Crowded House
Opera House forecourt, November 24
★★★★
A week ago, before Crowded House's four shows and induction into the ARIA hall of fame, the question of why the band is so loved in Australia was pondered. Warmth, fine songs, wit, charm and a connection to the psyche were pretty decent explanations.
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Crowded House return to the Opera House
Thousands of fans packed the Sydney Opera House forecourt to see the band recreate their iconic farewell concert twenty years ago. Vision: Today Show, Channel Nine.
But now that the shows have started, it's possible to peer a bit further in and grasp why they are a bit more than just a loved band.
For many bands of some vintage, it would be enough to have this location, beautiful at any time, but especially on a crisp, clear evening and if the sound was wind affected or compromised by outdoor factors, well, let's face it, everyone would sing, everyone would smile and everyone would go home happy.
![Neil Finn, Matt Sherrod and Nick Seymour of Crowded House performing at the Opera House.](/web/20161125132757im_/http://www.smh.com.au/content/dam/images/g/s/x/5/k/c/image.related.articleLeadwide.620x349.gsx43d.png/1480064910611.jpg)
Except maybe those well-connected grumps in the Toaster who cry foul when shows are played in the forecourt or a state government of wowsers and straighteners who cry foul when a drink is had past cocoa-time – an issue addressed amusingly by Neil Finn who said "Let's wake up Alan Jones," imploring the crowd to turn up the volume "for the public good ... for the sake of keeping Sydney open."
For many bands with a suite of hits to deploy and a well of affection to tap, it would be enough to have those songs appear at regular intervals and with the songs locked in exactly how you played them on record first time around, you could probably phone your performance in and still win.
Not here. Not with these fellows.
It began with a stage design that was equal parts trippy undersea splendour and psychedelic intestines (in a good way, honestly), a light show that was never intrusive but always engaging and attractive, and an entrance with everyone dressed as hooded monks shuffling on anonymously – "they're probably the Fellowship of the Ring," said my Tolkien/Mortensen-loving wife – before casting off the shawls and revealing fashionably and colourfully dressed chaps.
![The view of the Opera House forecout as crowds assemble before Crowded House perform.](/web/20161125132757im_/http://www.smh.com.au/content/dam/images/g/s/x/5/k/d/image.related.articleLeadwide.620x349.gsx43d.png/1480064910611.jpg)
It was presented in the best sound I've heard here or anywhere outdoors – clean differentiation; perfect balance of voices and instruments; volume set loud enough to be felt and not just heard, without imposing. This is no small achievement and can't be praised enough.
It came with no plays to cheap sentimentality – one of these people is a New Zealander after all and they make Australians look like gushers by comparison. And the potentially perverse choice of the bizarre and often brilliant Kirin J. Callinan as support made it clear "easy" wasn't the first port of call when planning the show. (He went down well incidentally, especially when, bare-chested, he ground his hips while singing about being a toddler, in prison.)
![Neil Finn of Crowded House performs on stage during the Encore tour at Sydney Opera House.](/web/20161125132757im_/http://www.smh.com.au/content/dam/images/g/s/x/5/k/b/image.related.articleLeadwide.620x349.gsx43d.png/1480064910611.jpg)
But it wasn't afraid of emotion either: in Fall at Your Feet and Don't Dream It's Over; in the closing embrace of Better Be Home Soon of course; but also underneath the light skin of Italian Plastic, dedicated to its writer and their former drummer, the late Paul Hester.
And it constantly asked a little bit more of each song, whether it was Private Universe taking a turn to psych rock and Whispers and Moans getting meaty and adding a neatly pungent guitar solo; a powerful Hole in the River digging deep into soul and Pineapple Head segueing into Lazy Sunday Afternoon; or Chocolate Cake (with bonus Donald Trump addition to its list of American grotesques) putting a fine icing of prettiness on what had always been an intriguing bit of odd pop, and Weather with You getting a funky groove in its breakdown.
Oddly enough, it turns out if you ask a bit more of yourself and your audience, you also give more to your audience. It's why they reward you with more than love; they offer dedication.
Crowded House play the Opera House forecourt on Friday, Saturday and Sunday.