Reviewed onTuesday March 29 (photo by Ashley Mar)
“Sydney Opera House! Tuesday, March the 29th, 2016!” These are the first words that escape Brian Wilson’s mouth as he enters stage right, his ever-faithful band assuming their stations. He knows where he is. He knows what day it is. It might seem cruel to compare Wilson’s introduction to someone holding up today’s newspaper to prove they’re alive, but it’s just that: a sign of life. It doesn’t go unappreciated in this room, the occupants of which will go on to give this man no less than four standing ovations over the course of two-and-a-half hours.
The night begins with the opening suite from long-lost Beach Boys masterpiece Smile: ‘Our Prayer’, ‘Gee’ and ‘Heroes And Villains’. Not only does this showcase the incredible vocal talent on offer tonight, but it also reflects the immaculate, pinpoint-precise detail that is utilised by Wilson’s band when replicating his delicately layered arrangements. Fellow Beach Boy Al Jardine is on board, singing favourites like ‘Little Deuce Coupe’, while his high-singing son Matt certifiably nails ‘Don’t Worry Baby’. Blondie Chaplin, too, makes a guest appearance to liven up ‘Funky Pretty’ and ‘Wild Honey’, prowling the stage with his blues guitar licks. It’s an incredibly fun hour, but compared to what happens next, it’s practically an entrée.
50 years ago, Brian Wilson reinvented The Beach Boys from California-dreaming kids to pop revolutionaries. Pet Sounds would go on to cement Wilson’s legacy more than any other work, and watching it performed live is a privilege not lost on anyone in attendance. It’s another true testament to the musicians onstage how lavishly they put together every last aspect of this recital – there is even a point where two of the band members are eyeing off one another during ‘That’s Not Me’ to make sure they know exactly when to come in with the tambourine parts. ‘Let’s Go Away For Awhile’ and the title track leave Wilson himself in awe of the ensemble, rhetorically asking, “Aren’t they great?” as the latter concludes. It goes without saying we think the exact same of him.
As ‘Good Vibrations’ rings out, a handful of people finally arise from their seat. Then more. By the time the “na-na-na”s roll through, all that are able have risen to their feet. The mass has ended. It’s now time to celebrate. It’s a vital sign of life. 50 years on, Brian Wilson is still here.
