mick fleetwood fleetwood mac


Mick Fleetwood is practically an honorary Aussie, having toured here last October with the Mac and now back to boogie-woogie with his blues band. The Mick Fleetwood Blues Band’s Sydney show enabled an older crowd (some seated on pinched stools from the bar) to don its best glad rags and listen to songs typically found on old dusty 45s.

The support act was guitar virtuoso, Victor Martinez. He enthralled the crowd with a short, sharp set that mixed together finger-plucking, strumming and beat-boxing techniques on his acoustic guitar. Martinez managed to coax more varied sounds out of one instrument than an entire band. His visceral version of ‘El Cóndor Pasa’ paid tribute to his South American heritage while other moments saw his fingers dancing along in a blur. It was mesmerising.

Fleetwood is a true English gentleman who just wants everyone to have a good time. ‘My Baby’s Hot’ set the tone for an evening of blues tunes about babes and Cadillacs, while the ‘Fleetwood Boogie’ was the first of many songs to pay tribute to the Peter Green era of the Mac. The group pulled out some tight sounds as the famous drummer loosely kept time up the back while Rick Vito led the proceedings with his raw vocals and guitar.

Their version of ‘Eyesight To The Blind’ was an unexpected piano ditty that differed to the original as well as The Who’s rock version on Tommy. It was a boisterous little cover that sat well alongside the sultry riffs of ‘Black Magic Woman’ and the wistful ‘Love That Burns’.

Later, Fleetwood’s fans were treated to an extended drum solo from the man himself. It was indulgent, but in the best possible way, and would have made a good segue into ‘Tusk’. But instead the band settled on ‘Oh Well’, with special guest Jimmy Barnes singing along to this and red-hot versions of ‘Little Red Rooster’ and ‘Shake Your Money Maker’. As to be expected, Barnes injected some extra fun and charisma into the second half of an already fine blues show.

The night closed with the brooding, instrumental lullaby of Fleetwood Mac’s ‘Albatross’. Fleetwood and co. had covered great terrain over their two-hour set, exuding much of the crunch, swagger and pop of many of the downtrodden bluesmen who’ve influenced their work. In all, it was one loving homage to the past.


Originally published on 29 March 2016 at the following website:

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mary poppins


It’s a rare treat to find a show that appeals to all ages but the Hollywood Palace series at Glen Street Theatre does just that. The performance sees a classic, Hollywood film paired up with a variety show concert. The latest instalment was Mary Poppins and it provided an afternoon of good, old fashioned fun for the whole family.

The pre-film concert went for about an hour and was hosted by Vov Dylan who also fronts the Vov Dylan Quartet. Dylan is renowned for his exceptional violin playing, having previously earned the title of “World’s fastest violinist”. On this occasion he certainly did not disappoint. The rest of the ensemble was made up of Brian Dean on guitar, Nicole Murray-Prior on double bass, Will Dower on drums and John Watson on piano.

The concert started off in a very upbeat way with the theme tune to The Muppet Show. “Somewhere Over the Rainbow” was also offered as a sweet and breezy instrumental. After this Dylan encouraged us to clap along to a medley that featured Johann Strauss’ “The Blue Danube”, “The Chicken (Dance)” and “If You’re Happy & You Know It”. The group also played The Carpenters’ “Sing” which segued off into “Do-Re-Mi” from The Sound of Music (this latter part allowed all of the audience to sing along with gusto).

It was then time for magician, Joel Howlett to do a short sport. He dazzled us with his tricks like making a dove appear from a bag, knotting and cutting ropes, making a napkin disappear and hiding an audience member’s $20 note in a lemon. Howlett was not the only guest star on the day, Dylan also had his 14 year old daughter Olivia do a graceful ballet routine to the Mary Poppins song, “Feed The Birds”.

The Palace Quartet returned for some Disney classics, “When You Wish Upon A Star”, “The Mickey Mouse March” and “A Spoonful of Sugar”. John Watson is a man that many audience members would have recognised as being the musician in residence at Minskys Hotel in Cremorne and he lead an excellent version of Elton John’s “Can You Feel The Love Tonight?”, he even sounded like the Rocket Man himself.

The Hollywood Palace Series offers up some good, fun times for the whole family. In October they are hosting another instalment for the film, High Society, which should be as enjoyable as the one for Mary Poppins was. In fact, this entertainment was simply supercalifragilisticexpialidocious!


