Missy Higgins @ Palais Theatre, Melbourne 3/05/2024
Never in my young life could I imagine getting to a point where I would start a story with “20 years ago…” and actually have a living adult memory from that time, rather than it just being a blurred childhood recollection. So, when some of your favourite bands and artists start embarking on their ‘20th Anniversary Tours’ for albums you could swear to god were only released a year ago, the reality check hits you like a tonne of bricks. The latest artist to embark on such a tour is our very own and incredibly talented, Missy Higgins. Her debut album The Sound of White turns the big 2-0 this year, and she is currently touring the country far and wide to commemorate the hit album and its success.
Friday night my friend and I headed toward the ocean and landed in St Kilda at one of its most iconic landmarks, the historic and beautiful Palais theatre. This night she was lit up tastefully in a purple and red glow and commanded the attention of every passerby with her dominant presence on the St Kilda foreshore. As my friend and I approached, the crowd were gathering outside the doors and the icy sea breeze cut straight through us as we stood out the front finishing our traveller cans like a pair of naughty 16 year olds. With no support act and an early start time, there was just enough time to rehydrate at the bar and head in to settle into our seats ready for the night to begin.
We didn’t need to wait long until the lights went down, and Missy Higgins entered the stage to sit at her grand piano, to cheers and a huge round of applause from a very excited 2000-strong crowd. To start the set, she kicked off with one of her early songs Falling, and went on to explain that she’d put out a message on her socials asking fans to request songs for this set. The first half of the show was to be a mixed bag of old and new songs, before we revisited The Sound of White album. Halfway through singing The Battle, Missy had a temporary mind blank and hilariously said “Fuck, what are the words? This is what happens when I’m asked to play songs that are 20 years old”. We were then treated to a new song, Story for the Ages, which is on her new album due to be released later this year. Missy explained she wrote the song about coming to terms with her separation from her husband, and having to rewrite her story because it didn’t go the way she had originally planned. Despite her cheery demeanor and her reassurance that she is moving forward with her life, the raw emotion and grief is still clearly evident when Missy discusses this particular phase of her life. Being privy to that open emotion feels like a privilege and makes someone’s story and their music dive deeper into your soul.
The Broken Ones is another new release, and the relatable and emotionally charged lyrics really hit me for six. Throughout this entire set, Missy was alone on stage(bar a couple of numbers that included her backing vocalists), and she seamlessly floated between her piano and guitar, so the acoustic nature of each song gave it an additional layer of depth and feel. The Cactus That Found the Beat was a fun, upbeat jazz-inspired song that Missy wrote for her Year 12 end of year performance and had the crowd grooving and clapping along to the funky beat and her nifty scatting. We then got a huge surprise when Aussie singer Angie McMahon joined Missy on stage, and together they sang Where I Stood. The combination of Missy’s heavenly smooth tones and Angie’s ethereal vocals made this song other worldly, and the collective goosebumps in the theatre were palpable. This was a truly incredible moment, and one that I feel lucky to have witnessed first-hand. Missy made a joke about selling tissues at the merch stand, given the sad content of a lot of her songs, and I found this comment quite appropriate as she sang another new release in which there’s a line she sings about crying in the kitchen once the kids have gone to bed. It’s easy to forget that artists in the public eye are just as human as anyone else, and this particular lyric was really quite poignant and a stark reminder of this.
It was time for an interval so the crowd could grab a drink and emotionally reset, in anticipation of ‘The Second Act’. All For Believing opened the second set with a haunting arrangement with just keys and a cello, before the 6-piece band entered the stage appropriately dressed in white, to perform Katie. Missy flaunted her custom-made short suit for the tour with an accompanying white tasselled jacket, with different meaningful symbols embroidered on it to represent different lyrics from her debut album. The River prompted Missy to recall how she used to freak out her teachers at school with her fucked up stories, but it’s fair to say it seems to have worked out pretty well for her career-wise.
