AAMI Park January 13
You know when it’s really over. When you love each other as much as Elton and Melbourne do, go through the moves a few times without really breaking up. But this time, the misty eyes, the long ovation, the way he evoked those words of gratitude through folded hands and trembling lips — “Loyalty, love, devotion” — left no doubt. That was goodbye.
The question after 51 shows since Kooyong ’71 (yep, he was counting) isn’t so much whether he’ll sing your favorite — it’s how serious he might be about it. At 75, he no longer stays away from the keyboard. It dives for some reasonable harmony as we take the high notes Little Dancer. candle in the wind is a hasty solo piano piece without an epic arrangement. And did Funeral for a friend / Love lies bleed Feel like it was sent off in fast forward pace, or was that just the thrill of the occasion?
But man, you’d almost think he’d never played rocket Man earlier in his life as it swelled and howled into a symphony of uncharted harmonies and heady instrumental codas. Of the two dozen songs, almost all hits of course, this one felt like something of a miracle, a fantastic revelation into something you thought you knew backwards. That’s the gift of a timeless song and a great band dedicated enough to find it.
Two members – drummer Nigel Olsson and guitarist/bandleader Davey Johnstone – started more than 50 years ago behind the guy in the diamond and sequin tailcoat and fuchsia harlequin tuxedo (the paisley dressing gown he saved for the encore). The dancing hands and faces of percussionist Ray Cooper, a highlight in southern goth drama Have mercy on the criminal and the frantic climax of Levonalmost as long.
The veteran rockers’ enthusiasm may have buried the maestro in the mix a few times, but that’s better than the ennui or deference one might expect at the 274th show (he counted those, too) of a seemingly never-ending farewell tour. bennie and the jets and Sad songs (say so much) felt rejuvenated by a pronounced swing that echoed John’s love of New Orleans funk.
Other songs were reborn in context. John drew on heartfelt memories of fallen comrades – Aretha Franklin, Jeff Beck, Lisa Marie Presley – to create new gravity border song and Don’t let the sun go down on me. A bizarre stage invasion by Molly Meldrum, who crawls across the limelight while dropping her pants The bitch is backwas also oddly poignant, and was treated with admirable aplomb and affection by his old friend at the piano.
We sang the la-las to it crocodile rock. We shouted “Saturday” like Sunday would never come. We had her song reassigned as Our Song. And we all seemed to have something in our eyes at exactly the same time Bye bye, yellow cobbled road sent the real Elton John backwards through a blast of yellow ticker tape into a cartoon eternity of hearts and flowers where dead set icons live forever.
https://www.smh.com.au/culture/music/old-favourites-and-a-surprise-mooning-at-elton-john-s-melbourne-performance-20230113-p5ccbx.html?ref=rss&utm_medium=rss&utm_source=rss_culture Appearance of Elton John Melbourne