Originally published on 30 June 2015 at the following website:

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The Rolling Stones’ The Marquee Club Live in 1971 is the latest addition to their From the Vault series. It’s a rare little gem showing the group’s unique blend of sloppy professionalism in an intimate setting. The major problem here is that the set is too short for a full feature-length release as it only clocks in at the 38 minute mark.

The story goes that in 1971 The Rolling Stones got together to perform in London for the first time in five years. They had become tax exiles, living in France and this meant they had to be out of England before the new tax year began, despite the impending release of their seminal Sticky Fingers record (an album that has been recently remastered and repackaged). The group managed to play a blistering show to an invited audience of 150 people at London’s Marquee Club where Eric Clapton, Jimmy Page and Andrew Loog Oldham were among the crowd.

Mick Jagger is resplendent here, wearing a colourful cap, sparkly bolero and satin pants. Even on a tiny stage he oozes rock star cool and there are some moments where he reveals the stadium frontman he would one day become. This period of the The Stones also sees Mick Taylor among their ranks. He brings a certain crunch to the blues that is so clearly loved by the inimitable Keith Richards, drummer Charlie Watts and former bass player, Bill Wyman.

The set begins with a very funky, “Live With Me”. The Let It Bleed song sees the group at their most soulful and this is no doubt helped by the group’s then new horn section, Bobby Keys and Jim Price on saxophone and horns, respectively, as well as Ian Stewart and Nicky Hopkins on piano and keyboards. ‘Dead Flowers’ sees the Jagger and Richards powerhouse trading abrasive vocals while ‘I Got The Blues’ (one that rarely got an airing live) really shows the influence of Otis Redding and other artists from Stax Records on the band.

The Stones drop some great rock ‘n’ roll in the Chuck Berry cover, ‘Let It Rock’ although the same cannot be said for their very own, ‘(I Can’t Get No) Satisfaction’. The latter is very muted and inconsistent with the speed traveling all over the place and the musicians being anything but tight. ‘Bitch’ and ‘Brown Sugar’ meanwhile, absolutely shine and are proof positive that these guys are worthy of being anointed the best rock ‘n’ roll band in the world.

The bonus features on the DVD are disappointing with two alternative takes of ‘I Got The Blues’ and ‘Bitch’ offered as well as a mimed version of ‘Brown Sugar’ from Top of the Pops. These fail to add much to the set. The Marquee Club show was originally recorded for television with Europe receiving a 52 minute cut while the British received a 28 minute cut. This DVD includes something in between these two versions but it also proves that some songs have been omitted, either deliberately or otherwise. As a standalone release the length of this is disappointing and it’s a shame that music has been left out, especially as the rest of the concert seems to have been included, warts and all and this adds to its charm and allure.

The Live in 1971 set is an interesting archive piece and a must-have for any self-respecting Stones fans who had to resort to bootleg versions over the years. This shows a band who excelled in the live environment (even more so in this private setting). It’s great and as a viewer, you can feel like you’re at the actual the club despite being in your own lounge room. In short, this is a great show from a bunch of guys who knew how to put on a fine, rock ‘n’ roll circus.

Originally published on 29 June 2015 at the following website:

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The Drums should be renamed “The Suns” because this sums up their music to a tee. Their reverb and hook-soaked indie pop music was a real treat for the Sydney dwellers battling a case of impending Mondayitis as well as battling Spring-time rain en route to the Metro on Sunday night. After a solid set boasting tracks that were old, new and in between, there were more than a few youngsters wanting to go surfing or do some other fun activity shortly after.

The support for the evening came courtesy of Sydney quartet, The Upskirts. They attracted a good-sized crowd and won the audience over with their brand of dreamy but punchy psychedelic rock music. The highlight of their set was the final track, “Minds A Burden” which saw some Brit-pop inspired guitar pop with psychedelic fringes going off on extended tangents coloured by moon beams and a riff that was not too far removed from Tame Impala’s “Half Full Glass Of Wine”. In short, sublime.

The Drums reminded us that they’re from New York City, not just in sound and spirit but in visual appeal. Lead singer, Jonathan Pierce said they were originally concerned that after being missing from our shores for a few years they would be forgotten. And while it was true that the Metro was only half full, the audience that were there were a devoted and enthusiastic bunch, lapping up the pair’s bouncy pop music.