Nightminds brought a solid lump to my throat and had the nostalgia flooding right back into my bones, before Ten Days had me reminiscing about all the boys I wasted hours crying over in my younger years. Missy Higgins and her tunes of heartache were on high rotation on my broken heart playlist and despite the time that has apparently passed, she has the power to evoke all those feelings again making them bubble to the surface. This is How It Goes had Missy showcasing her incredible vocal ability where in one instance in the bridge her voice was doing things I didn’t think humanly possible, and the crowd agreed with their enthusiastic response. We kept moving through the album (not in track order) before landing on The Special Two. You could feel the physical energy of everyone in the room during this iconic track, and the audience couldn’t help but sing along (at a respectful level). Missy thanked her fans for riding this journey with her and for sticking around for the last 20 years, before leading into her first huge hit Scar that had the room singing along to every word and up dancing in the aisles. The Sound of White appropriately finished off the show, and the room completely erupted at its conclusion with raucous cheers and a well-deserved standing ovation.
Missy Higgins is one of our greatest talents in this country, and her songwriting and musical ability is second to none. Her incredible voice is a soothing salve for the soul, that has the extraordinary ability to heal even the most broken of hearts. This was a truly magical night of emotion inducing nostalgia, and I’m so thrilled that I got to experience it in the flesh for myself. Those that have been to this show will know exactly what I’m talking about, and will understand that sometimes there just aren’t enough words that will do this night and the whole entire tour justice.
(Review) Morgan Evans @ Palais Theatre 14/09/2023
Walking into the iconic venue that is The Palais Theatre last Friday night, we were met with a sea of people, flashes of bright lights and waves of sound. Guitars, singing, gleeful screaming – the foyer was alive with the sounds of tonight’s support act, James Johnston. I had no idea what to expect from the night, I was asked whether I wanted to cover this gig because of my love for country and folk music. But this sounded more like stadium country than the melancholic yeehaw I frequent. I was intrigued, nervous and eager to hear more.
Australian Idol finalist, James Johnston has come a long way since 2009. He’s moved from the living rooms of Australian families and is playing to nearly 3,000 people. The Palais is at full capacity. All I see when I peak in, is a swath of bright-wide strobes. James Johnston is wearing a simple singlet and jeans and has the crowd going NUTS. People are standing and swinging their shirts around. “I’ll be out in the foyer signing anything you have and taking photos!” He exclaims happily as his band takes a bow and exits the stage. His backup vocalist’s amazing shiny silver cowboy boots glitter in the lights and dazzle the senses as she walks off. The usher turns to my housemate and I, who had left the heat to get a drink, “You’ll have to move to the foyer, sorry.” We’re confused, why are they so frantic to free up space? We were fine a minute ago. But almost instantly, I understand. We wind our way upstairs as a thousand people flood the foyer and grab a place in line to have their bags, books and arms signed by the Mid-Coast legend.
It’s a crowd of big hats, and bigger mullets. Some opt for cowboy hats, and others are adorned with large trucker hats. Boots of varying persuasions clink across the floor. One woman is wearing shimmery pink frills and knee-high pink cowboy boots, I love her. Someone is wearing a pink cowboy hat with an LED light trim. Three of the biggest mullets I’ve ever seen in my life walk past me. Mostly, the crowd is what you would expect from stadium-country fans, a far throw from the bluegrass enjoyers I surround myself with. But within the crowd, there are people dressed as if they’ve only listened to Joni Mitchell’s, Blue, and I feel a wave of calm. Tonight, will give everyone a little bit of something.
Armed with a Sprite and a Pepsi Max, we make our way into the theatre and take our seats. Without any warning, tonight’s headliner, fellow Novocastrian, Morgan Evans, takes the stage. After a flurry of frantic white strobes, there he is. Centre stage, he’s surrounded by one of the best backing bands in the country game right now. Let’s get to meet them, shall we?
“All the way from upstate New York, he makes the best margarita this side of the Mexican border, and he plays drums alright too. Make some Big Melbourne Noise for Pete Wilson.”
“To my left, all the way from Knoxville, Tennessee. He’s a trained psychologist but he prefers to play on this thing (bass guitar), he’s on a mission to drink all the beer in Melbourne this week (of course, the crowd cheers), and he’s got a burgeoning love affair with Hungry Jacks (we cheer more). Make some noise for Andrew Brown!”
