a formidable drummer but I think the reason that he is able to do what no other can, is because of the deep connection he has with his dad. To him, before John Bonham is a great drummer he is first and foremost his father and he can take pride in knowing that he is preserving a legacy for all musicians in the present and for those that have yet to come.

You can still catch this amazing show

April 9 – The Tivoli, Brisbane

April 11 – Hindley St Music Hall, Adelaide

Tickets available here: https://metropolistouring.com/jblze-2023/

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Gig ReviewsReviews
April 5, 2023
Daron Jacks

[Review] The Counting Crows @ Palais Theatre, Melbourne 03/04/2023

Review By Daron Jacks

I had no expectations about seeing the Counting Crows live, I simply had no idea what to expect.

Like many, I was a Mr Jones Crows fan. There was hardly a household in the ‘90s that didn’t have a copy of August And Everything After in their CD player. Remember those old things?

But that was 30 years ago and having flogged the CD it soon gathered dust on the shelf like so many other great albums before and after them.

Sure, I enjoyed their cover of Joni Mitchell’s Big Yellow Taxi, but I never really stuck with the Counting Crows. And after taking in two hours of their live show at the Palais, I now regret not soaking up the next three decades of their discography.

But I will now.

Checking out the audience filing into any gig usually gives you an understanding of the longevity of the band, and type of fan. So, seeing plenty of middle-aged Melbourne making their way to a seat was guaranteed, but many twenty and thirty somethings were also there.

Maybe they grew up with their parents flogging that fantastic debut album way back when, but their enthusiasm for the later songs only reinforced the Crows have been prolific and no less bloody good musos for many years and counting (pun intended!).

Frank Turner (playing solo without his Sleeping Souls band) warmed up the audience and detailed his 35-year love-hate relationship with his father and the unexpected reconciliation when angry dad came out as transwoman Miranda, hence his song Miranda was a standout.

Counting Crows opened with Hard Candy and quickly got Mr Jones out of the way. It set a tone for songs given some improvisation and not a rigid replay of the recorded version.

Lead singer Adam Duritz entertains with his engaging banter and clear humility, so much so the sold-out Palais felt like and intimate venue.

Colorblind and Omaha soon followed, and a cover of Teenage Fanclub’s Start Again. Big Yellow Taxi got the audience up, but Duritz brought it down with Miami, his story of breaking up with a girlfriend on tour, but not telling her yet.

As the Crows meandered through their albums showcasing their musicianship and storytelling, my wife summed it up perfectly as she leaned in and whispered, “I feel Like I’m at a musical”.

And it did. Stories that touched the heart with sadness and happiness, and the relaxed nature with which each song was delivered by Durtiz talking to the audience.

Rain King once again got bums off seats and for more singing and an encore of Hanginaround and Holiday in Spain closed out two hours on stage.

The Counting Crows are so much more than Mr Jones. They are worth every cent to see live and while it may have taken 30 years to break that cherry, I now have 30 years of songs to explore, and based on their enthusiasm on this Butter Miracle Tour, there’s bound to be more to come.

They still have one show left in Melbourne at Hamer Hall this Thursday before heading to Sydney, so don’t walk, run to snap up these tickets.  Easter just got a whole lot better.

You can still catch COUNTING CROWS at the following dates:

April 6th – Hamer Hall, Melbourne

April 9th – Enmore Theatre, Sydney

Arpil 11th – Enmore Theatre, Sydney 

Tickets available here

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Gig ReviewsReviews
March 11, 2023
Lucy Paterson

[Review] Aurora @ Palais Theatre, Melbourne 09/3/2023

Aurora is truly one of the most triumphant artist of our generation, and on the 9th of March I, along with a sold out Palais Theatre audience, were humbled to be in her presence. The best way I can describe Aurora’s performance was that of a re birth, as she used her music to gently guided us to unleash our inner animal, let go of societal judgement, and embrace the raw experiencing of being human. However, I get ahead of myself! Let’s start from the beginning.

