Joel and Farnham

Press, 30 November 1987, Page 8

Joel and Farnham

Billy Joel and John Farnham in concert at Lancaster Park, Saturday evening. Reviewed by Dave Wilson It was billed as the “blowout" final concert of Billy Joel’s 18 months, 151-venue world tour, and the crowd of about 22,000 people at Lancaster Park on Saturday evening were ready to boogie. Some did, particularly the throng of diehard fans packed around the stage area who screamed, sang and waved, a lucky few collecting souvenir tambourines and Ray-ban sunglasses tossed into the audience by their hero. Further back in the crowd the audience response was more muted. Happy, but not partying. The applause was more polite than unrestrained. On the embankments and in the stands the audience remained seated throughout the show, tapping their feet when Joel lifted the temp from what seemed to be too many ballads, into the rock and roll numbers we had been led to believe would constitute the bulk of his show. Perhaps that was the flaw of what should have been one of those concert performances you remember for a lifetime. When the show ignited, it was brilliant. Otherwise it ran a predetermined course. We were onlookers, rather than participants. We came to hear “It’s Still Rock And Roll To Me,” but before that we were delivered “Goodnight Saigon,” a bitter, haunting statement on Vietnam. It is not party music. There was little interaction with the crowd. When Billy Joel did make the connection, toward the end of the twohour performance, he found an audience more than eager to sing with him. But the moment was not held. However the magic was there long enough for his rendition of “Uptown Girl" to have 22,000 backing singers. Also his final number, “Back In The U.5.5.R.,” had the crowd partying, to the accompaniment of a fireworks display that divided our attention, but provided some splendid visual effects. The Billy Joel concert was consistently flawless in the musical department and the clarity of the sound system. It was the best concert sound system I have encountered. Billy Joel threw himself about the stage, leaping off baby grand piano,

dashing here and there, lying on the stage and stretching out to shake hands with the adoring ones in the front row. He did everything you expect of a pop performer, and a few turns you do not expect. At one point Joel came on stage with a video camera to film the crowd. Later he wandered back to sing “Tell Her About It” carrying his daughter, aged two. The Billy Joel concert was one of those performances where it is difficult to pinpoint why you were not enraptured. It was a good show, in parts a brilliant show, but over-all it failed to explode. Unlike John Farnham earlier, Billy Joel did not make that mass audience contact and hold it. Joel’s repertoire traversed his career, from “Piano Man" of 1974 to selections from his latest album, In between were some impeccable renditions of his hits including "Allentown,” “You May Be Right” and “Tell Her About It.” There were also the ballads — "Baby Grand” delivered in Ray Charles style was well done — but they slowed the momentum. With a little more magic, this could have been the concert of the decade. John Farnham made and held the contact with his audience. Delivering his brand of Aussie rock he gave 100 per cent of himself to the show. The emphasis was on “Whispering Jack,” his big album and Farnham’s concert performance of “The Voice” was truly inspiring, complete with highland pipers for that song’s bagpipes link. Some Little River Band material, a distinctive ballad version of the Beatles’ “Help,” “Touch Of Paradise” and other tracks from “Whispering Jack," all of it spiced with some earthy humour, ensured Farnham found his audience on the night. When he bade farewell the crowd chanted “We want more” until Farnham bounced back with a grin to acknowledge the crowd. “Ya smooth talkin’ buggers” he told them before powering into his encore. It was unpretentious fun and created an atmosphere that promised a great evening. The silent crowds filing from Lancaster Park at 10.30 p.m. seemed to indicate that the promise of the early evening had not fully realised.