29 Mar 2024
UsernamePassword

Remember Me? | Join | Recover
Click here to sign in via social networking
  • Articles »
  • Reviews »
  • Gig Review: Come Together: The Rolling Stones' Sticky Fingers @ Civic Theatre, Auckland - 21/01/2022

Gig Review: Come Together: The Rolling Stones' Sticky Fingers @ Civic Theatre, Auckland - 21/01/2022

23 Jan 2022 // A review by roger.bowie

Oh man, what a funny old time. Here we are on the brink of climate catastrophe, and another Covid wave which threatens to lock us down if not out, and yet over the past 3 months we have been able to reflect on and enjoy the two song writing partnerships which have arguably defined modern rock. It’s like, so what? There is salvation in looking back, even though we should look up and forward but not down. Walking backwards into the future. Some wise kaumatua said that (but not Bob Dylan).

Music is what touches us from a distance, and, if we access it wisely and always, insulates and immunises us from life’s traumas. Therefore, it is to be greedily consumed, as if life itself depends on it, and so here we are.

Peter Jackson recently brought us 8 bours of unparalleled access to the magic of Lennon/McCartney, even when tired (not forgetting George). And tonight, Simone Williams and Jol Mulholland bring us the magic of Jagger/Richards (not forgetting Charlie and Brian) as we sit down with sticky fingers (where have they been? Did you wash your hands?).

And so here we are, a homage to the Rolling Stones and one of (if not) the greatest albums of their extensive discography, Sticky Fingers, 1971, post Brian, two Micks, Gram Parson influence in the background, The Beatles are no more, less risk, more options, open slather, free hand. And the third of a trilogy which defined The Rolling Stones as more than just a covers band, more than just a blues band, more than Brian who was tragically lost, and more than something which would take its course and soon expire. Of course, we know that now, but we didn’t know then, how much that trilogy of Beggars Banquet, Let It Bleed and Sticky Fingers would help define the future of rock, and many of our lives.

Omicron is attacking our artificial borders, there is no moat, it’s a futile effort to buy time already wasted. This could be the last time, it may the last time, I don’t know.

My mate Steven asked me (not understanding the format), who is playing Mick Jagger tonight? Everyone, I reply, but no-one is betting against Jon Toogood opening the batting.

Brown Sugar, Marsha Hunt, slave girl, heroin, how come you taste so good, typically ambiguous introduction to the context of the 70’s. But what an opening song.

Now, let’s articulate the tonight context: Brett Adams, Jol Mulholland, Mike Hall, Matthias Jordan, Finn Scholes, Nick Atkinson, Karen Hu, play the instruments and sometimes sing. Jon Toogood, Luke Buda, Lou’ana, Sam Flynn Scott, Deva Mahal add vocals and sometimes play. What? How does this eclectic group of stars come together? Because they can, because Simone says, because they love it, and thus we have a selection of New Zealand’s finest putting their individual identities aside to come together in homage to the greatest albums of our time.

It's just great joy. And we know the format. Brown Sugar tells us that Sticky Fingers is going to be played straight through, and then the band will just play Stones. And the songs will have different players, and different singers. It’s a team game. It’s a game of love and respect.

You know, who ever said Mick Jagger was a great singer? A good singer, yes, but in the context of Dylan and Cohen. But not a great singer, in the context of McCartney and Mercury and (Jim) Morrison. But here we are tonight seeing a bunch of our finest vocalists (and I hesitate to use the word struggling, but yes, in the tiniest of moments it is a struggle) interpret Mick Jagger, trying to put the Mickey into their larynx, but it is for the most part an interpretation. There are key exceptions. Deva Mahal on the old blues number You Gotta Move takes me way past Mick to my other benchmark, which is Parker Millsap from his 2016 album, which chisels your spine. Deva gets close. And Brett Adams just kills us on Wild Horses and Sister Morphine. Luke Buda does a great campy version of the itinerant soapbox evangelist chasing the girl with the Far Away Eyes (reminding me of the bishop in the not so far away gaol). And Lou’ana brings Billie Holiday to I Got The Blues. And finally, Deva, in the last song, Gimme Shelter, would make Lisa Fisher proud. But that’s not my point. There are no bad singers here tonight. Mick Jagger is a great singer. I said that. And tonight, we know why.

