“What an honour it is to be in the presence of one of the greatest songwriters,” Shane Howard says of supporting the main attraction tonight: Carole King.
It’s hard to not say, the Carole King, such is her musical history, but Howard has stated it true and simple in decreeing her prolific songwriting as so.
Former frontman of Goanna, Howard pulls out a swag of his often instantly recognisable classics. “I’d Rather Be Here” is a warm tale of his time living in the bush with flocks of budgies, while a track from his Goanna days begs him to joke, “If you remember this tune, you’re older than the bible.”
The sense of the true Australian bush is apparent in Howard’s tunes, as is the art of classic folk story telling – something that can be watered down or lost as years pass.
“A Little Bit Of Lovin’ Goes A Long Way” has the steadily-growing crowd call out various regional towns across Queensland while Howard’s smile comes through his voice.
His steadfast support of Indigenous rights is vocalised, (“If you’re not Aboriginal, then we’re all boat people,” he states before singing about his Irish ancestry arriving to Australia), and he is performing on a day in which, “we came one step closer to recognising the owners of this land.”
“It may be a bit overdue but it’s one step closer to being a just nation,” he says of the Federal Government’s push for further recognition of Australia’s owners.
“Solid Rock” includes a verse in a local language and it is brilliant, moving stuff and just as relevant today as it was back in the 80s when it was written.
It’s a short intermission before a bounce of pale blonde curls later and Carole King is ready at the piano amid verses of, “We love you Caroooole!” from throughout the full Entertainment Centre.
The smiles from both King and her band are endless as they play “Way Over Yonder” – in which the mere opening piano chords incite rackets of applause.
Indeed, it’s an insight into the hundreds of hits she has penned for both herself and others that just the handful performed tonight all receive a deafening response. King’s stalwart presence in the music world is made apparent in person and her husky vocals haven’t lost one bit of the warmth and meaning that’s been so passionately delivered to eras bygone.
“Has anyone seen Gilmore Girls? Well, people more of my age would know this is actually from the Tapestry album,” King says with a laugh before launching into the television version of “Where You Lead, I Will Follow”, complete with a photo of the characters emblazoned on the screen.
Indeed, King speaks very fondly of Tapestry, even performing the seldom played titular track unaccompanied. It’s a beautiful highlight and earns audible sighs from the audience. (One mother nearby tearfully whispering, “I never thought she’d play it!”)
Her stories about writing music with Toni Stern are clearly affectionate memories and it’s simply incredible to be hearing straight from the artist such historical insights.
Many more tales like these of which can be read from her recently released, self-penned memoir, which she relents as her “one shameless plug” of the night.
Performing from behind the piano is stellar but when she gets on her feet for “Sweet Seasons”, King doesn’t hold back for the belters and you almost wish the restricting heels were kicked off in the process. It’s an impressive case of whiplash as the ride begins to take off through such a life changing, worldly catalogue of songs.
Changes of the pace are handled delicately and well with “(Love Is Like A) Boomerang” counteracting the big show tunes like “Jazzman”, in which the saxophone is faithfully reinvented by lead guitarist Danny Kortchmar.
Faithful, yes, but jarringly loud and it’s not the first time the electric guitar distracts from the show. The vexatious volume is simply far too squealing and unfortunately happens more often than not.
King introduces her band, some of whom have played and collaborated with her throughout her entire career and whispers to us, “I love my band!” There are just too many warm & fuzzies in this 90 minute set to count.
“It’s Too Late” is a chance to delve into some solos, from King slaying the piano to hearing the bass ring true and proper; it sounds at its finest here, so good and sultry.
It all comes to a close with the show stopping, immense performance of “I Feel The Earth Move”, evoking mass instrumental jams and rollercoaster vocal solos from the backing singers.
But wait; there are some obvious omissions on their way for the encore.
Returning to the time of Tapestry, “So Far Away” is quickly followed by “(You Make Me Feel Like A) Natural Woman”. Burgeoning with brilliant harmonies between King and her backing vocalists, the contrast between the wise, deep and husky King and the youthful strength of the two women is mind blowing.
Finishing on a breathtaking note, dragging the final “woman” out to boggling length, King laughs, “Now that’s a natural woman!” at the song’s end.
The long awaited “You’ve Got A Friend” relinquishes a few more tears from the gender balanced audience tonight and King lets them go to sing for a couple of choruses.
Genuinely humbled and extremely thankful, King and her band take a final bow to standing ovation. Though it may be the final time to do so, the 71-year-old New Yorker leaves a tear-stained imprint on those present.
