[Review] Wu Tang Clan & Nas @ Rod Laver Arena, Melbourne 14/05/2023
Review By Nikki Eenik
I’m scared I may have accidentally joined a cult when I saw Wu-Tang Clan & Nas at Rod Laver Arena this Sunday. But let me go back to the beginning.
The ‘New York State of Mind Tour’ is a must for any fans of hip-hop, or music in general. Cultural icons Wu-Tang take us on a winding journey through the history of Hip-Hop, with strong support from fellow East-Coast rap heavy-weight Nas.
There is so much to cover about the insane production value of this tour. Nas and Wu-Tang take turns coming on stage, punching out hits, covers and freestyles – both old and new. Supporting Wu-Tang is a full live band, seated on top of a massive projection half-wall. Nas is going more low-key with it; a single drummer supporting him through it all. I have never, ever, seen a musician having more fun. This guy is going ham. We never even get his name but he steals the show, with his dreadlocks secured by ball-ball hair ties, face adorned with dark shades and a massive grin – he’s so clearly having the time of his life; and so are we. All of the musicians supporting the main acts are just unbelievably tight. The musicianship throughout the whole night is impossible to fake, especially with those tight turnarounds between acts and bands. Somehow, they pull it off, and it is fantastic.
After that little warm-up, the stage goes black. And the half-wall, two side screens, back wall and top projection screen all light up. Flashing both the Wu-Tang symbol and Nas moniker, glitching and moving across the screens, with soundbites from popular culture, including the famous: “I am the one who knocks” scene from ‘Breaking Bad’ and several scenes from ‘Scarface’. A wasp flies from screen to screen, before turning it’s attention to us. As it speeds towards us, the lights go black and the show begins in full swing.
Behind the acts there is a mix of AI-art; capturing Wu-Tangs vision of combining “Eastern philosophy picked up from kung-fu, teachings picked up on the New York streets and comic books”. If they say; “We are taking the ferry out to Staten Island” – we are. The New York skyline getting further away as we approach the ‘Hidden Burrow’. Above the band are the names of New York Underground stops and stations – all punctuating a different place in the timeline of East-Coast Hip-Hop. This isn’t just a concert, it’s a history lesson.
First up is Nas, 49-year-old East-Coast rapper, widely considered one of the All Time Greats. We are treated to an opener of Verbal Intercourse and King’s Disease 3. Nas is really in a league of his own. Every time he comes on stage he’s wearing something different, full of infectious energy and never skipping a beat or being out of breath despite controlling an entire stage on his own – armed only with the most iced out ring I’ve ever seen, and his incredible compadre up the back on drums.
Wu-Tang quickly tell us why we’re all here tonight, and why this tour is so significant. “Hip-Hop started in New York City in 1973, made its way around. We are here celebrating 50 years of Hip-Hop.” Several different members of the group jump in; “We don’t give a fuck where you’re from, it’s what you gotta say. Just remember: Wu-Tang Clan ain’t nothing to fuck with.” Then we get thrown into maybe their most iconic song, shockingly named; ‘Wu-Tang Clan aint nothing to fuck with.” Rolling through an extended cut of songs like C.R.E.A.M, some members of the group take position as crowd wranglers, they bark instructions at us “Swing your arms! Side to Side! Side to Side!” and there is 0 hesitation. Everyone in the group has role, even down to one member who is standing without a microphone, just hyping up the guys on stage. These guys are best friends – and it shows. There is such a profound love for each other that permeates the weed-smoke-filled air.
Nas returns with DJ Greenland to take us on a further journey, with songs like Eye for an Eye, and the personal highlight of his many sets; his cover of Everybody Wants to Rule the World, which transitioned perfectly into The World is Yours. ‘T H E W O R L D I S Y O U R S’ scrolls at the top of the stage. I’m not sure if that’s true, but I know that right now – Nas is our world, and we are his. The connection between performer and artist is unreal, especially for such a large stadium setting – as opposed to the cramped, underground performance spaces 90s Hip-Hop was born from.