I entered the charming Palais venue with deep fondness, as I am well acquainted with its well-worn walls and earthy green carpet. When the support act Blusher made their way onto the stage, I thought their youthful energy paired perfectly with the venue’s vintage aesthetic. Newness was meeting with tradition, and I was loving the ambiance that this was creating. The Palais stage has welcomed countless up and coming artists and the trio of women that make up Blushers certainly left no crumbs; making their mark from the moment their hands touched the mics. Blushers performed with such finesse, confidence, and hypnotic power, that their 30 minute set felt like a delicious glimpse into what a full length Blusher show may look like, and you best believe that I will be in attendance for it. As someone who doesn’t listen to a lot of pop, Blushers truly won me over. Their use of the silky, dream like synth and hard hitting bass became part of what makes their sound so irrespirable. Their performance of Dead End, a song that celebrates that celebrates youth and ‘going out on a Tuesday’, had everyone out of their seats, myself included. Seeing these three powerhouse women grooving on stage with their synchronized dance moves made it impossible to resist doing the same, and I definitely saw a few strangers pull out some moves together. Finishing their set with Softly Spoken, this spicy track sealed Blushers as a band that aren’t afraid to pair their sweet melodies with biting, unafraid lyricism. This duality is clearly a signature aspect of Blushers that is quickly becoming part of their appeal and growing fan base. One of the sweetest moments of the night was when they gave a shout out to their devout fan, who has been at all of their performances. I loved to see the growing relationship they have with their fans, despite this being their debut tour. If the love the crowd had for Blushers is anything to go by, I would say that this trio is on their way to global pop domination.

After a half hour interval, Aurora’s entrance could not have been met with a more captivated attention. All eyes were on the dimly lit, misty stage. Three thousand breaths were being held, as we watched this tiny figure make her way to the front of the stage. I was six rows from the front, and I can safely say that seeing Aurora stare out into the crowd, shrouded in a dark silhouette, was one of the most hauntingly beautiful images I’ve ever seen on stage. And so, just like that, an hour and a half of pure, spellbinding magic was set into motion, with Aurora as our trusted enchantress.    

After having a few second to soak in Aurora’s presence, her dark anthem Heathens kicked off the night; snapping the audience out of their mystified spell, and plunging us into a cosmic darkness that made me want to break free of my human form and become pure matter. Heathens acted as an introduction to what kind of instrumental, vocal, and performative experience we could expect from tonight’s show:

A fusion of angelic yearning, and animalistic chaos.

With each song that Aurora performed, I could not help but notice how her whole body moved to the music. From her ballerina like twirling, to her wolfish crawling and crouching, to the way her fingers delicately danced in response to each note, it was as if she were composing the pieces right in front of us and throwing her whole self into it. It wasn’t hard to see just how much of Aurora’s soul exists in each song.

The majesty of this performance, combined with her reflective talking segments on life, love, and the beauty and the oddities of mankind, made the night felt like a communal un shedding of pain and suffering. To be there in that room, being serenaded by ethereal harmonies and watching people dance their way through songs that deal with respecting nature, and respecting the things we don’t understand, was more than my little brain could comprehend. I think I will be comprehending it for a long time. My favourite performance was definitely Infections of a Different Kind, as it displayed the rawness of Aurora’s vocal abilities on a new level. There was such beautiful range to Aurora’s song choices that left the audience with no idea of where the night was headed. The performance of the dark, cinematic Churchyard shook every persons souls, whilst Exist for Love comforted us in it’s lilting blend of three part harmonies and pristine guitar accompaniment.

 To me, Aurora is one woman who both channels The Sublime, and crafts a performance that is expansive and utopian in it’s message and aesthetic. The way that Aurora appeared to us was almost like an other worldly being; dressed in all white, blessing us with anecdotes that celebrated uniqueness, and stories of acceptance and kindness. Ultimately, Aurora’s show gave new meaning to the title of her latest album called The Gods We Can Touch, for she is our all inclusive and all accepting voice of truth and reason; a vision of the hope, the change, and the courage that this little old world relies on in order to be nurtured and thrive. Finishing off the night with Cure For Me, a song that champions her defiantly positive message of self love, I left that night feeling a little lighter and happier in myself, and optimistic about the world and people around me. I guess that is the power of Aurora, and I cannot wait until she returns to Melbourne.