The boys began their set in almost darkness as they played two new songs, “Bell Laboratories” and “Let Me”. The latter definitely showed a change in the band’s sound as the music had a much deeper and fuller feel. This made for a grand wall of sound built from synths, guitar, bass, drums and the other bleeps and blops they managed to fashion and employ.

“Me & The Moon” was an early favourite with its sharp, catchy synth line and repeated catch-call of “Forever”. The following song, “Days” saw the bass feature too prominently in the mix. This overshadowed what is normally a good and slightly rockier song by the band. Some new numbers followed before “Book Of Stories” was met with cheers after the opening chords were played and this enjoyment only increased with “Best Friend”. The latter is a quintessential Drums’ song that sees an upbeat vibe coupled with dark lyrics and it’s an interesting and youthful combination that helps you forget and drown all of your troubles.

In “Money” Pierce lamented about poverty and had more than a few people relating to his tale. After a while, though, some of the songs did have a tendency to blur into one another. The effect was like a long-lasting, Hawaiian sunset that was thoroughly enjoyable but there were definitely some moments that seemed to coast off and away. The encore was a different story and where some of the best renditions of the evening occurred.

This part of the night was exclusively reserved for The Drums’ older songs. There was the bouncy “Forever & Ever Amen”, the sheer bliss of “Let’s Go Surfing” and the cheekiness of “Saddest Summer”. If we hadn’t felt like we’d bonded earlier than we certainly had by this point. The Drums’ had ultimately produced some toe-tappingly good pop music that shone like a beacon through our collective complaints about modern life.

The Drums’ Sydney set list:
1. Bell Laboratories
2. Let Me
3. Me & The Moon
4. Days
5. I Can’t Pretend
6. Kiss Me Again
7. Book Of Stories
8. Best Friend
9. Money
10. U.S. National Park
11. Book Of Revelation
12. I Need A Doctor
13. I Hope That Time Doesn’t Change Him
14. How It Ended
15. Wild Geese
16. Forever & Ever Amen
17. Let’s Go Surfing
18. Saddest Summer
19. Down By The Water


Originally published on 1 December 2014 at the following website:

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Still from Spike Island


Imagine The Inbetweeners if they were an aspiring jangly rock quintet living in Manchester in 1990. The result would be Spike Island.The film tells the story of a gang of lads who just want to get off with girls, be in a band and meet their idols, The Stone Roses at the latter band’s Spike Island show. This coming-of-age drama is ramshackle, euphoric and an earnest celebration of one part of the Madchester scene.

The story is a fictional one that feels forced but is based on a true event. The Spike Island concert would become as legendary as The Beatles’ rooftop gig or The Sex Pistols at the Lesser Free Trade Hall. The film is directed by Mat Whitecross and written by Chris Coghill, who clearly know their Manis from their Hookys. And while the premise seems good enough, the plot is insubstantial as there isn’t enough here by itself to fuel a full-length feature. Instead, a series of subplots involving the major characters in various forms of hijinks and mischief are introduced with varying effect.

Elliott Tittensor plays “Tits” who is the leader of the pack. His wayward brother has sorted the group out with tickets to Spike Island. Or has he? Tits and his mates soon encounter a series of different obstacles to the gig, including parental sickness, a bizarre love triangle, a violent father, a van without petrol and a driver that hasn’t considered a map. The characters are all likeable and interesting enough but what really endears this film is the classic music by The Stone Roses, which forms the bulk of the film’s soundtrack.

Spike Island doesn’t have the same panache as a John Hughes film but it’s also more than just another teen movie. It is one brimming with bundles of joy, energy and heart (and the odd, daggy cliché). Fans of the Roses or the nineties will love this fun and nostalgic romp (that includes cameos from stars of Misfits and Game Of Thrones). But there will also be more than a few of us wishing we had actually been there at the time or that we had a film of the Spike Island gig itself, but that would involve some kind of second coming…


Originally published on 10 November 2014 at the following website:

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St Vincent, aka Annie Clark, in the East Village, New York City. 'I'm almost immune to the idea of f


Annie Clark may not be godly but when she performs as St. Vincent she is like something out of this world. The Manhattan native made her Sydney Opera House debut for Vivid Festival and received a standing ovation. She had shown us all why 2014 has been her year thanks to a mesmerizing, theatrical show that will go down in the books as a truly special one.

