Stone Music Festival Day Two @ ANZ Stadium, Sydney (21/04/2013)
If day two of Stone Music Festival was a music genre, it would be Adult Contemporary.
As I enter the stadium there is a distinct change of scenery, black leather is traded for pastels and florals, mullets for perms- it’s a Sunday crowd.
Due to a smaller attendance the seats allocated for today’s festivities are perfect! As we cosy toward the centre, just a few meters back in the first section from the pit, Australia’s own Mark Seymour get’s ready to throw his arms around thin, but excited stadium audience.
There is an apparent chip on his shoulder and it’s understandable. Since the 1990s, Mark Seymour has recorded and released 9 albums yet those songs released with his band, Hunters and Collectors got a rise from the crowd.
Next up is the hard working Aussie thousands of Australians voted for as having the second best voice in Australia, Australian Idol runner up Shannon Noll.
As hipster as he tried to look with a denim cut off vest and black faux-hawk, you can’t take the ocker out of the boy and he performed an expected set, with every hit that he hasn’t written, yet slaughtered since his rise to fame in 2004, yes ‘Big Black Shiny Car’ was a hoot and did you know he ‘What About Me’ isn’t a Shannon Noll song? The flashy dance moves gave me horrid flashbacks of Jon Stevens from the day before.
Now Mark Seymour take note. Diesel, born Mark Lizotte, has not only come from a successful musical family, but too shot to fame with his band generations ago, he too has lost his hair and gone down the solo artist route - now this is where things get interesting.
Diesel had the crowd in his hand, some say on the tip of his tongue and he played a short set with the crowd favourites that are still radio hits today, I even heard a punter scream “I had this on a 100% hits”, yet blended in his new material subtly, so subtle that the crowd didn’t even noticed, they just stayed at his beck and call.
The only thing Diesel should learn from Mark is that tacky, back up singers who looked like they stumbled out of a nightclub three hours earlier should not be placed centre stage, I don’t care if they’re family! As the sun set the crowd warmed up and gave a standing ovation for the performance of 1989 hit ‘Crying Shame’.
Hurrying through the bustle of punter buying Billy Joel retro t-shirts and an epic coffee line I catch the end of Melbourne blues rockers Dallas Frasca, the only band I caught on the ‘Unsigned Stage’ the whole weekend (note to Stone Music Festival, this stage next to the main stage would eliminate the dead air between acts problem).
An abstract choice for the night, mainstream pop and now TV star Guy Sebastian is due on just as dusk sets in. The stage set up is much more impressive than the previous two guitars, one drum kit, bass and lead vocals we’ve seen all day.
The stage lights come on and the stage is filled with horns, percussion, back up singers with dance moves and hair styles to suit. The oddly dressed but electric Guy Sebastian takes centre stage. Announcing he’s bringing some soul to the festival there is a New Orleans, big band vibe with everyone on stage feeling connected, relaxed and for the first time today I witnessed a band who looked like they were simply having fun. Visually, the energy and movement from the performers was superb and warmed up the crowd with their hot energy whilst the images projected neon Vegas.
With a very funky, soul vibe to the show, the simpleness of radio hits ‘Who’s That Girl’ and ‘Armageddon’ were ignored with an engaging performance of choreographed dance moves.
When it came to perform Sebastian’s hit single ‘Battle Scars’ like all good rock’n’roll shows the back up tape featuring hip hop artist, Lupe Fiasco’s parts wouldn’t work and to prove his place in the world music scene this softly spoken, charmer obligingly and successfully tackled the difficult task of filling Lupe’s shoes.
The set finishes with the organ driven ‘Like It Like That’ featuring a live mash up with ‘Thift Shop’. Unlike the rest of the line up, Sebastian proved the value in his songs, not needing to recall past hits to make the crowd happy- this audience was buzzing and hungry for more than just a bucket of hot chips.
Australian headliners Icehouse took to the stage with visuals fresh off the new wave.
Young and old were up and created an instant dance floor, the band looking renewed with the addition of new members, the stand out of the new kids being ‘The Voice’ favourite Michael Paynter who stood out on his own taking lead vocals on ‘Man Of Colours’ (of the irony), yet his good looks, charm and incredible vocal range can never compare to front man Iva Davies, who delivers every song with such emotion, you can even feel it from the oversized video screen.