“And last but not least, on electric guitar, keyboards and more, the youngest member of the band. All the way from a little town outside Dallas, Texas. He’s taken such a liking to Australia, and he’s also single, might be looking for an Australian wife actually. Ian Bawley.” Ian, if you’re reading this, I’ll be your Australian wife.
And so, we have our guides for this evening’s journey through the Life Upside Down tour.
Morgan Evans might be from Newcastle, but he sings with a heavy southern drawl. Listening to the crowd drawl along with him as he opens with Young Again, I’m taken back to my time growing up in the US. This is like, the weirdest version of culture shock. It feels like a familiar culture to me, but in entirely the wrong venue. It’s all hoots and hollers, and I swear I can smell corn on the cob. This is the crowd who loves Monster Trucking, and who hold each other up when the going gets tough, and the tough gets going. Country music has become a global sensation, that much is clear to see. And the County Fair Community vibe belongs to no one nation, we’re adopting the colourful slang and drawn-out rhythms of our American brothers. Except his shoes are off. The dogs are out. Can’t take the Newcastle out of the boy.
While this is not my genre of choice, I just lean into it. I embrace the cringe, and I sing along and whistle and cheer with the rest of them. Country Outta My Girl has me and my housemate singing along and grinning ear to ear. People are standing up, whipping their shirts around, fist’s pumping in the air and snapping photos, They’re a rowdy bunch for sure, but their energy is just too contagious. Evans seems so totally comfortable onstage. He radiates this effortless charisma, and we eat it up.
“Last night was good, but I can tell tonight is gonna get a little crazy.” Evans smirks into the mic. A sea of middle-aged women and mullets in caps cheers back at him. We launch into Kiss Somebody, and I just have to say it, what a banger. It’s still stuck in my head.
During his next song, I Do. My housemate says she’s going to make it her wedding song. And while it is a little Hallmark-y, it is undeniably lovely and oh-so romantic. The walls of The Palais are alight with projected roses, which swirl around the walls and dance over our heads as the lights onstage flicker from purple to orange to pink and back again.
Now, by this point, I’m completely onboard with whatever Mr Evans is serving. So when he suggests a competition, I’m immediately in. For Love Is Real, he divides the room down the middle, and we have a sing (scream) off to determine which side are the best and the brightest. East vs West, we dual to the death, to the glory. We sing,
I am Yours! You are Mine! Love is Real!
Evans high-fives some kids, sings back to us, smiles, and laughs and it feels like we’re hanging out with old friends. Speaking of old friends, it’s his guitar-swapping roadies’ birthday. And while we’re fired up, he gets us to shout, “Happy Birthday Jeff!” Into the wings. And so, of course, we do. And we do it loud.
Over For You is a change of pace. Slow, sad and beautifully played on the keys. “This is the part of the show where I can do whatever the fuck I want, because it’s just me and you.” Full of heartbreak, Evans really shows us just how good his vocals really are, without the strobes and the over-the-top drawl. He has beautiful control. And the entire crowd is still, for the first time that night. The stage is ablaze with individual lights, he is playing piano in front of a sea of stars. For any Didirri fans, this could be worth checking out.
Determined to never let us get bored, Evans changes pace yet again. And we jump along into maybe the most iconic heartbreak banger I’ve heard this month. It’s an unreleased track, but when I tell you, he’s SO REAL for this one. “This is a new song for everyone who has an ex they can’t stop talking shit about.” Absolutely feral shrieks leave people’s mouths. And the lyrics on this thing, scathing, funny and oh-so good to sing along with.
You’re fingerpainting, and thinking they’re Picassos / Say what you want about me / But what does that say about you?
My ex was working the bar upstairs, but I hope he put his ear to the door for this. I hope very bad ex ever puts their ear to the metaphorical door for this. Because it’s brutal, it’s sobering, it’s funny. Get ready for this release.
Out of nowhere, Evans pulls out a guitar and starts playing the instrumental opening to Waltzing Matilda. At first, I think it’s just a segue into another song. But oh-no, I’ve underestimated just how Okka this crowd is. Without missing a beat, the entire crowd is singing Waltzing Matilda – without Evans. He just strums as we sing so loud, and so out of tune.
YOU’LL COME A WALTZING MATILDA WITH MEEEEEE
Voices crack, people whoop, people stifle laughs. It’s an experience I literally can’t describe to you. It feels like something out of a book. It was wild.