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Gig ReviewsReviews
March 1, 2023
Cassandra Hale

[Review] Backstreet Boys @ Rod Laver Arena, Melbourne 28/02/2023

There is no doubt The Backstreet Boys DNA Tour has been highly awaited, with fans patiently biding their time amongst rescheduling and postponements. But the time is upon us, and boy am I excited and gauging the amount of people heading to Rod Laver Arena in Melbourne I am not alone. It is night one of two in this wonderful city, and the fans are coming out in force, keen as mustard to get amongst some long awaited boy band action.

Samantha Jade, winner of 2012 Australian X Factor had a wonderful time warming up the packed Rod Laver Arena. She bought a few friends along for added harmonies and delivered lots of classic covers that helped settle the nervous excitement if only for a short period. Samantha was well received by the expanding crowd and had them singing loudly along by the conclusion of her set. Her 30 mins was packed with hits perfectly picked to get the party started, and Samantha showed she can still deliver the goods.

The stage was set and it was impressive to say the least, a diamond shaped catwalk host to the most beloved fans, perched happily in the middle, and a fractured ribcage of framework over the main stage which was set in several levels. Huge screens hung from the ceiling forming a triangle the perfect additional for the fans who weren’t up close. I just knew right from the get-go this show would deliver with all the bells and whistles and the ripples of excitement were growing by the second.  The screams were electric as the lights dropped and the enormous screen behind the stage came to life, with lots of glitz the ensuing intro was enough to rouse the venue to its feet as the word UNBREAKLABLE flashed up followed by BSB. Images of the Boys appeared and amidst it all smoke cannon erupted as the Backstreet Boys made their first appearance.

Opening with I Wanna Be With You the show was off and running, It was an amazing two hours packed with four 30 minute sets, each accompanied by a costume change. Each set a different member having a chat, ever gracious and thankful for the fans who have stuck with them for 30 years. Tonight’s Melbourne show was number 200 in the DNA tour, which is no mean feat considering the size of its production, with three of the BSB team hailing from Australia it was lovely for them to have some time at home while still on tour with these big guns. The hits were unstoppable The Call, Don’t Want You Back and Get Down a few to make Set 1. The dance moves still as polished as back in the day, the BSB cut an amazing form as they strutted not just the stage but around the catwalk. Happily trading hand slaps with the fans in and around the inner sanctum, Brian nearly dragged into the pit on several occasions. His cheeky demeaner ever present as he works the stage giving plenty to the eager fans and loving every minute, his interaction so genuine it shone.

All of the BSB were so humbled by the fans all taking time to talk to them, hold hands and acknowledge them, it was lovely to see they are still so invested in what has made them who they are. Set 2 was launched with Show Me The Meaning of Being Lonely, Incomplete and Undone. The stage backdrops constantly changing to suit the next song, visually it was a fest for your eyes and at times overwhelming with its Backstreet goodness. The Boys singing voices primed and just as good if not better than I imagined, the harmonies still quite magical and smooth as silk. The Shape of My Heart and Drowning another two fan favourites, the boy band moves melting the hearts of many.

Set three saw two large boxes appear on stage one with BSB and one with DNA which Kevin and AJ jumped into after being left onstage. It was time to give a bit back to the screaming girls that in another life threw their underwear on stage, now the boys would change in the boxes and throw THEIR underwear to the fans. It was a fun aspect and gave lots of giggles as the boys changed their threads and emerged looking fresh and ready to melt hearts. Quit Playing Games With My Heart saw the boys take a seat at the front of the catwalk as the stage raised to greet them. Nick and Howie facing the fans in the inner sanctum, happily chatting and signing autographs, could these guys be any sweeter?! As Long As You Love Me saw glowing mic stands arise from the stage floor and caused many a girl to swoon. No Place from the DNA album had a wonderful addition, the huge screens above us showing footage of all the Boys and their families singing the song and doing their day to day things. It was such a beautiful moment to match this stunning song, family is everything and while they are away they are bringing a little bit of home with them.  Then it’s time to head to the sky, the stage they had been sitting on raised up towards the roof and the Boys played a lovely A Capella tune showing they have the good even without music. The large screens above them descended until they swapped places and were actually on top of the screens singing from the rooftops. Quite the spectacle, but there was no time for rest as they hightailed it back to the mainstage for All I Have To Give, seeing out set three.

