Joshua James took to the stage first, the Salt Lake City troubadour a stranger to three-tier theatres. The Hamer Hall audience embraced James’ music though, in good spirits ahead of the evening’s main event. James’ songs offered magical reminders of campfire folk, with a hint of ‘Hank Williams heartbreak’ evident (owed in part to the James’ recent country phase). As a performer, James proved humble yet utterly charismatic when it counted most, his raspy vocals soaring beautifully. Surrender emerged the chief highlight of the set, James’ melodic expertise coming to the fore. Boasting slow-burners and more taut, short-form songs, James proved an affecting and versatile songsmith.
With a famed profile and a new album to promote, there was always a chance of Neil Finn playing a predictable set. However, the evening offered much more than a Greatest Hits package for fair-weather followers and became more than merely than an exhibition of Dizzy Heights. Instead, Finn’s set appealed to complete-ist fans, blowing the dust off past obscurities. Among the surprises were love song Turn and Run, a dark Finn Brothers gem, Only Talking Sense, and the underrated Enz track The Devil You Know. It’s clear that Finn refuses to rest on his reputation, eager to elude the ‘tasteful’ tag at every turn.
Naturally, though, when it comes to a Neil Finn concert, there are certain things you can safely expect: as ever, he’s in possession of a remarkably powerful voice, and Finn demonstrated a deft falsetto throughout the evening. His bandmates Lisa Tomlins and Jesse Sheehan gave support; heavenly three-part harmonies swelling within Hamer Hall. Fall At Your Feet, Distant Sun and Don’t Dream It’s Over each proved spine-tingling delights, as Finn switched back and forth between his grand piano and his signature guitar. His band boasted stunning cohesion, playing through the wildly diverse set with staggering ease. Even the spellbinding detour Divebomber, arguably Finn’s most audacious track in recent times, was performed to precision. Finn – and indeed his ensemble – certainly earned their standing ovations. They were brilliant.
Mention must be made of the humour and light-heartedness that endured throughout the evening. The take-home image arrived when Finn suddenly burst from the side of stage for his encore, making a bee-line for the grand piano. He slid across its surface as if to pay homage to The Dukes of Hazzard. It was a moment that contained a hint of childlike mischief. More than that, it implied a sense of play – one that defines this exciting new phase of Finn’s career.
BY NICK MASON
Loved: The evening offered a comprehensive cross-section of Finn’s career, from the hits to the obscurities.
Hated: Those fans who, without fail, always pick the exact wrong moment to participate (though I’m being picky).
Drank: High-quality H20.