The set list was predominantly made up of songs from her recent, eponymous album. The opening, ‘Rattlesnake’ saw a crazy rhythm combined with an indie pop groove while ‘Birth In Reverse’ was one of the best songs of the evening. It saw a gnarly crunch coupled with a danceable buzz.

The strong songstress also belted out some mean, electric guitar solos whilst striking her best rock star poses. Dressed in head-to-toe black and with a shock of thick, white grey hair, in the shadows she looked like The Cure’s Robert Smith while at her more mischievous and playful moments she resembled Prince.

She cracked jokes, gave a special welcome to the freaks, the others and the weirdos in attendance and told “stories” from her childhood. The latter included wanting to fly, producing fires with a magnifying glass and imagining that famous people’s faces were superimposed on the bodies of the local homeless and elderly people (yes, Clark does have one vivid imagination!)

St. Vincent isn’t just an artist with a swag full of musical chops. She also created different moods for each song, which at times seemed more like a performance art show at a modern museum then your standard gig.

There was some syncopated guitar rocking during ‘Birth In Reverse’; some twinkle toes in ‘Surgeon’; a laidback and casual air in ‘I Prefer Your Love’; and some raw, writhing in ‘Bring Me Your Loves’.

St. Vincent has previously collaborated with former Talking Heads member, David Byrne. He said that after almost a year of touring he still didn’t know her any better. As an audience member one can’t help but feel the same and also imagine that Clark is actually giving away a little piece of herself at every show, such is the visceral, incendiary and evocative moods she created live and feelings that are far more intense than the recorded form.

‘Prince Johnny’ was so tender, sad and operatic. St. Vincent stripped away at every layer in her cries and ended the song looking like a crucified woman. It was a very different feeling to the old song, “Strange Mercy”, where Clark performed solo and left little pockets of air to punctuate the piece.

It is difficult to pigeonhole such a tough chameleon like St. Vincent (especially when you consider her other work with The Polyphonic Spree and Sufjan Stevens). It would also be a massive disservice to think you could fully capture the crazed magic and colourful sorcery of her guitar hooks, electronic bleeps and amazing songs in a single review.

In short, St. Vincent’s Opera House debut was stunning. Her recent record translated wonderfully to the live stage and featured intense and heavenly art rock painted with the finest brush to reveal an awe-inspiring palate of Technicolor.


Originally published on 27 May 2014 at the following website:

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dio live london


Dio are no strangers to the live album or concert film. In recent years they have released live shows that were recorded in New York, Philadelphia and England. The most recent addition is Live In London, a concert recorded at London’s Hammersmith Odeon in 1993 and one that has never been made available officially.
The show marked the end of a European tour for the band as they promoted their sixth studio album, ‘Strange Highways’. The line-up consists of the late, great Ronnie James Dio (Black Sabbath, Rainbow) plus Vinny Appice (Black Sabbath), Tracy G and Jeff Pilson. It is considered by many fans as one of the band’s stronger line-ups, even if the album they were promoting at the time wasn’t necessarily accepted in that same way.

Across 18 songs (including one drum solo that resembles Led Zeppelin’s ‘Moby Dick’) the group play six songs from Strange Highways plus three Black Sabbath originals (‘The Mob Rules’, ‘Children Of The Sea’ and ‘Heaven & Hell’ (which is later reprised)) and one Rainbow cover, ‘Man On The Silver Mountain’. The evening is driven by Dio’s amazing powerhouse of a voice. The then 51-year old sounded fine, irrespective of whether he was singing against chugging guitar melodies, spitting vitriol at harder moments, or allowing the rougher edges of his band’s music to reign with a tough, brute force. The fact is, he sounded like a man decades younger.

The quartet were especially tight on this particular evening and they started off with an energetic and incendiary, ‘Stand Up And Shout’. In ‘Don’t Talk To Strangers’ the mood darkened before the self-proclaimed, “strange” song, ‘Strange Highways’. G was definitely in his element during ‘Pain’ which boasted a great, extended guitar solo. It was an enthusiasm that he also brought into ‘The Last In Line’. In the latter, the quieter moments sounded like Led Zeppelin’s ‘Stairway To Heaven’ while during the louder parts it was more like ‘Kashmir’.