And after a rousing cover of the Slim Dusty classic, his band comes back onstage. By this point, I have a full-blown crush on his guitarist, Ian. So, to that handsome, southern Cowboy with a moustache, I yet again sexily wave my Australian Citizenship. He sits down on a stool, with a fully steel guitar, a resonator, in his hands. “Take us on a little trip to Texas.” And he starts to play something so southern, so sexy, it immediately makes me think of Tumbleweeds and oil drilling. A guttural “Yeaaaahhhh!” leaves my housemates mouth and everyone whistles. “I think that only took us halfway to Texas, how about you take us all the way?” And everyone cheers. Next is the most insane display of instrumental talent. He absolutely rides that resonator to Dallas and takes us with him. Painting incredible landscapes with his strums, Evans sneaks up behind him and places a cowboy hat on his head. The lights turn orange, with gorgeous sunset-yellow spotlights illuminating our iconic 4-some. Andrew Brown joins in on bass and starts to dance his signature two-step. This is southern bluegrass cowboy realness at its finest.
The rest of the night continued this trajectory of outrageous fun, big whoops and hollers and lickin’ guitar solos. Apparently two people vomited in the foyer from too much booze. So, the staff may not have been having that much fun, but I sure was. The sound mixing was incredible, the energy unlike anything else I’ve ever seen, and I was so enraptured by Evans’ performance that I forgot he wasn’t wearing shoes.
So try something new. Go to that gig you think you might hate. Stick it out. And I promise, the Music will reward you.
[Review] King Stingray @ The Forum, Melbourne 01/07/2023
Review By Nikki Eenink
Never has it felt more appropriate to recognise the People’s whose land I work and write on; the Wurrundjeri people of the Kulin Nation. Australia is home to the longest living culture on Earth, whose tradition of oral storytelling often involved song. As a music-writer, gig-goer, and story-lover – It’s important to recognise and honour that tradition, and the many ways it is carried on throughout our country. This always was, always will be Aboriginal land.
Australia is a country that is unbelievably diverse, in landscape, in people and in sound. On Saturday night, I was treated to three acts from all across the country: from the small-town shores of Kojonup to sleepy Adelaide and then all the way north to Arnhem land. I’ve never seen The Forum so full. Doors were at 7, and by the time the clock struck 8 – it was full. Strangers standing shoulder to shoulder, filling the walkways and the floor. We ourselves were so diverse. I saw two twenty-somethings in bright pink coats and red leather pants, a middle-aged man fresh from BCF rocking a cap and boardies, and everything in between.
First act of the night were WA’s own, Old Mervs. To say this duo are “up-and-comers”, is putting it lightly. With over 200,000 monthly listeners on Spotify, I’d be expecting them to become a household name tossed around along with snags at a barbeque. Major hit Cellphone absolutely rocks the crowd at The Forum. It combines King Krule-esque vocal stylings with Ocean Alley’s Aus-Rock sensibilities. Wearing baggy shirts, partially unbuttoned and jeans, these are two guys I could’ve gone to highschool with. Unbelievably chill, but undeniably polished, Henry and David are bringing surf rock back, baby. Childhood friends since they were 5, they innately understand the other, moving like a single organism. The surf-rock renaissance is back, bring it on, bruh.
Although a tough act to follow, we completely shift gears with second support, George Alice. We’ve swapped shaggy blonde hair and a slacker attitude for feminine melancholy and RnB vocals. Australia needs more women in its music scene, and Georgia Mannion took matters into her own hands. At only 20 years old, she’s already quickly soaring through the charts and quickly cementing herself as a newcomer not to be messed with. Long bleached blonde waves cascade over her shoulders as she places two hands lightly on the mic stand. The voice that comes out of her is incredible. Strong, with a gorgeous vibrato and a self-assured gentleness – she has us wrapped around her little finger. Hold On is where her voice really shines. The crowd that was letting loose and dancing is now deathly still, not wanting to break the spell she’s cast on us. My arms are covered in goosebumps. But it’s not all achingly gorgeous semi-ballads, songs like Stuck in a Bubble do an amazing job prepping us for the high-energy main act that’s about to come onstage.
