A procession of pipes and drums signalled the sixth annual Heart of St.Kilda Concert was underway, its master of ceremonies – Brian Nankervis – extending a warm welcome. The evening, a fundraiser, was in support of the Sacred Heart Mission, their work aimed at assisting those in crisis with a range of basic needs such as access to food, health care, laundry and bathroom facilities.
EVEN, the house band, were faultless in their execution and, as such, an appropriate selection of house band. Russel Morris set the night off well with his acoustic renditions of Black Dog Blues and The Real Thing connecting with the event’s demographic.
Dave Callan was the evening’s first comedian; no prizes for guessing how Callan’s set ended, though the shaggy-haired comic initially teased leaving the stage without busting a single move, Beyonce’s Crazy In Love would eventually fill the venue. Callan’s infamous dance routine, more impressive than side-splitting, brought the house down. Anyone who’s seen Callan strut his stuff before knows this display makes for an extremely fun spectacle every time.
Callan introduced Lisa Miller, who continued the evening’s trend of adult-contemporary pop. While there was no faulting Miller, necessarily – highlights including Red And Blue (Let The Heart Go) and Let Love Carry You – the night was, by this stage, crying out for an injection of something radical. Comic Rachel Berger worked a little blue – which, in itself, was surprising. It would take Suzannah Espie to shake things up, her voice emerging an irresistible X-factor.
Local comedy stalwart Russell Gilbert was in spectacular form this evening, his set raising questions as to why, these days, he’s no longer a prolific figure within the mainstream media. The highlight of Gilbert’s appearance was a story with a twist: it was a tale meticulously woven together using lyrics from some of the biggest songs in pop music history. Gilbert must have made mention of almost 30 songs, speaking almost exclusively in verses and choruses, each instantly recognisable to punters throughout the venue.
Rebecca Barnard and Billy Miller were next to the stage, a pop-up choir contributing to a magical rendition of (They Long To Be) Close To You. A group of around 30 vocalists filed down the aisles of the Palais to join the pair on stage, performing country classic King Of The Road and The Beatles’ With A Little Help From My Friends. The Caravan Music Choir embodied the community spirit of the evening and the Palais Theatre united in voice made for a very special experience.
Sydney ventriloquist Darren Carr put his own spin on the evening through his unique expertise. A series of razor-sharp quips distracted from the obvious: a noticeable lack of puppet on stage. Carr very casually addressed the issue and, with a single prop and a suspiciously compliant member of the audience, he presented a surprising masterclass of ventriloquism. Carr was a massive hit, his act bound to stay with punters beyond the concert.
Wishful were first to the stage after the interval, their friendly yet inventive indie-folk-pop proving a novelty. The epitome of an up-and-coming act (this was, by their own admission, the biggest stage they’d ever played on) you couldn’t help but feel beguiled by their promise.
Frank Woodley was waylaid by an innocuous heckle within seconds of taking to the stage. Demonstrating his comedy-veteran status, Woodley used the quip as a launch pad, the audience warming to his tangential approach. Eventually, Woodley found a way to slip into his fun, stammering fool persona, exploring comedy as a subjective experience, along with the awkwardness of birthing videos.
Henry Wagons wasted no time in establishing himself as the evening’s livewire. He stunned the crowd with an exciting amalgamation of country, rock and blues. He brought a lot to the stage, namely an abundance of energy and enthusiasm, the likes of which had been absent for much of the evening. A black sheep amongst the evening’s musical acts, Wagons proved himself an eccentric performer with electrifying personality.
Following the Heart Of St Kilda raffle, songstress Kate Ceberano took to the stage for another spot of adult-contemporary pop. She staged a serviceable performance – heartfelt gem With You emerging a key highlight – but her decision to talk up her previous ‘paid’ appearances at the Palais seemed a tad careless within the context of an evening devoted to charity. However, Ceberano’s off-the-cuff quips did nothing to reverse punters’ goodwill towards her, a pleasant ovation the ultimate outcome.
While acclaimed comic Hannah Gadsby encountered some resistance early, her candid, self-deprecating style soon had the audience in stitches. An accomplished performer, Hannah Gadsby was true-to-form hilarious, charming the Palais Theatre.
Soul collective Saskwatch were the last act of the evening, the nine-piece gearing up for their Glastonbury appearance. The outstanding Nkechi Anele sung with flawless elasticity, an electric performance leading an impressive, cohesive ensemble.
The event itself felt a little overblown at almost four hours, including a short interval, though the overall enjoyment of the Heart Of St Kilda Concert – a mini-gala of music and comedy – was refreshed with every act. The concert ended up raising more than $85,000, which will go onto fund an estimated 26,000 meals served by Sacred Heart Mission to people experiencing homelessness or poverty. A theatre full of generous punters received a fun-filled evening of entertainment, too, effectively ticking every last box in the process.
BY NICK MASON
LOVED: The Gala-esque feel of the evening.
HATED: The exhausting duration, the only real downside of any sizeable show.
DRANK: Water.