Taking us on another stroll down memory lane, We are gonna play the first song Wu-Tang ever recorded”. And so they launch into a fiery rendition of Protect Ya Neck. Each member getting their turn on the mic, people harmonising with each other, freestyling off each other – we are watching music being made and remade in real-time. And it’s electric, nostalgic and poignant. We are gifted with a cover of Come Together by the Beatles. “It is the power of music that brings us all together. It doesn’t matter if you’re gay, trans, black, white, straight, purple – We are all here together. Even the great John Lennon knew that, Wu-Tang knows that, and I know you know that. So, sing this with me right now” But they aren’t the usual words, they go more like:
“Let me see you sing/ As loud as you can / Come together / Right Now/ Over me”
My god is it loud in here, but it all sort of washes over you and takes you into a trance. It’s all noise and lights and wholesome energy with a beautiful Wu-Tang and Nas shaped bow on top. There are 2000s babies in front of me who light up several joints throughout the show, and pass them down to the 70s babies a few seats over. Unconventional? Definitely. But community is what it’s all about. A bra gets thrown on stage, and passed around to ever member of Wu-Tang – sharing is the name of the game.
And now, there’s a bit of quiet. As we are bathed in purple light we are asked to hold up our hands into the Wu-Tang symbol. (Hands up, palms forward, thumbs together). Everyone in the room has their phone down and their hands up. “When I say Wu you say Tang”
Wu!
Tang!
Wu!
Tang!
Then the music starts again and we all move our hands up and down to the beat of Reunited.
Then, more quiet. “Hold up that symbol again” – We do (obviously). “When I say ‘Hip-Hop’ you say ‘Peace’”
Hip-Hop!
Peace!
Hip-Hop!
Peace
“Now change that hand to a peace sign. When I say ‘Peace’ you say ‘Love’”
Peace!
Love!
Peace!
Love!
In that moment it dawns on me. I have just joined the most stoned, accepting, boisterous cult there is. I’m in a New York State of Mind, baby. Me and all other 14,000 disciples.
What follows is the most heart-warming series of events. Nas joins them on stage as they wheel out a Birthday “cake” (it’s a stack of donuts with candles in them) for their Australian Tour managers birthday. And they give a shoutout to “All the mums out there! Whether they raised you, chose you or you chose them – We love y’all!”
To close, as a tribute to deceased member, Ol’ Dirty Bastard, they freestyle on top of his iconic track, undeniable banger and insane feast for the visual senses; Baby I got Your Money.
The final moments of the concert show all of the performers together down on stage. The background projections are those of a simple New York street. And they all hug. This was the last stop on their Australian Tour, and they are soaking up the love. Many artists didn’t survive the violence of being lower-class and Black in America, but these guys did, and they are clearly so happy to still be here, all together. The crowd is cheering them on as we feel that love ooze into us. I think I nearly cried.
And that, is how I nearly joined a cult, nearly cried to Wu-Tang and Nas, and saw one of the most engrossing, unique concerts and concepts – all on a Sunday night.
[Review] Mayday @ Rod Laver Arena, Melbourne 12/05/2023
Review By Emily White
Rock music is a uniquely universal language, and Mayday’s long-awaited return had fans buzzing with anticipation as they packed out Rod Laver Arena this Friday night. The three-hour, fully immersive masterpiece of a performance was unforgettable, and truly leaves all western rock bands with a thing or two to learn.
The concert begun from the moment fans took their seats. High-production music videos of the band played on the mega screens behind the stage, the words ‘Mayday really really want to see you’ plastered across the display. The anticipation grew rapidly for what was to be a mind-bending piece of pure entertainment.
Unbeknownst to the crowd, a surprise opener Ann (Bai An) approached the supersized, runway stage. A quick three song set was all that was needed to appreciate her soft, angelic vocals, mainly backed by silken piano melodies. Beautiful, yet humble in her appearance, it was impossible to divert your gaze from the spectacle at hand. Never have I seen a support act perform with such high-level production – each song paired with exquisite, bright moving backdrops that place the songs in their own universe – one separate from everyday life.
Ann did not hold back. Her vocals are the work of angels, her falsetto so technically faultless. Brief moments of self-harmonisation were a stark highlight, sending shivers down the spines of everyone present. Displayed on the projections behind her were the lyrics of her songs, conveniently written in both Mandarin and English – the deep meaning held within her songwriting being an integral part of her act.