It’s hard to describe the hold King Stingray had over us that night. From the moment it seems like the house lights might dim, people go ballistic. Boys jump in the air, someone screams an ungodly scream, hands are thrown into the air. The anticipation is killer. And not long after, King Stingray comes onstage. This 6-piece, absolute weapon of a band are dressed so casually, it’s almost humorous. They really look like they just stumbled onstage at first. But then they play. And my God, can they play. It’s just banger after banger. The nervous shuffling is replaced with ripper guitar solos, multi-instrument changes and powerful vocals. King Stingray are a delight, in every sense of the word. The room is buzzing, nay, pulsing with energy. Constant heckles of “Yeah!” or, better yet, “Fuck yeah!”, “Deadly!” all fill the room. I moved further to the back of the room as the dancefloor became too hot for my winter getup, and The Forum looked like an ocean. Waves of sound created a sea of hands and bodies and heads, all moving together.
There are many parallels between King Stingray and another iconic Indigenous band, Yothu Yindi. Lead singer Yirrŋa Yunupiŋu is the nephew of Dr. M. Yunupiŋu. and guitarist Roy Kellaway is the son of Stuart Kellaway, who were both founding members of Yothu Yindi. The pair have known each other since childhood. The band is already heavily enmeshed in Australian music culture, King Stingray signed to The Chats’ ‘Bargain Bin Records’, after Yunupiŋu and Kellaway released the band’s first single, Hey Wanhaka. Hey Wanhaka gets a feature tonight, to thunderous applause, jumping and stamping feet. The standout of the night for me, is Dimathaya Burarrwanga’s absolutely unreal didgeridoo playing. It melts perfectly among their 6-voices, adding a layer of depth musically unlike anything else I’ve ever heard. King Stingray are clearly very connected to their Indigeneity, and it surrounds all of their songs in a way that is so beautiful and profoundly fulfilling. We are watching more than a concert, we are watching thousands of years of cultural tradition, of community building, of brotherhood.
I want to stay true to my roots / I want to stay here with you
For Australian cultural icon, Triple J’s; Like A Version, King Stingray performed a cover of Yellow by Coldplay. I didn’t ever imagine I’d see The Forum filled with perfectly in-tune clapping hands.
“We’re going to need some help with this one”, before everyone launches into Yellow. Band and audience, we’re all screaming those lyrics at the top of our lungs. They play an extended version, to give each instrumentalist the chance to leave their mark on us, and the stage. Their energy is insane, never dipping, even for a moment.
Obviously, mega-hit Milkumana goes off. People are scrambling on top of their friends shoulders to make room for more bodies on the ever eager dancefloor. The guy to my left is jumping so high he nearly touches the ceiling, and I see a lad in a bucket hat ushering his band of merry bandits onto the dancefloor. The lighting is incredible here too. Black, yellow and red circles dance around the band. They’re bathed in the colour of the Aboriginal flag, and we are bathed in blissful sound. I remember the first time I heard Milkumana, I was 25 minutes late to an appointment because of traffic, but honestly, I didn’t care. If you want the vibes of an easy summers day, this is a guaranteed serotonin-booster.
Yunupiŋu poses a question to us; “Melbourne, why is it so cold down here? We gotta leave fast, it’s fucking freezing.” Kellaway jumps in, “Western Gapuwiyak, where the sun goes down – that’s what this song is about. Getting out of the city.” Campbell Messer, their phenomenal bassist, takes to the mic; “Thank you so much for coming out tonight. Everybody raise their hands up, facing your palms towards us.” A tidal wave of hands find their way to fresh air. “Look at all those colours. Beautiful. This song is to Strangers. You and me. Brothers and sisters. We bleed together.” Yunupiŋu reiterates, “Nah, but seriously, get me out of the city.” With a laugh and a wink they launch into the penultimate track of the night; Get me Out.
Coming on for their encore, drummer Lewis Stiles does a SOMERSAULT (an honest-to-god somersault) onstage, leaping high in the air to take his seat behind the set. Let’s Go is such a mammoth way to finish. Everyone’s dancing and the band is pulling out all the stops. The tearing vocals, the unbelievable didgeridoo playing, the elegant bass-lines – not a hair out of place. It’s absolutely perfect. I see people going to leave, trying to beat the crush, but they can’t. They stand at the top of the stairs, frozen, unable to look away.
