The first Counting Crows tour 20 years ago was cancelled due to swollen nodes on lead singer Adam Duritz’s throat. In 2004, part way through their headlining tour in Australia, they had to cancel due to the passing of Duritz’s grandmother. Due to health issues on this tour, the New Zealand shows were cancelled at the last minute…
It appears it’s always a gamble when buying a ticket for the Crows down under. Fortunately, Sydney had nothing to fear this time around, with the band appearing at the Opera House in full strength (and health).
When Counting Crows do make it to the stage, they never fail to give 100%. The numerous guitarists, the accordion and keyboards of Charlie Gillingham and the unique vocal qualities of their lead man make it a feast for the audience’s ears, eyes, and soul.
With the Opera House overflowing to standing room only, Duritz and his feathered friends launched with a track from their first record, August And Everything After. “Round Here” was an absolutely dazzling opener, and the sound and the mix were perfect from the get-go.
Duritz prowled the stage, leaned over into the crowd and sat on the monitors to get close to his fans, presenting his wordy songs with appropriate theatrics.
As always, there was singing along to the set opener, fellow August… track “Raining In Baltimore”, and Hard Candy’s “Miami” to name a few.
There have been gigs in the past where Duritz’s wellbeing has been questioned. Tonight there was no tumbling off the stage (or other issues), and the singer and his band looked relaxed and eager.
It became clear that any problems the lead singer had with his vocal chords were gone. As a matter of fact, his lyrics were crystal clear and his delivery and presence were top notch. If you add the visual spectacle of what appeared to be the largest head of dreadlocks Duritz has sported in some time, it was hard to drag your eyes off the front man.
With a new album of 15 covers entitled Underwater Sunshine to promote, some Counting Crows fans were set to go home disgruntled if they expected a hit parade. People did call out for ‘Mr. Jones’ (repeatedly), but this was not to be played either night at the Opera House. You can argue amongst yourselves on whether the band’s biggest hit should be played at every gig.
The covers we were treated to included the pop pleasure and harmonies of “Start Again”, a Teenage Fanclub number; a guitar heavy treatment of Coby Brown’s “Hospital”, which gave the trio of David Immergluck, Dan Vickrey, and David Bryson, a chance to show off; and one of the highlights of the evening, the country grandeur of Gram Parsons’ classic “Return Of The Grievous Angel”, which had many of the kickers and the truckers and the cowboy angels up on their feet. With Vickrey playing a sweet solo after Immergluck’s mandolin break, country and western was truly in the House.
Namechecking The Royal Albert Hall, The Fillmore and other venues, Duritz revealed that playing the Sydney Opera House was high on his bucket list. He ticked it off with a flourish. With 21 songs on the set list, no one would be leaving unfulfilled.
“New Frontier”, from Hard Candy, was one of the more rocking numbers. Duritz then gave the crowd a few more chances to sing along with “Goodnight L.A.” and the charming “A Long December”.
The encore contained three of Counting Crows’ best-loved songs from their small but impressive six-album catalogue. “Anna Begins”, which seems to be delivered differently every night, was sparkling and moving.
Looking at this point almost like a Muppet with his hefty dreadlocks, the lead singer then launched into a rocking version of “Hard Candy” that would have been an excellent close to proceedings.
But there was another gem to put on display, the beautiful and endearing “Holiday In Spain”. Duritz connected with the crowd yet again during this charming ballad, leaving only one thing to do – blast out “California Dreaming” to the Opera House crowd and get those with any voice left to in one to join in more time.
This was rock and roll the way it should be played, with joy, fun and a whole lot of love. It was an excellent and youthfully vigorous performance from a band now in their 23rd year.