Another unexpected cover for the weekend comes with Icehouse’s version of T-Rex’s ‘Bang-A-Gong’ bookended by Iva’s tales of when bands used to play covers before they rode the original band path- oh how times have changed!
As the hit single ‘Great Southern Land’ oozes out the audience give a standing ovation weeping for more.
A long time ago, my mum saw this dude who looked like her teen idol Billy Joel… they’ve been married 28 years so it’s fair to say that Billy Joel has sound tracked my life.
I’ve heard my mum rave about his live show my whole life, but knowing her secret love for this human humpty dumpty I am not convinced it’s all about musicianship. The black piano at the front of the stage is moved stage right quicker than the toilets are available. The lights fire up and the stage is full with a motley crew of musicians, each with a different look but loyalty to this man (most have been with him since Mum sighted eyes on Dad).
More plump and harsh than his Glasshouses days his appearance has me worried for another washed up oldie cashing in on the past, as quick as the thought comes into my head it’s butted out by soft and beautiful keys introducing ‘Miami 2017’ and after years of repeated plays of his records the sound was pitch perfect.
As the set cruised through the very New York Joel was quick to slag himself in the driest of humors, mostly about his long list of ex wives. The Beates-esque ‘Don’t Ask Me Why’, a personal favourite, proves the adaptability Joel is musically and the tear jerking ‘Always A Woman’ delivered with a dedication to ex #2.
Just as Joel seemed settled perched on his piano stool he straps on a guitar and takes centre stage as his roadie, accompanied with Jon Stevens (I shuddered) for a very heavy deliverance of ‘Highway to Hell’ (pace makers were getting a work out!), Joel blasted out the set with rock tunes ‘It’s Still Rock and Roll To Me’ and ‘You May Be Right’ before vacating the stage for a breather and a fauxcore, he returns, ending the night with his first single ‘Piano Man’.
Lighters, iPhone glow and arms in the air as music’s most recognizable piano tune is played, the crowd still and silent and leaves us all in awe of the power of a timeless song. As the tired crowd bustle I take a seat, with the smooth sounds of INXS through the PA and appreciate the talent I have just witnessed, the most impressive in their 60s… if this is where the standard was left where will live music be in 10 years time?
Cassie Walker
Due to a smaller attendance the seats allocated for today’s festivities are perfect! As we cosy toward the centre, just a few meters back in the first section from the pit, Australia’s own Mark Seymour get’s ready to throw his arms around thin, but excited stadium audience.
There is an apparent chip on his shoulder and it’s understandable. Since the 1990s, Mark Seymour has recorded and released 9 albums yet those songs released with his band, Hunters and Collectors got a rise from the crowd.
Next up is the hard working Aussie thousands of Australians voted for as having the second best voice in Australia, Australian Idol runner up Shannon Noll.
As hipster as he tried to look with a denim cut off vest and black faux-hawk, you can’t take the ocker out of the boy and he performed an expected set, with every hit that he hasn’t written, yet slaughtered since his rise to fame in 2004, yes ‘Big Black Shiny Car’ was a hoot and did you know he ‘What About Me’ isn’t a Shannon Noll song? The flashy dance moves gave me horrid flashbacks of Jon Stevens from the day before.
Now Mark Seymour take note. Diesel, born Mark Lizotte, has not only come from a successful musical family, but too shot to fame with his band generations ago, he too has lost his hair and gone down the solo artist route - now this is where things get interesting.
Diesel had the crowd in his hand, some say on the tip of his tongue and he played a short set with the crowd favourites that are still radio hits today, I even heard a punter scream “I had this on a 100% hits”, yet blended in his new material subtly, so subtle that the crowd didn’t even noticed, they just stayed at his beck and call.
The only thing Diesel should learn from Mark is that tacky, back up singers who looked like they stumbled out of a nightclub three hours earlier should not be placed centre stage, I don’t care if they’re family! As the sun set the crowd warmed up and gave a standing ovation for the performance of 1989 hit ‘Crying Shame’.
Hurrying through the bustle of punter buying Billy Joel retro t-shirts and an epic coffee line I catch the end of Melbourne blues rockers Dallas Frasca, the only band I caught on the ‘Unsigned Stage’ the whole weekend (note to Stone Music Festival, this stage next to the main stage would eliminate the dead air between acts problem).