And then, it’s over, and I’m gutted. We all have more in us. It was such an unbelievable night. No other band does it quite like King Stingray. If you haven’t seen them, what are you doing? I won’t be able to get this night out of my head for a very, very long time.
[Review] 10CC @ Palais Theatre, Melbourne 25/06/2023
Review By Nikki Eenink
My dad and I often argue about music; Are The Beatles overrated? Is Lola the best pop song? These things are unknowable. The one thing we don’t argue about: 10cc. They have to be the most underrated rock band of their era (and beyond), and I was lucky enough to have the best night in a long time when “The Worst Band in The World” took the Palais Theatre stage this Sunday.
Belgian-born but Melbourne-based singer-songwriter Romanie is the opener for the night. She played a snappy 30-minute set to eager ears, and it was a delightful start to a super fun night. 10cc didn’t have support acts for many of their concerts this tour, so I feel very blessed to have been treated to the angelic vocals and gorgeous guitar strummings of Romanie, complimented gorgeously by the Palais’ epic acoustics. Her set wasn’t long enough, and yet somehow she managed to cram in a string of heavy-hitters; Changing, Little Big Steps, Anthony and I’m Anything (But Myself Around You) were all part of this gut-wrenchingly wonderful entrée. Romanie reminds me of when I would roll down the sun-roof and windows of my family’s old Rav4 and drive as fast as I (legally) could down the hills of my hometown. These musical musings are the perfect soundtrack for an indie movie, they have a timeless, nostalgic appeal about them that is really hard to capture in words. Romanticise your life, and relive memories to Romanie this week –she’s something special.
Like clockwork, at 8pm sharp the lights go dim and 5 shadows take the stage. When the lights come up, the 5 shadows have faces – and Hawaiian shirts, a floral blazer and a row of instruments behind them. They have the energy of 5 dads at a barbeque, not rock Gods. Let’s meet the crew who will be steering this one way cruise to Good Vibe Island, shall we? On keyboards, vocals, bass guitar and electric guitar; Keith Hayman. On vocals, keyboards, bass guitar, electric guitar, acoustic guitar, (the fact that the list keeps going beyond this point is ridiculous) percussion, mandolin (ok, now you’re just bragging) and synth, Iain Hornel. These two are newly-welcomed, touring members of the 10cc band – and their talent elevates this already insanely musically talented bunch onstage to new heights. On lead guitar, vocals and acoustic guitar is someone who’s been part of 10cc since the very early days, Rick Fenn. The strong and silent type, Paul Burgess, is their sensational drummer. “He’s been with us since the very beginning, and I’m happy to say he’s still with us”, quips original guitarist and prolific songwriter, Graham Gouldman. I can’t say any one of them was “a front man” or anything like that – they’re an ensemble, and a tight one at that. They all have so much fun together throughout the night, but good god are they unbelievably skilled musicians. During mega-hit Rubber Bullets, I catch Gouldman bashing Hayman’s keyboard with the side of his guitar – all while shredding an intricate riff in perfect harmony with the rest of the guys.
We were promised a night of nostalgia and hits. To quote the Facebook event:
NO STANDING. ALL THE HITS!
And they stayed true to their end of the bargain – we did not.