The night was certainly about raw, unadulterated power (with Pilson even saying so much during the bonus interview). At times the group’s hard rock vibe also segued off into the sort of theatrics more typically associated with Dream Theatre or even Muse to a certain extent. The fact is, the band tore up the stage and offered a very visceral and heavy experience. It was a journey that is at odds with the humour and self-deprecation exhibited by the band during the 20 minute, behind-the-scenes bonus feature.

Dio’s Live In London will appeal to many fans of the band that may have only heard these great cuts on bootlegs or the odd live compilation. The show is definitely one worth seeing as it shows a ferocious live band bringing a manic, over-the-top energy to their show. It also means it’s hard not to sit up and get swept away in the raw power of it all, it is such a classic concert.

Originally published on 30 April 2014 at the following website:

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Paul McCartney: Lives Kisses and BBC Electric Proms: Paul McCartney see the former Beatle performing songs, having fun and getting nostalgic. They also show two very different sides of Macca. The former sees him taking a leaf out of his parents’ songbook and doing covers of the easy-listening tunes that featured on his Kisses On The Bottom album. The latter sees Sir Paul at his pop-rock best, delivering some then-new songs and classics from his fabulous career with The Beatles and Wings.

Live Kisses was filmed in 2012 at Los Angeles’ Capitol Studios. The building is an iconic one that has hosted stars like Nat King Cole, John Coltrane and Bing Crosby, to name a few. For this documentary it seems that the biggest inspiration is Mr Crosby, as Paul McCartney croons away and creates an album inspired by his childhood memories of parties where the adults got merrier as the night progressed and where those in charge enjoyed themselves by singing along to pop standards and other classics.

The film is directed by Jonas Åkerlund who has previously produced documentaries about Madonna and made music videos for McCartney, Robbie Williams, The Prodigy and Roxette, to name a few. Here, there are also cameos from Diana Krall, Stevie Wonder and Eric Clapton. For the album and this rehearsal, the musicians included a 20-piece orchestra plus talented jazz musicians, John Pizzarelli (guitars), Karriem Riggins (drums) and John Clayton (bass).

Kisses On The Bottom was ultimately a rather sleepy and self-indulgent effort by McCartney. The former Beatle recorded it primarily for his wife, Nancy Shevell and in order to realise his dream of releasing a record of standards. The film itself does fair a little better though, thanks to its subtle atmosphere and deliberate softness. It really shines new light on old chestnuts, especially the hit, “Ac-Cent-Tchu-Ate the Positive”.

The documentary features 13 live renditions of songs like the Guys & Dolls show tune, “More I Cannot Wish You”; the McCartney original, “My Valentine”; and “I’m Gonna Sit Right Down And Write Myself A Letter” (this song contains the lyric that was the inspiration for the cheeky album title). These cuts are interspersed with titles taken from old 45s and are shown alongside muddy-looking black and white interview footage as well as some full colour shots. The result is that McCartney and Co. deliver things with a respectful air even though the former’s voice is very thin and showing visible signs of aging.

These days Paul McCartney’s voice is better suited to his own material and BBC Electric Proms: Paul McCartney is a testament to this. Recorded live in 2007 at the Roundhouse in London’s Camden Town the-then 90 minute set has been edited to one hour for this special. For this concert, McCartney plays numerous instruments including some pleasant mandolin in the-then new track, “Dance Tonight”. “Only Mama Knows” is another recent song to get an airing but it’s fair to say that these numbers are eclipsed by the brilliance, weight and depth of McCartney’s long and enviable discography.

The backing band features two guitarists, a keyboardist and drummer. A string section also joins them for a broody “Eleanor Rigby” and some other numbers. There is the rocking, “Flaming Pie” and the colourful, carnival-like, “Got To Get You Into My Life” while “Band On The Run”, “Live & Let Die” and “Back In The USSR” prove rambunctious and spirited. The Beatle ballads, “Hey Jude” and “Let It Be” see the capacity crowd singing along while the rousing “I Saw Her Standing There” seems as youthful and exuberant as the 17-year old it name checks. During this concert, McCartney shows he can equally shine as band leader and soloist (especially when he plays acoustic guitar while unaccompanied for a haunting, “Blackbird”).