The end of the set had the entire stadium moving as one. Light sticks in hand, and smiles on faces, this perfect moment was a sign of what was to come for the main event.
Not a seat was left vacant as the box office line at the iconic Rod Laver Arena wrapped through the nearby gardens. Mayday (五月天) are one of the most iconic bands in Asia, and after seeing them play live I can now understand why. The band who started out their career in the late 90s continue to remain in their musical prime. Being their fifth time touring Australia, the MAYDAY NOWHERE tour has been a highly anticipated comeback, a ‘best of’ concert boasting the powerful vocals and electrifying performances their fans already know and love.
Smoke filled the air, the arena glowing red as the band raced downstage to the runway. There was no holding back for the music veterans; crashing drums and a bass that could be felt in my chest were just the beginning of the night’s pleasures. Dressed in black from head to toe, there was a mystery, a cool grunge feel to the band – polished with the glamour of a dazzling light show.
Viva Love kicked off the evening, a fitting track to set the tone for the show ahead. Much of Mayday’s discography centres around themes of love, and longing for its reciprocation. Provocative lines that relate to fans young and old are at the forefront of the band’s success – screaming ‘Let me kiss you until the day breaks’ at the top of their lungs. Despite the more commercial nature of the lyric themes, Mayday’s members Monster, Ashin, Stone, Masa and Ming exude a type of coolness – true rock stars filled with angst and passion. A highlight of the stage production was the live footage projected behind the band – which out of context would appear as a final-cut music video. The 360° stage set up was similarly ingenious, leaving not a single ‘nosebleed’ seat in the house.
Mayday played for hours, with every fan favourite making the cut. The liveliness of the musicians is unlike anything I’d experienced, not letting up for even a second to breathe. Building this manic kind of atmosphere, fans were uncontrollable. Songs like Jump! forcing every person from their seats, throwing their bodies in ways only music can control.
A slower-paced segment of the night gave the band a platform to showcase their unreal vocal range, and heart-wrenching guitar solos. The stadium transformed into a night sky as the light sticks changed to white, the artists stationed independently across the stage. The tracks Contentment and World Crazy gave the crowd a sort of musical whiplash. Paired with a short film referencing the isolation of the COVID-19 pandemic, commenting particularly on the overwhelming doom that children see portrayed through the media. This was a particularly poignant moment; a reminder of the fragility of life, and to worry only about the things that truly matter.
Crowd interaction became a large segment of the concert as the night continued. Making conversation with their supporters, including those seated further from the stage. Front man Ashin (阿信) had the crowd in hysterics as he pointed out fan-made posters and gifts; a charismatic leader who puts a face to the name Mayday.
Moving back into their passionate love songs, Perfume covered themes of longing and devotion, so beautifully poetic with one-liners like ‘Deeply enchanted, deeply intoxicated’. Having the lyrics displayed behind them in both English and Mandarin made the songs accessible for all that were present and gave me as an English-speaker the opportunity to appreciate songs that I wouldn’t have otherwise understood.
A third clear portion of the show was met with the house lights being turned up, electric guitars switched to acoustic, and their all-black costumes turning to brighter-coloured casual clothing. This was to be the most intimate hour; the idea of a fourth wall was completely stripped away. If We Had Never Met dedicated its lyrics to their loyal fanbase – with images of concert crowds displayed on the screens. This was a collaborative effort; the mic being turned towards the crowd who sung every word in perfect unison. Song For You, Mayday’s newest single was met with gorgeous imagery of stained glass and golden lights, and pop hit Gan Bei drew the set to a close – a beautiful, humble goodbye as the band took a final bow.
I would attempt to write about the entirety of the show; however, Mayday was the gift that kept on giving, and giving, and giving. For each time the band took their bows, waved goodbye, and departed the stage, a chant would rise from the audience… ‘Encore!’