An abstract choice for the night, mainstream pop and now TV star Guy Sebastian is due on just as dusk sets in. The stage set up is much more impressive than the previous two guitars, one drum kit, bass and lead vocals we’ve seen all day.
The stage lights come on and the stage is filled with horns, percussion, back up singers with dance moves and hair styles to suit. The oddly dressed but electric Guy Sebastian takes centre stage. Announcing he’s bringing some soul to the festival there is a New Orleans, big band vibe with everyone on stage feeling connected, relaxed and for the first time today I witnessed a band who looked like they were simply having fun. Visually, the energy and movement from the performers was superb and warmed up the crowd with their hot energy whilst the images projected neon Vegas.
With a very funky, soul vibe to the show, the simpleness of radio hits ‘Who’s That Girl’ and ‘Armageddon’ were ignored with an engaging performance of choreographed dance moves.
When it came to perform Sebastian’s hit single ‘Battle Scars’ like all good rock’n’roll shows the back up tape featuring hip hop artist, Lupe Fiasco’s parts wouldn’t work and to prove his place in the world music scene this softly spoken, charmer obligingly and successfully tackled the difficult task of filling Lupe’s shoes.
The set finishes with the organ driven ‘Like It Like That’ featuring a live mash up with ‘Thift Shop’. Unlike the rest of the line up, Sebastian proved the value in his songs, not needing to recall past hits to make the crowd happy- this audience was buzzing and hungry for more than just a bucket of hot chips.
Australian headliners Icehouse took to the stage with visuals fresh off the new wave.
Young and old were up and created an instant dance floor, the band looking renewed with the addition of new members, the stand out of the new kids being ‘The Voice’ favourite Michael Paynter who stood out on his own taking lead vocals on ‘Man Of Colours’ (of the irony), yet his good looks, charm and incredible vocal range can never compare to front man Iva Davies, who delivers every song with such emotion, you can even feel it from the oversized video screen.
Another unexpected cover for the weekend comes with Icehouse’s version of T-Rex’s ‘Bang-A-Gong’ bookended by Iva’s tales of when bands used to play covers before they rode the original band path- oh how times have changed!
As the hit single ‘Great Southern Land’ oozes out the audience give a standing ovation weeping for more.
A long time ago, my mum saw this dude who looked like her teen idol Billy Joel… they’ve been married 28 years so it’s fair to say that Billy Joel has sound tracked my life.
I’ve heard my mum rave about his live show my whole life, but knowing her secret love for this human humpty dumpty I am not convinced it’s all about musicianship. The black piano at the front of the stage is moved stage right quicker than the toilets are available. The lights fire up and the stage is full with a motley crew of musicians, each with a different look but loyalty to this man (most have been with him since Mum sighted eyes on Dad).
More plump and harsh than his Glasshouses days his appearance has me worried for another washed up oldie cashing in on the past, as quick as the thought comes into my head it’s butted out by soft and beautiful keys introducing ‘Miami 2017’ and after years of repeated plays of his records the sound was pitch perfect.
As the set cruised through the very New York Joel was quick to slag himself in the driest of humors, mostly about his long list of ex wives. The Beates-esque ‘Don’t Ask Me Why’, a personal favourite, proves the adaptability Joel is musically and the tear jerking ‘Always A Woman’ delivered with a dedication to ex #2.
Just as Joel seemed settled perched on his piano stool he straps on a guitar and takes centre stage as his roadie, accompanied with Jon Stevens (I shuddered) for a very heavy deliverance of ‘Highway to Hell’ (pace makers were getting a work out!), Joel blasted out the set with rock tunes ‘It’s Still Rock and Roll To Me’ and ‘You May Be Right’ before vacating the stage for a breather and a fauxcore, he returns, ending the night with his first single ‘Piano Man’.
Lighters, iPhone glow and arms in the air as music’s most recognizable piano tune is played, the crowd still and silent and leaves us all in awe of the power of a timeless song. As the tired crowd bustle I take a seat, with the smooth sounds of INXS through the PA and appreciate the talent I have just witnessed, the most impressive in their 60s… if this is where the standard was left where will live music be in 10 years time?
Cassie Walker