Ed Sheeran
Accor Stadium
Sydney, Australia
24 February 2023

While after the British singer-songwriter’s steady ascent into the orbit of stardom and him being ubiquitous in global pop culture, I have to admit that I was not overly familiar with Ed Sheeran’s musical oeuvre, which I was eager to rectify - so what better way to see what the seemingly innocuous pop star has to offer than witnessing the acoustic guitar touting Irishman channel his alchemy in a live environment.

From the get go it appeared obvious that Sheeran has astutely studied the greats, based on which he has created his own idiosyncratic, unconventional, clever modern melange by effortlessly blurring the boundaries of pop genres, including but not limited to hip hop and classic rock.

Paired with his unique vocal delivery and his honed story telling abilities, it made his show a classic-sounding, familiar, and welcoming affair that resonated immensely well with an audience of over 80,000 that proved to be enthused by every move of him.
Performing live as part of his “Mathematics” tour on a rotating 360-degree stage in the centre of the stadium, flanked by the constituents of his band situated on outer segment extensions of the stage, Sheeran’s laid-back, down-to-earth, approachable charisma translates well and is carried by an intentional, unpolished edge.

Fireworks, projections, pyrotechnics and other visual aids elevated the show while Sheeran was busy creating his multi-layered songs and harmonies from scratch with his looping station, including at times irritatingly rumbling bass parts, and kept the sold out crowd engaged throughout a joyful and immersive set that appeared to establish a sincere connection with the audience. 

While firmly placed in the spotlight, backed by a full band the performance added a welcome and enjoyable dimension of heft to Sheeran’s catalogue of songs and a well-calibrated performance, which was disarmingly delivered with fervour and gusto. 

The Rocky Horror Show
Theatre Royal
Sydney, Australia
18 February 2023

Celebrating the fifth decade of its existence, what is one of the more iconic and unique musicals, i.e. The Rocky Horror Show, has descended on terra australis with a reinvigorated incarnation featuring ex-Neighbours star and ex-duet partner of Kylie Minogue, Jason Donovan as Frank N Furter, and Myf Warhurst as The Narrator along with an illustrious cast that is rounded out by a stellar line-up of Australian and international musical stalwarts.

Coinciding with the commencement of Sydney’s World Pride celebrations, there could have not been a better context for what has been continuously holding a unique place in theatre history with a highly mischievous and immersive show, which has defied the decades, steadfastly stood the test of time and only grown in popularity. 

Needless to say, the premiere proved to be a highly enjoyable affair with the timeless hits being banged out and delivered on point, the characters revelling in their outrageous outfits and the frivolous freedom translating to the audience.

Resulting in a tangible cheeky sense of empowerment through what is portrayed on stage, the Rocky Horror Show appears to resonate and impact so much more on a broader scale in the current day and age.

With parts of the audience dressed up and the enthusiastic reception the performance received, it is not further wondrous that it has become one of the classics of musical theatre and doubtlessly proved to be a catalyst for numerous sexual awakenings, thereby inhabiting a special place in the vita of audiences.

A wonderful, enjoyable nostalgic party affair that celebrates difference, continues to change lives and comes embedded within a rocking set of hits, which is bound to thrill both the initiated as well as first timers. 

Thus Let Us Drink Beer

Palling Bros

While the region where Palling Bros’ HQ is located might be held in high esteem both nationally as well as on international terrain as the source for the formidable Shiraz the local wineries produce, by channelling the local ambience and heritage via the creation of quality craft brews, Palling Bros has established itself firmly on the firmament of Victorian breweries.

What was incepted four years ago at a small scale inspired spiritually on one hand by the Heathcote migrant and larrikin Henry Rood Palling, whose mug is gracing the brewery’s logo, and by Melbourne -based Stomping Ground brewery on the other, has evolved to a distinct entity of its own with an extensive portfolio of diverse artisanal brews, ranging from classic lagers via experimental sours, stouts and porters to my favourite style, i.e. India Pale Ales, which cater to the palates of beer aficionados that like to be challenged.

My first exposure to Palling Bros was via their core IPA expression. Approachable in nature with a well-balanced citrussy and tropical backbone, this little number proves to be a truly sessionable go-to with its refined bitterness.

A favourite of the Palling Bros line-up is the Liquid Amber Ale: Amarilla and Simcoe hops dance against a backdrop of a malty sweetness, which transforms into moderate caramel flavours further on. The combination of malt-caramel nuances and the pronounced hop character lingers and reverberates after each sip. The perfect companion for a dram of Octomore 13.3.

An interesting variety is the tropical hop bomb that is the One Feel Scoop Oat Ice Cream IPA expression: As the name suggests, lactose meets oats which results in a sweet and creamy brew that culminates in a smooth vanilla crescendo. 
When it comes to nailing traditional old world beer style, Palling Bros’ Frau Helga Vienna Lager is a creamy example par excellence for a toasty, caramelly flavoured and balanced brew with slight bitterness and a crisp finish.

Too bad that I missed out on Palling Bros’ Double IPA expressions this time around, so looking forward to future releases.

Sobremesa Fermentary & Blendery

Inspired by the vineyards his home country New Zealand is dotted with in the Marlborough region and honing his craft via engagements with wineries around the globe, Sobremesa’s head brewer and blender Casey Grieve eventually settled down with his better half Hannah McErlane to establish their own idiosyncratic operation, i.e. what has become liked and known as Melbourne’s Sobremesa Fermentary & Blendery.