To quote Smash Mouth; The hits start coming, and they don’t stop coming. Starting off with personal favourite, The Dean and I we are thrown into an ocean of bangers. I mean, seriously, it’s fucking ridiculous. They could fill a 2-hour set with iconic hit after iconic hit, and the audience still had space in our bellies for more. As they moved into The Wall Street Shuffle, it hit me; I’m surrounded by middle-aged women and barbeque dads… and I’ve never fit in so well. Someone pass me a hat and a lawn chair, It’s time to have a beer and listen to 10cc like the retiree I was always meant to be. There’s no other band like them, and there never will be. Known for songs heavy in goof-factor, like Life Is A Minestrone, I was taken aback by how insanely stellar their instrumentation is. Virtuosos, the lot of them. They wind through hits and play different arrangements to keep us on our toes, adding a prog-Rock factor to many of them that isn’t there on the albums. Sometimes, just for a moment, Fenn’s floral blazer, Gouldman’s Hawaiian shirt and the grey hairs fade away, and I can see them as young men, at the top of their game, making their musical mark on the world. There is undeniably a rockstar spirit about them, they capture the duality between comradery, silliness and shenanigan with diligence, creativity, and originality better than any other band I’ve had the privilege of seeing. The way Gouldman speaks about former 10cc members, specifically illustrious songwriters Kevin Godley and Lol Crème, is with such respect, love and care. There seems to be no bad blood between them. When talking about Fenn, Burgess and Hayman, it’s clear that Gouldman seems them as musical brothers. They are a family, where bad blood is bad blood but there’s no one else you’d rather share blood with. This respect for each other, and for their music, shines through. There is such an air of love and nostalgia tonight, and it’s delightful.
It’s not all common hits, we are treated to new song Floating in Heaven, about Gouldman’s love for the James Webb Space Telescope. “I wrote this and sent it to my record company, and they said ‘It’s absolutely fantastic’. Obviously. But it would be even better if you could get Brian May on it. Not only is he an exceptional guitarist, but he’s also a passionate astronomer and astrophysicist. So he said ‘Ok, I love it’, and he sings on it and plays guitar and he” Gouldman gestures side-stage, “is not here tonight.” We all laugh. “But Rick Fenn is!” We all cheer. Floating in Heaven is lovely. It’s simple, it’s gorgeous, and the three-way layered vocals which reverberate so wonderfully, thanks in-part to the Palais’ acoustics, give me goosebumps.
Then we head into two songs where I feel they really shine. I’m Not in Love is first. My dad has this memory of when he was 13 and would listen to the radio in The Netherlands, and when this song came on – it blew his mind. He didn’t know music could sound that way, and he was hooked. My dad is now a music junkie (seriously, someone should stage an intervention), and this song takes some credit for that. I thought the complex vocal and instrumental layers which feature on the track wouldn’t be achievable live, but you should never doubt 10cc. They pull it off. Hornel changes instruments about 6 times, and all four vocalists are working together, and it’s spellbinding. I am washed clean by a river of sound. A musical baptism if you will. Next, is The Things We Do For Love, I’m Not in Love’s poppier big sister. Live it sounds almost melancholic, with Hornel’s vocals hitting insane notes and with those lyrics… perfection. For anyone who’s ever had their heart broken, broken their own heart or been in a complicated Situationship – this one’s for you, us, me. It’s also for the teenage daughter and her dad next to me, he’s holding back tears and she’s grooving – love these guys, great vibes from seat 34 and 35.
Now, here’s the thing about that whole: NO STANDING, thing. I think we will be standing, actually, and not just standing – dancing. As soon as Dreadlock Holiday plays, everyone’s up. Groups of women twirl with each other, teens sidestep, and uncles tap their feet. The song just goes stupidly hard, every time you hear it. I get genuinely sad when it ends. It’s the perfect road-trip song, perfect party beat, hell, I might even have the first dance at my Elvis chapel wedding to it. My daydreams are cut short by the squeals of delight from the crowd when our ship-captains change the lyrics to,
I don’t like Melbourne/ oh no! / I love it!
Insane. They love us?! We love them!! What a dream come true!!
Then, the encore. “This is going to be an acapella version of Donna.” They really don’t run out of ideas, do they? So, they gather around the mic, and in true barbershop quartet fashion, belt out an insane version of the 1972 hit. It seems appropriate to end on one of the band’s first releases. Drummer Paul Burgess comes up to the mic for the final,
“Donna / I love you”.
His deep baritone voice is both shocking and impressive.
“That was Donna by Paul Burgess, ladies and gentlemen.” We go nuts. The most Australian man in history is sitting behind me and nearly rips his vocal cords screaming; “ONYA PAUL” Legend.
But wait! It’s not over! How could it be? We haven’t heard Rubber Bullets yet!
If you haven’t heard them live, you still haven’t really heard Rubber Bullets. The flashing red and blue lights, the hilarious lyricism delivered with the perfect wit and in perfect harmony, the absolute descent into madness onstage – it’s an experience all on its own. To watch them relax into this last number after delivering a set I couldn’t criticise if I tried is so lovely. Even when they’re mucking around; dancing together, kicking their legs, play fighting using their guitars as swords; they’re on the same wavelength.