Jon Toogood warms up as the night goes on. But he has the moves like Jagger. Bitch, Start Me Up and Jumping Jack Flash were written for him. He really nails it on Street Fighting Man. Sam Scott and Luke Buda share a bunch of songs like Dead Flowers (who sends dead flowers by the US mail, why not a dead possum?) and She’s A Rainbow. Lou’ana is pristine on Angie and super on You got the Blues, but supreme on Honky Tonk Woman, blowing her nose before blowing your mind. Luke does Miss You in great glamp. Deva gives us Satisfaction and Sympathy. Finn Scholes leaps forward to Paint it Black. Sam Scott gets a little worried about singing Let It Bleed, reflecting on how much the early Rolling Stones lyrics were “gisms.” Ah yes, but if you want to be revisionist and change history with words, or because of words, fill yer boots. You can’t rewrite context. And for me the context is that these songs were simply the soundtrack of my youth.

The band are just awesome. Nicole Amesha Bowie (aged 13) who doesn’t like the Rolling Stones, nudges me several times to say: “Dad, I know that song”. Especially when, in the second half, Matthias Jordan keys up She’s A Rainbow. That’s a big song on Tik Tok. And when the band finish up the extensive outro to Can’t You Hear Me Knocking (which is my favourite cut on the album, and causes man tears to well), Nicole nudges me, “Dad, that was really good.” But the best moment between us was when she says “Dad, is Mick Jagger in the Rolling Stones? There’s a great song about him……” Nicole comes of Stone age tonight.

Ah yes, Brett and Jol duel between Mick Taylor and Keith, Mike Hall is just the epitome of a statuesque Bill Wyman, Nick Atkinson is all Bobby Keys and Matthias Jordan is Hopkins and Stewart and Preston as well as singing a fitting tribute at the end of the first set, once the album is finished, with a song originally written for Brian, but now dedicated to the recently demised Charlie Watts, Shine a Light. Animations appear, little etchings of the men themselves.

Charlie played drums; did you know that? Let me ask you, how often (if you are not a drummer) have you listened to the drumming on Rolling Stones songs? If you are like me, probably not often. Charlie was a jazz drummer. He played nuance, not flair. But he played anchor, and it’s only when you focus do you realise how much of a leader Charlie was from behind. Take Charlie out of the mix, and Mick, and Keef, and Bill, and Mick (Taylor) are just flounders on a beach.

Hey, then how about Karen Hu? She’s on drums tonight, and you don’t take much notice unless you concentrate, mainly at the very end (Gimme Shelter) which is when you go, fuck, this girl is doing Charlie proud. Beat for beat. Anchor. No fuss, no flair. Solid. Hey Mick, if you are having problems with Steve Jordan, I’ll put you in touch with Karen. She’s on LinkedIn.

The songs tonight are anchored in the Trilogy, with a jump back to earlier singles as well as Satanic Majesties Request, and a leap forward to Exile and Some Girls, but no Time Waits For No-one, because it doesn’t, and because You Can’t Always Get Want You Want.

What have I missed? Who have I missed? Ah yes, perhaps the most diversely talented musician on stage. In Simone Williams’ own words, the genius that is Finn Scholes. Percussion, trumpet, voice and all the little pictures on the screen. I kid you not.

What a night for young and old. I’ve run out of superlatives. My well is dry. Wealth and taste. Thank you, Jesus.


