Venue:

Sydney Opera House

Date: 09/10/2019

I like jazz a lot, but wouldn’t call myself a jazzer or jazzhead.  I have no idea who played bass on session 4, take 3 of Charlie Parker’s blah blah blah album, or that you can hear the sound of Elvin Jones clipping his toenails in 7/8 time while Coltrane takes off on his own on Giant Steps.  But I do like a bit of jazz, or in Washington’s case, a lot of jazz.

Washington and crew came on stage at the ungodly hour of 9.30, half an hour late, and generally about the time I’m nodding off in front of the telly.  Wife and offspring (and me if I’m honest) weren’t overly impressed with this tardiness, but we’re here now, so let’s strap ourselves in for an evening of hurdy gury existentialist spiralling jazz odyssey.  And that’s pretty much what we got. 

I saw him here last year, and the line-up and vibe were the same.  Two drummers, trombone, keys, bass, sax and other assorted wind instruments, plus Patrice Quinn on vocals.  A big big sound from a very talented band.  if you base your gig value-for-money on the number of » Continue Reading.

Venue:

Sydney Opera House

Date: 30/05/2019

The last of five nights performing the Disintegration album + assorted non-album tracks from that era as part of Sydney’s Vivid festival. The Cure are a band I’ve always liked a lot, but never gotten deeply into, although sitting next to a fairly rabid fan at work for the past couple of years has at least started to remedy that.

Demand was high for these gigs, so much so they had to run a ballot for the chance to buy tickets, and this fifth night was added due to the first four selling out quicker than you can say “pass the lipstick Robert”.

Kicking of with Delirious Nights we were treated to a batch of b-sides and demos, setting the scene for the dark and brooding Disintegration. The band, made up of Smith, Gallup, long time members Roger O’Donnell and Jason Cooper and relative newcomer Reeves Gabrels, were tight, very tight, and what must have been intense rehearsals to recreate the album showed. Finishing with a superb Babble, the band left the stage for a few minutes as the wind chimes started for the beginning of the album. Live, the album sounded » Continue Reading.

Venue:

Sydney Opera House

Date: 13/12/2016

I experienced something new last night. As soon as the band walked out on stage, everyone stood up, and stayed standing for the rest of the gig. Aus audiences are not known for standing up at gigs unless they have to (well Sydney audiences at least). I’ve lost count of the times I’ve heard from behind, “sit down I can’t see, I didn’t pay to see your back”, when my wife and I have stood up. It’s a rock gig for christ’s sake, not a chamber orchestra.

Anyway, as for the Roses, they played a blinder. If you watched a video without the sound you’d struggle to wonder why. There’s a few swirly lights, Mani stands stock-still in front of his rig, Squire wanders up to the drum riser occasionally for a nod and wink with Reni, and Ian Brown meanders around the stage at a leisurely pace, occasionally cutting a slothful rug and waving one of many maracas at the audience. But it’s the music that does it. The opening snare of Resurrection, ‘that bass line’ in Fools Gold, the opening chimes of Waterfall, or 2500 people singing along very loudly » Continue Reading.