Music: Missy Higgins ★★★★
Mrs Macquaries Point, October 1
On a balmy night there was a palpable buzz in the air as a legion of loyal fans flocked to see Missy Higgins perform for “the first time” on a floating stage.
Most of us were caught unawares as fireworks boomed over Sydney Harbour from the moment Higgins began her hour-and-a-half-long set, as if to ignite Sydney’s coming calendar of outdoor performances.
Twenty-five years into her illustrious career, the pyrotechnics seemed fitting for her performance for the series of concerts dubbed The Point, and her only Sydney show of the year. The display complemented the enchanting openers: the haunting Don’t Ever and an unflinching ballad Edge of Something.
Both laid the groundwork for a nostalgia-laced evening traversing her diverse catalogue, from pop to indie, acoustic folk and dashes of rock and country that have become Higgins’ cross-genre signature sound (along with her endearing Aussie twang).
Her defiance of categorisation, and her confidence, even in unguarded moments, are what make Higgins special. A conversational delivery that places raw storytelling and vulnerability at the forefront, both in song and conversation, offers insight into her world.
Throughout the evening, alongside almost unfaltering vocal delivery, this unfiltered style of performance has earned the ARIA Hall of Famer powerful ties with her audience. It’s on full display throughout older tracks, including a still-affecting Everyone’s Waiting and the stirring delivery of The In-Between, the buoyant Craters and the forthright, hymn-like When 4 Became 3 from post-divorce album The Second Act. A crowd-pleasing acoustic rendition of Sabrina Carpenter’s Coincidence had everyone dancing, too.
“A soundtrack to cry to was my service to the world,” quipped Higgins, as she balanced her tear-inducing ballads with self-deprecating wit.
Meanwhile, classics from the gritty The Special Two to the uplifting Scar and also Steer had everyone singing in unison. There was also a big response to the newer Blue Velvet Dress and NYE, a quirky cover she also sang for the ABC’s New Year’s Eve concert in 2021 – the day her marriage effectively ended. It was a full-circle moment for a happier Higgins as fireworks burst once more.
The pyrotechnics were fitting for a set that celebrated the many ways she has made it through tumultuous times, both professionally and personally. And the evening was a testament to the legacy she is still writing – endearingly, unapologetically and authentically.
The Point series of concerts includes The Teskey Brothers on October 2, Hot Dub on the Harbour on November 20 and Harbourlife on November 21.
Theatre: The Year in Tatters ★★★½
Ensemble Theatre, September 30, until October 24
They’re joined at the hip, aren’t they? Politics without satire leads to pollies who take themselves too seriously – and satire without politics can simply equal a dearth of laughs. Try watching Jimmy Kimmel if he stops talking about Trump.
When The Wharf Revue team decided that a quarter of a century of bagging Keating, Howard, Hanson and the rest was enough, they left an empty chair in Sydney theatre with a vague imprint of their collective posteriors. Moulding themselves to fill that absence are writer/performers Andrew Hansen, Mark Humphries and Chris Taylor, plus writer Evan Williams and performer Christie Whelan Browne.
All have TV form in the satirical arena: Hansen and Taylor were members of The Chaser, Humphries did sketches for 7.30 and The Feed (with Williams writing for both), and Whelan Browne was on Shaun Micallef’s Mad as Hell. Add the Ensemble’s boss, Mark Kilmurry, as director, and Hansen’s musical skills, and there’s some serious talent and experience on tap.
Music: Missy Higgins ★★★★
Mrs Macquaries Point, October 1
On a balmy night there was a palpable buzz in the air as a legion of loyal fans flocked to see Missy Higgins perform for “the first time” on a floating stage.
Most of us were caught unawares as fireworks boomed over Sydney Harbour from the moment Higgins began her hour-and-a-half-long set, as if to ignite Sydney’s coming calendar of outdoor performances.
Twenty-five years into her illustrious career, the pyrotechnics seemed fitting for her performance for the series of concerts dubbed The Point, and her only Sydney show of the year. The display complemented the enchanting openers: the haunting Don’t Ever and an unflinching ballad Edge of Something.
Disclaimer : This story is auto aggregated by a computer programme and has not been created or edited by DOWNTHENEWS. Publisher: www.smh.com.au