Tension was mounting, Everybody (Backstreet’s Back) had to being coming in hot and as the big screens came to life with another stunning intro the floor opened and the Boys appeared all donned in white, rising to the familiar tune we had been waiting for. Let me tell you, it DID NOT disappoint. The moves hit in stunning brilliance the stage awash with electric candy skulls in shocks of colour and laser lights. Rod Laver was on its collective feet and overwrought with happiness reliving this song of our youth. This last set packed a punch with hit after hit, We’ve Got It Going On, The One and I Want It That Way to name few. As the boys took their bows we were certain there was a few left in the tank and after a brief stage absence they were back to finish out the night. Don’t Go Breaking My Heart set pulses racing, and then the mega hit Larger Than Life which saw the smoke cannons explode and the dance moves hit celestial heights. Confetti rained down and streamers launched from the stage, a truly fitting end to a phenomenal show and one I will remember for years to come.

The Backstreet Boys really separate the wheat from the chaff, and they have been sowing golden fields uninterrupted for over 30 years. If there is one show you need to see in your lifetime it is this one, and while Backstreets Back, for many they never left!

REMINING DATES FOR THE BACKSTREET BOYS: The DNA World Tour – Australia 2023

  • ROD LAVER ARENA, MELBOURNE WEDNESDAY MARCH 1
  • QUDOS BANK ARENA, SYDNEY SATURDAY MARCH 4
  • QUDOS BANK ARENA, SYDNEY SUNDAY MARCH 5
  • BRISBANE ENTERTAINMENT CENTRE WEDNESDAY MARCH 8

ALL TICKETS ON SALE NOW.

For complete tour, ticket and VIP Experience information, visit: backstreetboys.com & livenation.com.au

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Gig ReviewsReviews
February 25, 2023
Wendy Smith

[Review] Del Amitri @ Palais Theatre, Melbourne 23/02/2023

There is a standing joke in my house involving Del Amitri. If guests are coming around for dinner, my husband will say, “time to put Del Amitri on”. They are always my dinner party music of choice. Why – it is perfect for that – inoffensive in lyrics and musical style, upbeat melodies and just perfect background music. That doesn’t sound like a band that I would put on in my head phones and listen to deeply but I do that too. And when you listen deeply, Del Amitri is actually the antithesis of everything I like, musically. First and foremost, it is borderline country. Country music makes my skin crawl. Harmonicas, steel and slide guitars and wiggly wiggly organs (played with high vibrato) will send me running to the hills (running for my life, even). And if you listen to the opening verse and chorus of Del Amitri’s Kiss This Thing Goodbye, and other songs, that’s exactly what you’ve got. So why are Del Amitri so dang likeable?

There is no better way to get excited for a gig than by finding a pub where other fans might congregate. The proximity of The Cross Scottish themed bar in Fitzroy Street to the Palais seemed a sure bet and sure enough, the tables were full to bursting with expat Scots, enjoying Steak Night and a pint of Tenants (piss weak Scottish beer) before the show. There was a real sense of excitement in the air, after all, Del Amitri have not visited these shores for 30 years.

The Palais is the perfect venue for bands whose music can be enjoyed perfectly from the comfort of one’s arse. The seating is probably as antique as the building and is prone to being lumpy and a wee bit uncomfortable after a couple of hours but on Thursday as the support act, Darren Middleton came on, all assembled were making themselves comfortable and settled in for some listening pleasure. The name meant nothing to me at first. The music from him and another guitarist/keyboard player and a drummer was very much in the right vein for the evening…pleasant and easy on the ears. After couple of tracks, he mentioned that he had written songs for Bradley Cooper to sing in A Star is Born! Hang On, who is this guy. All became clear when he dropped another big name….Powderfinger. Darren Middleton is none other than lead guitarist and songwriter for the hugely successful Aussie band of the 2000’s. Now he had my attention. I missed Powderfinger’s entire career, pretty much and if it weren’t for my sister sending me a Triple J top 100 CD every year, and picking up a copy of Vulture Street in a Tower Records bargain bin, I would never have heard of them. Darren’s solo work lacks a bit of the spice of Powderfinger, but I felt the presence of singer songwriters who have gone before such as Neil Young, who Middleton lists as an influence and you could tell.

