Fortunate enough to attend the first concept concert of One Voice: Greatest Hits Of John Farnham at Twin Towns a short time ago, we were about to witness their second delivery in this risky business.
This time at the popular venue set a few hours outside of Brisbane. The Empire Theatre. Built, burnt, rebuilt, reno'd and bursting with pride in semi-rural Toowoomba.
I love the underdog as much as anyone; paradoxically, the unspoken criteria is it needs to have hope, some fighting chance of at least a credible, if not transient, victory in the entertainment world. In short, a fingers-crossed scenario it would work as well as its debut.
The definition of the concept concert lies in both what it is and what it isn't. Grasping these two elements gives context to what was occurring on this stage.
Image © Michelle Cop
Simon Shapiro, as a seasoned veteran of the Australian music scene, is respected by international A-level artists such as Michael McDonald and Boz Scaggs and by 'the man himself', John Farnham.
Surrounding him are handpicked singers and musos. Not selected as in a one week recording session with a see-ya-later handshake.
These are first-call session artists themselves who have compatibility as an unwritten clause of their long-term contract. Egos are left at the back loading dock along with the empty instrument flight cases.
Saturday night's set list was gaffa-taped to the stage floor (28 February). It contained enough of the supreme best of Farnham's recording history that could be squeezed into a two-hour performance.
They're all personal favourites of the band. There's a quick way to gauge. None of them use sheet music or iPads. They looked through the theatrical fog directly into the audience's eyes completing the full circuit why the song was written in the first place.
Simon is not a standalone in the vocal zone. He's sonically supported by two of the most time-tempered ladies I have seen and heard in a long while, Tika Maree and Danielle Casson. Always smiling, always ready for verse inserts and echoes.
Image © Michelle Cop
Later in the show they feature in two on their own, 'Physical' and 'Xanadu', and in a duet with Simon 'When Something Is Wrong With My Baby' – the 1991 Farnsey-Barnsey cover of Isaac Hayes and David Porter song that was first released in 1967 by Sam & Dave. I almost forgot to breathe, listening at the end of this particular song.
Both guitarists, Viola Skyes and AJ (Andrew Jolly) created a six-string platform in which all the songs wove.
AJ contributed solid rhythm and fluid picking with his Deluxetone Cosmopolitan, a custom made, first edition electric from a luthier in Noosa. The pickups are from Righteous Sound in the US and especially wound to the luthier's specs.
The Fender Strat is a Pro II series with original pickups. Andrew told me he likes it exactly the way it was created, simply factory authentic; having a mellow acoustic Martin for songs like 'Burn For You' created a vibe that was in stark contrast generally.
Viola's guitar was absolutely a knockout. I'm an Ibanez fan, but it's as rare as to see them used on the frontline the way she does.
It's an Ibanez J Custom RG with Bareknuckle Pickups, Miracle Man set – modelled after Zakk Wylde's tone from the Ozzy Osbourne song 'Miracle Man'. Viola told me they were in the guitar when she got it, but has loved them and never wanted to change them.
Image © Michelle Cop
Coupled with screamingly crazy glass-slide work, Viola showcased some eye-popping hammer-on techniques and copious shredding that would make any metal band just want to give the game away after hearing it.
Stu Tilsley was one of the busiest octopus-ed armed musos handling the various keys, including the period-appropriate Roland Ax edge Keytar (black edition) and an invisible set of bagpipes.
Scott McDuff on a very nice set of Pearl drums was timekeeper – cool, unflustered and power driven. He's been around. Sound engineering magic was provided by Russell Baker from Captivate AV, way up the back in this old theatre in Toowoomba.
This group of amazing and humble people, synced as one, took the history of Farnham's hits and rolled them out not as a cheap tribute, but as a brilliant community experience celebrating Australia's iconic songs live, in full volume, and in a sense of sobering reality, may never be sung by John again.
One surprise song in the show had an octave register so high and words so emotionally passionate – yet Simon nailed it. Doubters became believers in the new gospel of John.
Twenty-six songs ended with 'You're The Voice' with Shapiro sharing the microphone as he walked around the crowd.
Playing to win? These guys are playing to grin. Catch the concerts!