Mayday departed and returned to the stage another three times before finally satisfying the crowd enough to make an escape. Having a discography of over twenty years gave the band many songs to lean back on as they were chanted back on stage. Noah’s Ark, A Song with You, Tenderness, and Stubborn played to the accompaniment of confetti cannons; the band members going completely AWOL from their previously planned formations and movement. Huddling one last time to discuss their final song, the band dispersed, Ashin signalling with his hand that this would be the last one. LOVE-ing Being Happy was the perfect finale – and it was truly electrifying to be in the presence of such an avid fanbase who tonight proved their power in numbers.
I can now see why Mayday have been dubbed the ‘King of Concerts’. Still so clearly in their prime, the quintet make anthems for everyone. With lyrics that capture the nuances of life – met with stunning visuals and high energy, you would be a fool to miss Mayday the next time they return Down Under.
[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
[Gallery] My Chemical Romance @ Rod Laver Arena, Melbourne 16/03/2023
My Chemical Romance
Jimmy Eat World
[Review] My Chemical Romance @ Rod Laver Arena, Melbourne 16/03/2023
The Black Parade, after so many years, finally flooded the grounds outside of Rod Laver Arena for an iconic group that made an explosive comeback pre-Covid, and proved that their powerful performance ability had never wavered in the time they were seemingly gone. Joined by the wholesome pop-punk tunes of Jimmy Eat World, Gerard Way and his ensemble of hellhounds gave fans what they waited for as they tore the roof off the iconic Melbourne Arena.
Jimmy Eat World elevated the energy of an already eager crowd as they injected an enthusiastic dose of pop-punk. Performing an array of hits from their career, this band was a notably significant aspect to this tour given their history starting out and performing with My Chemical Romance, telling tales of their youth in high school and the hardships of starting a rock band at their age, in the community they grew up in. This wholesome, joyful ensemble concluded after a soaring audience roar with the unmistakable rock’n’roll hit, The Middle, a song of hope and the encouragement of following your dreams, no matter the lengths or time it takes.
The interval between both sets was short and sweet, and after being entertained by an roadie seductively vacuuming the stage to the tune of Pony by Ginuwine, before the crowd collectively howled the lyrics to I’m A Believer. The lights dimmed and an ethereal synthy drone rumbled accompanied by fitting dark red beams. My Chemical Romance silently took position as the guitarist plucked the intro to The Foundations of Decay, and decked out in a ladies office attire covered by a long black overcoat, Gerard Way’s incomparable vocals swept us off our feet.
It was extremely difficult to keep off our feet throughout the entirety of this show. Decorated with an incredible backdrop of an apocalyptic city in ruins at the stern of the stage, MCR exceeded all my already high expectations with a heavy instrumental amplification accompanying Gerard Way’s vocal range from angelic youthfulness to monstrous screaming. And it’s not easy to rip the conversation away from the revered heartthrob frontman, as his undying energy and charisma really helped construct such a powerful show. The sold out audience was under his enchanting spell who screamed and jumped to until the perimeter of Rod Laver Arena opened an inch. It was notably difficult to not slip on the puddles of tears throughout the venue, which was understandable that this was such an emotional event for die-hard fans.
The middle of the night shined brightest and received the most noise as hit after hit brought the house down. Beginning with the chat worthy Teenagers, dedicated to Gerard’s ‘badass’ daughter Bandit, followed by the painful lyrics of I’m Not Okay (I Promise), all before pulling up to the 2010 era with Na Na Na. The real emotion hit upon hearing That G note. Of course familiar individuals would know this as the saddening first note introducing the undeniable classic, Welcome to the Black Parade, and oh boy when I tell you that voices were lost and tears fell like Niagara. I tear fell to my eye not to the tune itself, but witnessing the impact that MCR and their music to has to especially younger fans, it’s this power of music that really makes one appreciate the art form.