2023 Del Amitri consists of just two of the original band members who started playing together in 1982, Justin Currie on bass and lead vocals, and Iain Harvie on guitar and backing vocals. And these two make some really beautiful harmonies together, at times, sounding Eaglesque. They opened with When You Were Young which seemed appropriate for a band of 50 somethings to be playing to a crowd of fellow Gen Xers. Undoubtedly looking older, but still sporting a very fine head of hair, Justin’s voice has lost none of the range and beautiful tone that is such a part of this band’s success.

Del Amitri’s second album, Waking Hours of 1989 and Change Everything of 1992 spawned their biggest hits, the first played tonight was Always the Last to Know. This song opens with the most heinous musical crime there is (in my humble opinion) – COWBELLS! But once you get over this it is a song, like so many of this bands, that tells a great story and brought a few “wee wiman” in the crowd to their feet.

They were powering through this set at breakneck speed. There was very little patter in between songs which was a bit of a shame and I think the crowd would have loved a bit of banter. He did manage a “Is it supposed to be this hot?” Thursday was a bit of a scorcher but you will come to Australia in February so Aye, it is supposed to be this hot.

The wonderfully upbeat Kiss This Thing Goodbye was greeted with a loud cheer from the audience. The song begins with the harmonica, again, walking a very slippery slope between pop and country, but again, still managing to be inoffensive to my sensitive ears. The next hit out of the box was the wonderfully moody and even a little bit sad Driving with the Brakes On. One of my faves.

After a set of 18 tracks, more hits than misses, the main set drew to a close with the wonderfully philosophical Spit in the Rain and Stone Cold Sober.

The message that more was expected was very clearly sent as the crowd, now on their feet, showed their appreciation and begged for more.

A 5 song encore ensued. It was always a given that this would include their biggest hit and one of the best pieces of lyrical story telling I have ever heard, Nothing Ever Happens. This song speaks of the repetitiveness of an ordinary life and it always makes me think of my Mother in Law who worked in the tax office as a typist for over 30 years.

Scotland is my second home, having spent all of the 90’s and most of the naughties living in Glasgow and I feel as proud as any Scotsman when I see “home” grown talent do well internationally. Del Amitri have been appreciated by more than homesick Scots in Australia since they first toured here in 1990 but I fear that this may well have been the bands’ Australian swan song. I am grateful to have felt the swell of affection for the band in Glasgow when they could be heard on the juke box of every student pub and University union on the west coast. And I’m grateful to have seen them grace the stage of the Palais on a balmy summer’s night in Melbourne, 30 years later.

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Gig ReviewsReviews
November 22, 2022
Josh Mak

The Black Crowes @ Palais Theatre, Melbourne 20/11/2022

The evening began with a last minute decision to move the the gig from the Palace foreshore into the Palais theatre. Probably due to Melbourne’s laissez faire attitude towards adhering to weather forecasts. A decision that I enthusiastically applauded and was most pleased with.

I arrived at 6:15pm as the doors were about to open and a long line had already snaked its way around the front of the venue. This crowd had waited a long time for the much overdue reunion of The Black Crowes.

Taking the stage promptly at 6:45pm was Full Flower Moon Band, a five-piece outfit hailing from sunny Brisbane. Comprising of Babyshakes Dillon (Vocals & Guitar), Christian Driscoll (Guitar), Caleb Widener (Guitar), Marli Smales (Bass & Backing Vocals) and Luke Hanson (Drums)

Right out of the gate their drummer was like hearing a bomb go off. Every hit of the skins had intentionality and ferocity yet he had a good understanding of utilising dynamics when the song required a softer touch. The bass held a consistent groove that you felt in your stomach and the three guitars made up of an SG, a Telecaster and a Stratocaster formed an unholy trio of tone. Together they weaved a rugged and lipstick stained tapestry of rhythm and melody. Crushing riffs juxtaposed with haunting vocals. Babyshakes Dillon’s vocals reminded me of Shirley Manson of Garbage. She had a swagger and filth in her delivery that said not only can I throw down with the boys but I can beat you.