Photo Credit: Chris Zwaagdyk @ ZED Pics

 

Other Reviews By roger.bowie

Album Review: Subset BC
16 Dec 2023 // by roger.bowie
Here’s an interesting little thing from Gisborne. A funky little band with three bass players.
Read More...
Gig Review: The Best of Come Together @ The Civic Theatre, Auckland - 9/12/2023
12 Dec 2023 // by roger.bowie
Get your heads around this line-up:  The singers: Jon Toogood, (lead and backing vocals), Julia Deans (lead and backing vocals), Dianne Swann (lead and backing vocals and occasional guitar), Samuel Flynn Scott (vocals and guitar), James Milne (lead and backing vocals), Milan Borich (Mick vocals) The players: Jol Mulholland (guitars and vocals), Brett Adams (lead guitar and vocals), Mike Hall (bass), Matthias Jordan (keyboards), Alastair Deverick (drums), Finn Scholes (trumpet, clarinet and percussion), Nick Atkinson (sax and percussion).  Stopped spinning?
Read More...
A Crude Mechanical - Album Review: Discourse
08 Dec 2023 // by roger.bowie
Shane Warbrooke doesn’t believe in lyrics, because of the risk of lyrics being hi-jacked and meanings bent to suit ideologies which he doesn’t like. Well, such ideologies which most of us don’t like, truth be known, but then again, Beethoven didn’t write lyrics, so the freedom of speech counter argument only goes so far.
Read More...
Gig Review: The Phoenix Foundation @ Hollywood Avondale, Auckland - 24/11/2023
26 Nov 2023 // by roger.bowie
This is a first of many things. I’m not sure I’ve ever seen The Phoenix Foundation play live.
Read More...
Velvet Arrow - Album Review: Songs of Solitude
17 Nov 2023 // by roger.bowie
A Song Of Hope & Fear would normally be a contradiction in terms unless darkness prevails and light shines through, which is an appropriate metaphor for the debut album from Whangarei’s Velvet Arrow and the opening song, with Dan Stenhouse’s husky voice helping us through the night against a ghostly horror wail from Hannah Jane. After all it’s just a song to help you through the night, just the words that speak, it’s not real.
Read More...
Gig Review: Atomic: Women of Rock @ The Civic, Auckland - 11/11/2023
13 Nov 2023 // by roger.bowie
What a feast of nostalgia we’ve had from Liberty Stage (Simone Williams) these past few years, as New Zealand’s finest have Come Together to cover the classic albums which made the soundtracks of our youth. In addition to this, there have also been special tributes like Tami Neilson’s rock ‘n roll party with Dinah Lee, just last month.
Read More...
Dimmer - Album Review: Live At The Hollywood
09 Nov 2023 // by roger.bowie
Wow, not very often that we see alive album these days, an unusual beast, but that’s we have, a 14-track monster from Dimmer, recorded from last year’s sold-out trilogy at the Hollywood Avondale. Which, if you didn’t get to go last year, you can still see on December 2nd at the Powerstation, unless, like me, you are going instead to The War on Drugs.
Read More...
Killergrams - EP Review: Lonely Nights In A Little Town
27 Oct 2023 // by roger.bowie
Someone walked out, and Tom Maxwell has lost his mind, in a gentle, acoustic way. Then his mind explodes in a cacophony of chaos, which might just be what it feels like, losing something that important.
Read More...
View All Articles By roger.bowie

NZ Top 10 Singles

  • WE CAN'T BE FRIENDS (WAIT FOR YOUR LOVE)
    Ariana Grande
  • BEAUTIFUL THINGS
    Benson Boone
  • END OF BEGINNING
    Djo
  • LOSE CONTROL
    Teddy Swims
  • TEXAS HOLD 'EM
    Beyonce
  • STICK SEASON
    Noah Kahan
  • PRAISE JAH IN THE MOONLIGHT
    YG Marley
  • CARNIVAL
    Kanye West And Ty Dolla $ign
  • SATURN
    SZA
  • LOVIN ON ME
    Jack Harlow
View the Full NZ Top 40...
muzic.net.nz Logo
100% New Zealand Music
All content on this website is copyright to muzic.net.nz and other respective rights holders. Redistribution of any material presented here without permission is prohibited.
Report a ProblemReport A Problem