A soul-fuelled folk-blues singer-songwriter originally from England, but a Perth local since his parents immigrated at the turn of the century, Ali Towers is influenced by vast cannons of music and continually enthused when hearing new inspiring music.
"I've been fortunate enough to see many truly amazing live acts, and I've experienced many of those spine-tingling music frisson shiver moments in builds, drops and crescendos," Ali says."While the songwriting is the key foundation to these moments, sometimes the right conditions, including the venue, the performer's energy and the audience's energy can make the stars align for a profound moment, what some might equate to a religious experience.
"This isn't the only thing that makes a great show though. A great gig can be about the moments you've laughed at the jokes and endearing comments and stories from the performers.
"It can be about witnessing the way the songs you've loved are developed in a live scenario, breathing new life into the emotion and hope they've previously inspired. It can be simply about being present in the moment with the community you are experiencing this awakened moment with.
"In compiling this list I deliberated with many, including some from before I was born, such as particular performances from Joni Mitchell, The Doors, Led Zeppelin and The Beatles.
"There have also been a few awesome concerts minutes away from me that I missed. Ones where I made the mistake of thinking times are busy and/ or money is short so I'll see them next time, only to find that they have since passed on and there will be no next time.
"This is why I try to make seeing live music a priority; you never know just how good that moment could have been.
"Here are some moments I wish I'd been at but I'm grateful that we at least have the recordings."
Prince - 'One Night Alone... Live!' (London 2002)
The piano medley beginning with 'Adore'. I'm sure all of this absolute legend's performances would have been amazing and I'm lucky to have seen him play a couple of times.This particular piano medley on the recording of 'One Nite Alone... Live!' has particularly masterful moments of switching between heart-wrenching soul to quirkiness and storytelling, all of which clearly had the audience in the palm of his hand.
He seamlessly weaves from 'Adore' to 'How Come You Don't Call Me Anymore', sprinkling in so many classics such as 'The Beautiful Ones', 'Nothing Compares To You', and 'Sometimes It Snows In April'.
Tom Waits - 'Glitter And Doom Live' (Milan 2008)
The 'Glitter And Doom Live' album has a collection from different dates and venues in 2008 with performances that display the fruition of a lifetime of unique and seasoned shows. The familiar vaudevillian blues crooner persona is let loose and there's a feeling in the air that no one will leave the same as they once were.The highlight for me is the melancholic epitome of existentialism, 'Dirt In The Ground'; an octave lower than the original falsetto from the 'Bone Machine' album, and the growl is as visceral as the imagery in the lyrics.
Jeff Buckley - 'Live At Sin-e' (New York 1993)
I'm cheating here with a two for one – see it's difficult to pass up the haunting moment when Jeff Buckley merges The Smiths' 'I Know It's Over' with Leonard Cohen's 'Hallelujah' live at the King Theatre, Seattle, Washington 1995.If I had to choose one Jeff Buckley gig to have been at though, it would be during the recording of the 'Live At Sin-e' album New York 1993. Just a little cafe, and yet host to a young solo performer about to set the world alight.
The solo voice and guitar washed with reverb fill that space with awe. There's clear experimentation and some of the improvised riffs show up on later recordings.
This is a true troubadour playing the originals before they were 'Sonied' (his term) and covers of songs some in the audience might not know (not commercial radio fodder), but will be all the richer for hearing.
D'Angelo - 'Live In Stockholm' (Sweden 2000)
I listen to the 'Voodoo' album every summer without fail, and often in the other seasons too. 'Send It On' always tears me apart. On the surface it seems like the most beautiful slow jam, but what makes it so beautiful is that he wrote it for his baby son as a declaration of unconditional love and encouragement.This particular performance with the Soultronics band with original album players including Pino Palladino on the bass and Questlove on drums, is particularly magnificent. The musicianship and harmonies are in the pocket, and there are standout moments of brilliance that somehow even progress the passion of the original.
Paladino's sliding slap bass interlude in a perfectly-timed moment early on, and Questlove's fills enthral yet still keep the perfect gaps and silences feel that lay the funk.
The best part, however, is towards the end, after the heartfelt lyric about how the son doesn't always need to put his feelings into words, "...sometimes we don't know what else to say but [cue the best harmonies ever] ooooooh". D'Anglelo audibly steps away from the mic to address the audience, projecting: "But it's alright." Audience is wowed. Cheers erupt.
Van Morrison - 'Astral Weeks: Live At The Hollywood Bowl (Los Angeles 2008)
The best thing about this whole concert is that you can feel the pure joy the performers (the very ones who played on the original album 40 years prior) are feeling together in this momentous reunion.They know the album is a left-field, highly revered and respected classic that is consistently placed in the top 20 albums of all time lists, and they know that this is a worthy celebration moment.
While the original moments of inspired jazz experimentation prevail, the songs are the magic that pervades. They are given the space to enrapture unhindered. The philosophical message of the repeated motif of having 'to never wonder why' carries through blissfully.
I'm lucky to have seen a later concert of Van Morrison's, which also had some magnificent moments, but I'll always imagine this reunion celebration for one of the greatest albums of all time; would have been one only the audience present could have described.
Ali Towers plays Four5Nine (Perth) 21 January.