My favourite song that they performed was, Come and be my baby. Ironically it is the only song from their set that isn’t available online at the moment. All in all Full Flower Moon Band are a great example that the future of Aussie rock is not just alive but absolutely thriving. You just have to look and listen a little closer.

Filling the main support spot was Australian icons You Am I fronted by eccentric frontman Tim Rogers. Dressed lavishly in his trademark look of bellbottoms and a red shirt Tim oozed vintage chic as they took the stage to a hearty applause. Opening the set with Rumble they were off and running after a few small sound issues which didn’t seem to slow them down. The Waterboy, Who Put The Devil in You? and Cathy’s Clown all made an appearance keeping the fans happy. 

Tim was up and about with his cheeky banter keeping the punters entertained as Mr Milk and How Much is Enough rang out. While I don’t believe it was their strongest performance there was plenty of crowd support as they finished off with their huge hit Berlin Chair. Tim ever supportive of the local music industry inviting people to go out and sample some of the live music scene and support our musicians. So get to it people, there is so much live music to see in Melbourne you will be glad you did!

James Brown’s Get Up (I Feel Like Being a) Sex Machine played over the PA as we starred into the darkness as silhouettes moved across the stage and you could feel the anticipation in the atmosphere change. Then a single light illuminated Rich Robinson and his guitar as he began playing the intro to Twice as hard and the crowd simultaneously exploded with rock and roll as frontman. Chris Robinson’s entrance was greeted with deafening screams. Chris was dressed in a gold sparkle shirt and shiny silver shoes. But even an outfit this loud was barely able to contain the infectious energy he exuded.

The Black Crowes didn’t give a performance you’d expect of seasoned veterans, but they played with the vigour of a new band hungry to prove themselves. As I watched from the balcony I couldn’t see a single person that wasn’t on their feet, despite the Palais being a seated venue. The third song of the night was Sister Luck. You could feel the nostalgia in the air and for a brief moment all of us were transported back to 1990. Such is the magic of good music. Seeing Things showcased the band’s soul and gospel influences as Chris Robinson didn’t merely sing the lyrics but managed to engage the crowd in an unspoken dialogue. Following this was their cover of Otis Redding’s Hard to handle. The crowd exploded once more to an even higher level that literally made the floor and walls of the Palais theatre shake. As the chorus came around The Black Crowes didn’t have two back up singers in the band but a couple thousand new ones.

In the middle of performing Stare it Cold, an over enthusiastic fan climbed up on stage and charged towards the band. Two members of security rushed over to apprehend him but he grabbed one of them and threw him into the audience. The second security personnel managed to grab a hold of him while Chris Robinson pushed him away with his mic stand. As security struggled to subdue him Rich Robinson didn’t miss a beat and ran over to strike the misfit with the butt of his guitar. As the assailant was brought under control Rich grabbed the mic and yelled: “Get this mother fucker out of here.” Which was met with applause and approval from the fans. Chris then took the mic and decided to restart the song. Nonchalantly brushing off the incident and getting right back to the music.

The guitar nerd in me noticed that both Rich Robinson and lead guitarist Isaiah Mitchell were using three amplifiers each. An educated guess leads me to believe that this was to have their guitar signal panned in stereo and have one signal straight down the middle. Keyboard player Joel Robinow had a vintage Leslie speaker in his setup, something I’ve never seen a band do in a live setting. These little details show a lot about who The Black Crowes are as artists and how much care and attention they place on their sound. Something often overlooked in our modern digital age where such analog efforts are deemed too costly and unnecessary.

The set was closed with the fan favourite, Remedy. The crowd gave all they had and sang at the top of their lungs and the band graced them with a breath taking performance. At the end the lights went down but the crowd could not be quelled and for their passion they were rewarded with an encore of Rock & Roll by The Velvet Underground.

This was a a night of passion, joy and drama. Much like the things that make up life and to me the very essence of what Rock and Roll is all about. The Black Crowes embody this and show us that they are just as important and relevant today as they were when they debuted Shake Your Money Maker in 1990.

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