And then, it’s over. Their enduring bond and passion for music bring everyone to their feet. A standing ovation. I think someone threw their bra. Rock and Roll is back baby, and 10cc is making sure of it.
[Review] Billy Ocean @ Palais Theatre, Melbourne 20/06/2023
Review By Cassandra Hale
Winter had dealt us a freezing Melbourne night and the breeze blowing off the bay was fierce, but it did nothing to dampen the excitement of seeing Billy Ocean play our Iconic Palais Theatre. It has been a few years since he last graced our shores, and the jammed packed theatre was a testament to Melbourne’s adoration of seeing Billy live in the flesh.
There was not a spare seat for love or money as I made my way in to enjoy the evenings support. The duo, Mutherson, gave us an opening set of classic covers including Fleetwood Macs’ Landslide and Waves by Dean Lewis. Their thirty-minute set certainly got the fans warmed up and ready for the Billy Ocean onslaught that we were all waiting for. The buzz in the venue was electric as the clock ticked down to showtime, voices grew louder as excitement levels rose. It was then that Australian radio veteran Gavin Wood took to the stage to start proceedings.
With introductions done Billy graced the stage wearing a full white suit to match his goatee and dreadlocks. All charisma and sophistication, his 1000 watt smile as wide as the room as he launched into One World, followed by Love Really Hurts Without You which had the crowd instantly on their feet singing along. Working through a jam-packed list of hits, of which there are many, Billy delivered There’ll Be Sad Songs and Love Zone, engaging with the fans with waves and hellos and even a kiss on the hand to one lucky lady. Get Outta My Dreams, Get Into My Car made an early appearance and had the theatre on its feet for a rousing sing-along followed closely by Colour Of Love and Red Light. I was pleasantly surprised to hear the cover of the Bob Marley classic, No Woman No Cry make an appearance, the venue swaying in their seats, everyone taking in the Jamaican vibes clearly enjoying this added extra.
Mystery from the latest album One World was next, and then the sublime Suddenly, which melted hearts and brought out all the feels. The stage awash with blue lights setting a stunning background to Billy in his white suit crooning to this mega hit. One of my personal favourites, Loverboy, was next. It had Billy cutting all the moves as he worked the stage with ease, the crowd applauded with gusto with every spin or piece of fancy footwork he performed. Let’s talk about the phenomenal band that accompanied the show, including Billy’s daughter on backing vocals. While I only had eyes for Billy, they certainly kept the show running like clockwork and provided the perfect accompaniment to each and every song. With sensational saxophone solos and celestial harmonies, I was left well impressed by the amount of talent on stage.
When The Going Gets Tough, The Tough Get Going was started with a little sing-along from the crowd, it felt like we were a part of the show and everyone was happy to oblige. This song was a fan favourite, and you could see smiles for miles as Billy sang and danced up a storm. Still shaking hands and even signing a record for one fan to treasure for ever, Billy was ever the people person, and everyone adored him for it. After the magnificent band were introduced, Billy mentioned how cold Melbourne was and asked if we would “like to warm up with a trip to the Caribbean.” Ahh, yes please Billy!! Of course, there was no introduction needed as Caribbean Queen closed out the night to rapturous applause, the Palais capacity on their collective feet to sing and dance the night away. Billy so appreciative of each and every person, high fiving his way along the front row and professing his love for us as he left the stage.
The satisfaction that comes with seeing a live show of this calibre is still mind blowing to me, seeing an idol from my childhood still sounding and looking so amazing is a testament to Mr Ocean himself. The joy that his show brought to me, and every other person in the theatre was evident as I left the venue hearing people singing and smiling with exhilaration. Thank you Billy Ocean, I took a step back in time, relived my youth and I loved every minute.
You can still Catch Billy Oceans last three shows.
Darling Harbour Theatre, Sydney
Thu 22 June, 2023
Royal Theatre, Canberra
Thu 25 June, 2023
Thebarton Theatre, Adelaide
Thu 27 June, 2023
Tickets available now
