On a Saturday night when Adelaide's streets were filled with football fans wearing scarves of every colour, The Whitlams drew a full house of fans to the Festival Theatre, primed to experience the band's songbook accompanied by Adelaide Symphony Orchestra.
As the crowd settled in (11 April) there was an opportunity to take in the set design, which was kept simple with a scalloped backdrop that caught various lighting treatments throughout the show, and a scattering of light globes suspended above the musicians.
After a brief tune up, Tim Freedman stepped up to a mic at the front of stage, spotlit, to sing 'Beauty In Me', alone with the orchestra.
When he stepped back to his usual home at the piano, Jak Housden (guitar, backing vocals) and Matt Fell (bass, backing vocals) took up their places at the front of stage, with Terepai Richmond settling into the drum kit at the back, to journey through a gentle first set that let the orchestra flex its capacities, while balancing moments where the band played alone.
Freedman's voice sat perfectly in the mix, soaring and hitting each note with personality and conviction. His expressive manner lending weight to the stories of life and love.
His between-song banter was natural and hilarious, sharing tales that ranged from sublime to ridiculous and revealing 'secrets', such as the subject of conductor Guy Noble's chest tattoo and the band's upmarket hotel location.
Tim's capacity to localise to our city was endearing, speaking volumes of the band's years of touring and paying attention to the places they travel.
The 'Charlie' songs 1-3 were perfectly placed, with 'Buy Now, Pay Later (Charlie No. 2)' a standout of syncopated perfection and 'Charlie No. 3' simply hypnotic.
'Nobody Knows I Love You', from 2022 album 'Sancho', was a fun dive into a guitar-driven sound, giving Jak Housden an opportunity to flex his skills before the orchestra joined in.
On conclusion, Freedman reflected that a 'new' song had got the biggest cheer of the night so they'd try another, playing 'Fallen Leaves' from their 2024 album, 'Kookaburra', before dipping back into 2006 to close the first set with 'The Curse Stops Here'.
'Blow Up The Pokies' and 'Melbourne' signalled a change of pace and energy for the second half of the show, and received a bit more shoulder movement from the seated crowd. 'Up Against The Wall' delivered a bolshy and sultry Bond-esque sound that let the brass section show off.
With a shout out to composer, the late Peter Sculthorpe, the band launched into 'Out The Back', before stepping off stage to let the orchestra perform a magnificent interlude.
'No Aphrodisiac' was another reminder of the beauty of Freedman's writing before 'Year Of The Rat' burst into a cacophony of woodwind and brass swing.
My personal favourite, 'Thank You (For Loving Me At My Worst)', made so much sense with a punchy horn section, 'Gough' was introduced with a tip of the hat to Whitlam opening the Festival Theatre, and set closer 'You Sound Like Louis Burdett' had me wishing everyone would stand up and dance.
After a brief off-stage moment, the band returned for a two-song encore of 'I Will Not Go Quietly', without the orchestra, then bringing them in for 'Band On Every Corner'.
It was a joy to watch the interplay between the band, orchestra and conductor, and the clear respect they all had for one another's talents.
It's a testament to all their skills that with sheet music and an intensive rehearsal they can turn around a night of musical magic that had the audience enchanted from start to end.