As stated before, the headbanger of a set remained unchanged for the remainder of the set. Gerard’s witty but in character quips and hollers to the crowd and the precise energy of the band kept thoughts away from any and all gig-weariness. The real kicker for me was the surprise reggae-inspired guitar skanks opening a personal favourite number of mine, Mama, a dark Cabaret tune that in my personal opinion, perfectly captures the Tim Burton-esc, gothic horror theme of My Chemical Romance, what with the catchy chorus declaration of “Mama, we’re ALL going to Hell”. The band abruptly closed the curtains on their performance in preparation for what surely would be an explosive and emotionally driven encore, after the packed arena of fans never broke from the streak of cheering; and screaming, the team re-entered to conclude the set with the heavy fast paced Vampires Will Never Hurt You ending with the follow up of the classic intro number to the album Three Cheers For Sweet Revenge, Helena, which was no better way to end this long awaited show. Gerard spiritually embraced all of us collectively in his warm arms quavering the chorus words “So Long, and Goodnight”, harmonised with the strained vocals of countless sobbing fans.
Growing up, I couldn’t help but to catch an MCR hit every now and then, however from what I can remember I was always drawn to every emo theme and grew to admire the group. Finally witnessing a live show of theirs made me appreciate these beautiful memories of youth, and witness the emotional impact Gerard and his gang have on fellow youths, whether they got us through hard times, or phases of dark self reflection. My Chemical Romance, you were a treat.
You can still catch My Chemical Romance at the following shows:
Rod Laver Arena, Melbourne – March 17,2023
Qudos Arena, Sydney – March 19, 2023
Qudos Arena, Sydney – March 20, 2023
For complete tour, ticket and VIP Experience information, visit: livenation.com.au
[Gallery] Rod Stewart / Cyndi Lauper @ Rod Laver Arena, Melbourne 14/03/2023
Rod Stewart
Cyndi Lauper
[Review] Rod Stewart / Cyndi Lauper @ Rod Laver Arena, Melbourne 14/03/2023
Rod Laver Arena was fit to bursting with many getting the memo that the nights proceedings would make an early start kicking off at 6.30pm. The crowds were filing in at a rapid rate everyone keen to not miss one second of this exhilarating night of live music ahead.
Jon Stevens has been a household name for decades, whether it is for his solo work, Noiseworks or his time in INXS, so it was well worth turning up early to catch his set. He gave us a quick fire 30 minutes with all the fans favourites. Opening with Touch he was off and running instantly engaging the rapidly filling venue. His normally raspy voice sounding even more so tonight but it did not hinder his singing ability one bit. Never Tear Us Apart, No Lies, Hot Chilli Woman, the hits were flying, his awesome band delivering the goods. It was the perfect warm up and the receptive audience loved the INXS classic, Don’t Change followed by the mega hit Take Me Back which had phone torches out and Rod Laver shining bright. Thanks Jon it is always a pleasure to watch you in action.
My love and adoration for Cyndi Lauper is no secret so I was overjoyed to see her again, this is her first tour since 2019, and I felt privileged that she had chosen Australia to ignite the fire again. Opening with Hole In My Heart, Cyndi exploded onto the stage with her technicolour suit and mauve mohawk, traditional in her eclectic style. With so many huge hits to choose from they came thick and fast with lots of entertaining banter in between, The Goonies ‘r’ Good Enough had the nostalgia levels high and happened to coincide with Ke Huy Quan (Data in The Goonies) taking out and Academy Award. Cyndi had her trademark jumps on point hands thrown wayward, still launching up on speakers and rolling on the stage, never missing a beat, a very impressive feat. Time After Time dazzled as torches lit up the room, the song so deserving of its stunning reception. I Drove All Night and Money Changes Everything two of my favourites, the massive screens showing a supersized Cyndi in full flight still hitting those long notes with precision and leaving the fans speechless.
There was not a microphone stand that was safe as Cyndi strutted the stage, whacking them into submission with every pass, one of her specialities that never grows old, she commands your attention and holds it for the duration. A stella performer and one who will stand up for her fundamental rights, a perfect segway to Sally’s Pigeons, her 1993 abortion rights song which has been re-recorded to coincide with troubling times in America. Girls Just Want To Have Fun saw everyone up and dancing, singing along as Cyndi held out the mic for us to take over the lyrics, which we happily obliged. True Colours saw out the set, this masterpiece raising the hairs on my arms, such a beautiful song and one we should all take onboard. Be yourself and don’t be afraid to let those ‘true colours’ show, very wise words indeed. As Cyndi left the stage with her amazing band to a standing ovation, I felt fully satisfied and Rod Stewart was yet to even grace the stage!
