Project Description
THE WHITE ALBUM CONCERT
Canberra Theatre Centre
21 July 2018
(Live review)
Reviewer – Benjamin Smith
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Find frontmen. Fill a theatre. Play Beatles songs. It’s not that hard to find the formula for satisfying entertainment. I’ve made clear that my ambition is to quit my actual life and follow Tim Rogers around the country, so I might be biased, but putting him in as one of those frontmen pretty much guaranteed one happy fan.
Combining Tim Rogers’ ludicrous flamboyance with the oddly camp masculinity of Phil Jamieson, the unbelievable musicianship of Chris Cheney and the all-round likeability of Josh Pyke guaranteed the rest of the theatre were happy. Throw in 16 extraordinary musicians including a pianist on a baby grand, two drummers, a full string set and a horn section and you’ve got the makings of an evening of incredible music.
The beauty of the White Album is in its place within the history of The Beatles. Written at the height of their powers as songwriters and storytellers, but recorded at what was also probably the moment when the band had begun to tear itself apart, it is a complex combination of beauty and tension. Composed primarily at a meditation session in India, its songs are at times powerful and at others whimsical. Criticised at the time for failing to adequately address the tumult and tempest that was 1968, the White Album, or simply The Beatles, is often thought of now by critics as the band’s masterpiece. Expanding and refining the evolution the band embarked upon in Sgt Peppers, the White Album this year turns 50. The current tour is a celebration of the rich tapestry that is this majestic record.
The diversity of the songs allowed for each of the four iconic Australian performers to showcase the particular talents they bring to bear. Many of the more gentle ballads lend themselves to the vocal sensitivities of Pyke and his simple acoustic strummings. Songs like Back in the USSR gave Cheney a chance to show what he can do with six strings, which incidentally is quite a bit. Jamieson’s gift for finding the charm in levity made songs like Dear Prudence so well suited to his manner that it almost felt like a song he was born to sing.
For me though, the spectacle of Tim Rogers singing Piggies with a rubber pig’s head on his own head was only topped by the power, the remarkable energy, of his rendition of Revolution. Rogers brings ego and drama and wit and sex and rebellion to any performance he gives but with material this strong and a band this talented he really poured himself into the role. The other thing about the way Rogers manifests himself onstage is that the bravado is matched with a subtle humanity, a humility even, that hides just beneath the surface of his preposterous persona.
They did two separate sets covering one record of the double album in each and at the end came out and sat on barstools and, leaving the theatrics behind, just sang. This might have been the moment where the reverence for the music and the power in their chemistry as cooperative artists shone most of all. Finishing with George Harrison’s All Things Must Pass was an inspired way to round out an evening worth of great music, with stellar performances from Australian musical icons backed by a world class band.
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Great review Benjamin. Such good writing. It has inspired me to put down my thoughts about Sydney’s concert on Saturday 28th July, 2018.
If Josh Pyke has grown more handsome in the twelve months since I last saw the White Album performance then Tim Rogers has become more Odysseusian with longer, grayer, hair seemingly everywhere. Tim quipped about his stage dress being more suited for Pirates of Penzance but you’d be more likely to believe he was in search of a Shakespearean role to flesh out his stellar rock career – especially when he adorned himself in a rubber pig’s head for George’s Piggies; a sort of King Lear does Puck character.
So first impressions soon paled into insignificance as the boys and band locked into what seemed a note perfect performance of the Beatles’ White Album. Rock was never meant for this sort of perfection that we expect in the classic music genre but under Rex Goh’s musical leadership they proved how possible it really is.
I came looking for Paul’s sung bass on I Will; Ringo’s return to his crotchet flams on Everybody’s Got Something to Hide Except for Me and My Monkey, last heard in She Loves You; George’s inspired one note guitar lead that lets you hear the balalaika’s ringing out on Back in the USSR; and, to feel the stunning power and wonderful blues arrangement in John’s Yer Blues. Well, I got the lot. Tonight I saw perfect performances of this well known music. While Tim sometimes plays the fool, he always lands the performance.
Chris Cheney’s guitar playing has become much more confident over the last twelve months too. His two standing ovations for While My Guitar Gently Weeps and Helter Skelter were spontaneous and well deserved. If CLAPTON WAS GOD then CHENEY IS NOW.
To hear this music live and appreciate the power held within these rock songs, you come to realize how well the Beatles executed their aim to record an LP that returned to their roots as a straight four piece dance band combo. By the second half of the show you are left in no doubt of that achievement as they rock through Birthday, Yer Blues, Monkey and, just to be doubly sure, Helter Skelter.
And what of the fourth front man? Phil Jamieson, the boy from Hornsby, where I grew up. Well Phil has carved out a more engaging and camped up stage persona than I can recall. I found Phil very engaging to watch. He was like a young Tim Rogers on steroids. And a good thing too because Tim has slowed his dance moves. He has balanced that change with an improving comedic repartee.
A wonderful night of confident, strident and entertaining performances that was capped off with an acoustic encore featuring the four front men, harmonizing like the barbers of Saville, and adding to the night’s polish with a very moving performance of George’s All Things Must Pass. So, just as the song said, the concert did pass and we all left the Opera House Concert Hall feeling very uplifted for the journey home…
Great piece Ben,
I was wondering if you could tell me the name of the all the songs performed in the last section of the show. Where the men were sitting on their bar stools. I know that I know the songs and enjoyed all of them, but for the life of me I cannot think of the name of any of them.
I now know All Things Must Pass, thanks to your review, but if you or anyone else could help me out with the titles of the others I would greatly appreciate it