Both Live Kisses and Electric Proms see Paul McCartney in his element and having fun. They also see him getting nostalgic over some wonderful and iconic tunes. While there are some moments that miss the mark in each film, for the most part these documentaries are rather interesting chapters and additions to McCartney’s illustrious career and will prove to be enjoyable viewing for any self-respecting fan.

Originally published on 27 April 2014 at the following website:

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The Fratellis’ show at the Metro in Sydney was their final gig of their recent, Australian tour. After a break-up and hiatus, the Scottish group along with their supports, Jenny Broke The Window put on a dazzling show. It was one that straddled the lines between rock and indie pop and it did so with the most enthusiastic burst of energy and harmony.

Sydney locals, Jenny Broke The Window were a perfect choice of opening act with their layered percussion, harmonising and indie pop sounds that at times resembled Vampire Weekend. They opened with some pounding drums and played a few tunes that had immediate and catchy melodies. It was the sort of music that was bound to hook in some new fans, even if they hadn’t heard the music before, because it was so lush and peppy.

“Abracadabra” was one of their slower tracks but it still managed to keep up the pace and the momentum of the proceedings going. “Fancy Dress” also did the same but it was the closing, “Rum ‘n’ Cola” that was the real crowd pleaser. By then the audience had swollen significantly and they were treated to a big, full sound and a song they’d probably heard on local and community radio. In short, it was a brief punchy set that was likely to earn the band some new fans.

The Fratellis were in town to promote their recent, comeback record, We Need Medicine. They would play nine songs from this effort as well as lots of old favourites from their previous two albums. They began with the exuberant, “This Old Town”, which saw front man, Jon Fratelli twisting and jigging away as he played, and it was something he’d do for much of the evening. It was pretty apparent from the start that the trio (along with touring keyboardist, Will Foster) were all happy to be there.

There were lots of jolting, lightning bolts of rhythm during “Flathead” and it was also a number you could imagine Jack White performing with ease. The stomping song, “Halloween Blues” followed and it was the first of many new tracks to be well-received but it was old favourites like the grooving, “Lupe Brown” and “Cuntry Boys & City Girls” that really got the punters’ hearts a-racing. “Vince The Loveable Stoner” on the other hand, had a lazy vibe that felt like the boys were sitting on a porch and watching the world go by.

A faster version of For “That Girl” was performed and it teased the crowd with its massive build-up while “Henrietta” proved to be a mass sing-along. One of the newer, rockier tunes, “This Is Not The End Of The World” was reminiscent of the one-two punch of The Hives before the boys retuned to the old, Britpop sunniness of “Baby Fratelli”.

The boys would close their set with “Until She Saves My Soul” but everybody new that something was missing. As the roadie set-up for the encore the near-full Metro erupted into everyone singing along to the “do-dos” of the as yet unplayed, “Chelsea Dagger”. The boys returned and played the hot-off-the-press, “All The Long Live Day” and a slightly different take on Dion’s “Runaround Sue” before the fans would get their wish and hear the track they had waited so patiently to hear all night. “Chelsea Dagger” was nothing short of amazing, arms flailed, the energy reached up and kissed the sky.

The night would then close officially with “A Heady Tale” and a promise to return soon. It was a strong number but it had been eclipsed by the penultimate tune and anthem. In all, The Fratellis had offered lots of bang for the punter’s buck with a 23-song set that was full of pulse and energy. It was something that never felt like it stopped, not even allowing one to catch their breath. The Fratellis have reunited and are back, having put on a fun and fine rock show that made most people feel like dancing their Sunday night away.


The Fratellis’ Sydney set list:

1. This Old Ghost Town
2. Flathead
3. Halloween Blues
4. Vince The Loveable Stoner
5. Lupe Brown
6. Cuntry Boys & City Girls
7. She’s Not Gone Yet But She’s Leaving
8. Whistle For The Choir
9. For That Girl
10. Shotgun Shoes
11. Seven Nights, Seven Days
12. Babydoll
13. Henrietta
14. Jeannie Nitro
15. This Is Not The End Of The World
16. Everybody Knows You Cried Last Night
17. Baby Fratelli
18. We Need Medicine
19. Until She Saves My Soul
20. All The Long Live Day
21. Runaround Sue (originally performed by Dion)
22. Chelsea Dagger
23. A Heady Tale


Originally published on 8 April 2014 at the following website:–the-metro-theatre-sydney-06042014.html

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