After a brief interlude it was time for the man himself, Rocking Rod Stewart. It has been quite the time since he has done the long haul to Australia, so we were champing at the bit to get a piece of Hot Rod action. Let me tell you from the minute that glorious man took the stage I was mesmerised. Opening with a crafty cover of Addicted To Love, Rod owned that stage his cohort of musicians and singers were of the highest calibre, crossing every t and dotting every i. The screens were enormous making sure not one person missed any piece of the action, wrapped around every inch of the stage, this show had every bell and whistle so I settled in and prepared to be wowed. And wowed I was, a blistering two hours with ALL the hits this show knew no boundaries and Rod outstanding in his delivery. You Wear It Well, the Faces classic Oh La La and Some Guys Have All the Luck just for starters. Rod joking that “it wasn’t a bad turn our for a Tuesday night” and that “it’s been a long time and we are going to fu*king enjoy ourselves” his banter and cheeky wit were unending and gave us plenty of laughs between songs.
Looking much younger and fresher than his years Rod oozed charisma and charm, still wiggling his butt with the best of them. His energy was infectious, and it spread across Rod Laver Arena as the floor seats were empty their patrons on their feet from start to finish. Twisting The Night Away, It Takes Two and a killer Muddy Waters cover of Rollin’and Tumblin’ were next on the hit list and Rod’s band were blisteringly hot in their hot pink suit jackets, their skills exemplary. I know I did not give them the time they deserved but I only had eyes for one man, and he was holding my attention. Rod had an accompaniment of five of the most talented women I have ever seen, no instrument was off limits, no song unachievable, these girls were mind-blowingly good, and full credit to them they kept the show running during costume changes for Rod of which were many, and added another layer to this already packed to the brim show.
Forever Young, The First Cut Is The Deepest and the glorious Maggie May were next to tick off the list and had the arena singing along with gusto. The huge screens overloaded with wonderful accompaniments all night as Rod worked the stage with the ease of a well oiled machine, knowing exactly how to reel you in and keep you in the palm of his hand for the entirety of the show. The opening bars of Young Turks rang out after Rod joking yet again that the Perth crowd didn’t know this one. It was flawless in its delivery and had everyone’s adrenaline pumping, how many more hits could be left was the question. Followed closely by Rhythm of my Heart which saw Rod donning a blue shirt and yellow jacket in a show of solidarity with the Ukraine, this antiwar song hitting the mark perfectly.
Leaving the girls to give us a red-hot cover of Hot Stuff, Rod returning in full leopard print from head to toe as they took it down a notch with a set of five acoustics. People Get Ready, The Killing Of Georgie Part 1, Tonight’s The Night, You’re in My Heart (dedicated to his beloved Celtic soccer club) and Have I Told You Lately. This brief reprieve gave everyone a chance to catch their breath and revel in the brilliance before the last run of rocking tunes. Baby Jane, Stay With Me and Da Ya Think I’m Sexy nearly brought the house down to wild applause. The big screen alight with some questionable emojis that gave me a giggle, but it wouldn’t be Rod Stewart without a bit of sauciness. After a brief absence from the stage Rod returns to finish out the night with the sublime Sailing, it was a moment to cherish, and I will hold it with me for a long time to come.
There was so much more to this show but of course I can’t reveal everything, you MUST go and see it for yourselves. It will take you on a journey across the decades that have formed the man that is Sir Rod Stewart, and you will love every bloody minute!
You can still catch Sir Rod Stewart and Cyndi Lauper at the following shows:
Rod Laver Arena, Melbourne – March 15,2023
A Day On The Green, Geelong – March 18, 2023
AEC Arena, Adelaide – March 21, 2023
A Day On The Green, Mount Cotton – March 25, 2023
A Day On The Green, Mount Cotton – March 26, 2023
Qudos Arena, Sydney – March 29, 2023
Roche Estate, HUnter Valley – April 1, 2023
A Day On The Green, Bowral – April 2nd, 2023
For complete tour, ticket and VIP Experience information, visit: livenation.com.au for A Day On The Green shows please visit www.adayonthegreen.com.au