Roughly translating to “the habit of relaxing at the table after a heavy meal”, Sobremesa comfortably inhabits a niche, which draws heavily from the contexts in which drinking and dining is celebrated in the old world. With their core portfolio centred around the creation of farmhouse style beers, with the foci firmly set on saisons, mixed fermentation and blending. 

With each release being carefully crafted and aged in expertly chosen barrels and brought to life by tapping into the qualities different yeast strains imbue, released in small batches and utmost attention being paid to transparent in terms of meticulously highlighting what malts have been used or which other ingredients have been added, my first exposure to Sobremesa’s creations was via their first commercial release Daily Brett.

With the label adorned by an artistic design, I instantaneously liked the fact that Sobremesa seem to be operating at the subtle end of the spectrum, especially when it comes to their competitors whose farmhouse emissions are more often than not overshadowed by a pronounced sourness.

Daily Brett is a barrel-fermented saison with zesty, lemony highlights dancing against a backdrop of stone-fruits, silage and earthy-minty, slightly woodsy toned-down rosemary.

Dumpster Diving is Sobremesa Beer’s dry hopped, harmonious blend of young and old beer that bridges the gap between kettle sours and mature-aged wild ales with a delightful lemon-zesty backdrop. Clocking in at 5.7% and with a pronounced tartness, this little number is a an example par excellence for an aged, vibrant ale.

Sobremesa’s fruit forward The Fuzzy Feeling expression rounds things out with a subtle bitterness that is framed by nuances reminiscent of stewed apricots, acidic highlights and an underlying muskiness.

Given the quality of Sobremesa’s brews and blends, I look forward to them channelling their alchemy in the creation of cider, wine and other fermented goods.

Sting
Aware Super Theatre
Sydney, Australia
15 February 2023

Overplayed rock ballads notwithstanding, I have always found it difficult way to resist the magnetic pull of the way Sting channeled his alchemy into a mélange of subtlety which is delicately substantiated by his immensely visceral song-writing abilities. 

Merging elements from seemingly unrelated cultures and widely agnostic of musical genres, the way he has been serenading audiences over the last forty-five years with his earnest vocals backed by his rich linguistic devices and, of course, his light, idiosyncratic way of strumming the bass has cemented the unique place he occupies in the world of music.

Having not only spearheaded an immensely successful, groundbreaking band but forging a solo career in his own right, nurturing both the adulation of fans as well as critical acclaim, it was fantastic to finally witness the man in a live environment. 

Cutting a lean figure and agile in nature due to being equipped with a headset mic, Sting free flowingly commanded the stage with a solid presence. Framing his extensive arsenal of hits with engaging anecdotes and a well-calibrated setlist, his presence and delivery resonated with the audience from the get-go.

What accentuated Sting’s performance and made it even more memorable than a mere one-man focused show were the moments when he genuinely allowed for constituents of his impressive backing band to shine and take the limelight - be it via soaring, dualling vocal performances or with e.g., harmonica parts replicating what Stevie Wonder had initially incepted.

Summa summarum: A spirited, effortless, and transcending performance that not only did justice to Sting’s varied musical legacy – the tour is not for nothing aptly named “My Songs” - but one that solidified the unique place he occupies in the pop cultural canon.

Tex Perkins & The Fat Rubber Band
Factory Theatre
Sydney, Australia
04 February 2023

It must have been at the tail end if 2006 when two icons of the Australian rock scene, i.e. Tex Perkins and Tim Rogers, joined forces under the moniker TnT to channel what they described to be the equivalent of Leonard Cohen doing KISS style songs. 

Musically, the collaboration was imbued with the trademark tongue-in-cheek, jocular  bravado yet it also resulted in what felt like some of their most vulnerable and sombre songs. I vividly remember a live incarnation in Western Australia that not only had the stage set up centred around a bar, which only added to the appeal and amplified their respective personas.

Given that I have grown to love both artists and their oeuvres both solo as well as the numerous incarnations with their core and other bands over the last seventeen years, a sense of excitement ensued when it was announced that the two raconteurs  were to reunite in celebration of their respective new albums with Tim’s   The Twin Set and Tex backed by The Fat Rubber Band. 

With both artists performing individual sets with their respective aforementioned bands, of which we unfortunately missed the Tim Rogers’ component of the evening, Tex Perkins and The Fat Rubber Band delivered an exquisitely nuanced performance.

With Tex having proved over the years how versatile his incarnations can be, depending on the contexts and bands he channels his alchemy in, it was interesting to see him perform as part of a band that seems to have its focus firmly set on sounding as rural as can be.

Backed by Matt Walker as he weaves his entwined guitar conversations to form a tapestry of plaintive bluesy, calm and occasionally howlin’ atmospheric, country tinged harmonies which serves as the backdrop against which Tex projects his trademark self-deprecating and redemptive lyrics into a vivid narrative. The result is  a comprehensive a comprehensive, artfully formed whole that is much more than the sum of the individual constituents would have one guess.

Specifically impressive were the barbershop-quartet acapella interludes, which accentuated the collision of acoustic and electric instruments and added yet another unexpected facet of depth and proved that Perkins has so much more to offer than the gravelly baritone he is prominently known for.

Not unlike any other time I have had the chance to experience Tex Perkins live, it was a remarkable set, this time rooted in the realm of existential blues.
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Photo by T