Reviewed on Saturday December 19 (photo by Ashley Mar)
“Burn down the mission,” Elton John sang in an unexpected inclusion to his All The Hits set, “If we’re gonna stay alive”.
It was an auspicious addition for the Qantas Credit Union Arena née Sydney Entertainment Centre. Prior to Saturday night (alright for fighting, don’tcha know) he had commanded the stage here 45 times; his 46th proved the last hurrah before the venue is demolished. Auspicious for the occasion – the venue will fall, only to rise again phoenix-like in another form – and for John himself. His career has seen almost as many reinventions as his wardrobe, and for the most part they have been, as his bejewelled jacket reminded, ‘Fantastic’.
In truth, I can’t really be objective about Elton John. As a child, his was the first music I ever identified as an individual sound out in the ocean of music, and so whatever my tastes today, my appreciation for songwriting stems from he and Bernie Taupin’s indelible partnership. Given he maintained a consistent standing ovation at the close of every single number from ‘Bennie And The Jets’ to ‘Crocodile Rock’ 20 songs later, I clearly wasn’t the only long-term acolyte.
There were a handful of criticisms to be had of course, but given how long John has been entertaining us now, they feel a little mean. At 68 his voice can still utterly transfix you, but it also meant he struggled somewhat through the likes of ‘Philadelphia Freedom’ and ‘Sorry Seems To Be The Hardest Word’. He could also have lost the synthesised strings and the songs would have been all the stronger.
But when John hits (which is often), it makes for a stunning experience. Hearing ‘Candle In The Wind’ live for the first time is something I’ll never forget; similarly, hearing an absolutely gob-smacking instrumental piece – just John spotlit at the piano, with 13,000 pairs of riveted ears – suddenly turn on a dime into ‘Rocket Man’ was a show-stopper.
We had a full palette of established classics – ‘Goodbye Yellow Brick Road’, ‘Daniel’ and perennial favourite ‘I Guess That’s Why They Call It The Blues’ – as well as rediscovered ones like ‘Tiny Dancer’ interwoven with several unexpected pieces. ‘Believe’ was a surprise, as was ‘All The Girls Love Alice’. But in the end, perhaps my fondest memory of this venue’s final night will be the stirring sing-along to ‘Your Song’.
It may have taken 30 years, but I can finally cross this performance off my bucket list. And oh! Was it ever worth the wait.
