Seeing a Don McLean show comes, fairly or unfairly, with an attendant amount of expectation. The hits are anticipated and a McLean show without “American Pie” seems inconceivable. But can a live show live up to the years of accumulated music and persona that have made Don McLean an icon of popular culture?
The country-styled opening act Catherine Britt was a solid choice to compliment to the headliner’s distinctive mix of rock, folk, and ‘a little bit country’. To keep Hamer Hall sufficiently enthralled with nothing but her voice and an acoustic guitar while waiting for the main event was an impressive feat – but Britt is no inexperienced act, having performed from Newcastle to Nashville on the back of six albums since she was 14 years old
Her words and stories are unmistakably Australian, calling to mind Alice Springs, gumtrees, and a distinctly Aussie suburban childhood. Britt’s strongest songs are those that combine her authentic country accent with rich guitar and even richer narrative. “Charleston Road”, described by Britt as ‘by far the most bogan song I’ve ever written’ was a standout with its personal focus, spot-on country sound and the energy it infused into the crowd.
Britt was not afraid to explore personal tragedy in the sad but important “Sally Bones” and the depressing “There’s Got To Be More”, inspired by her experience as a teacher’s aide. Emmylou Harris makes a visit in “Sweet Emmylou”, showing that the singer knows how to wear her heart on her sleeve in the best country music tradition.
Her cover of the classic “Big Rock Candy Mountain” was the high point of her set. Fun, lively and a great showcase for the warmth and strength of Britt’s voice, the song lifted the atmosphere in Hamer Hall to a joyful peak.
Her final word was “Hillbilly, Pickin’’, Ramblin’ Girl”, an ode to whisky soaked country music and the associated identity Britt gave herself at age 14. Along with a plug for the charity Camp Quality, it was a great note to end on, leaving the mood receptive and warm for Don McLean.
Heralded to the stage as a ‘living legend”, the man himself kicked the show off with a nod to one of his favourites performers, Buddy Holly, with a cover of “Everyday”. “Superman’s Ghost”, “Tulsa Time”, and Billy Joel’s “The Ballad Of Billy The Kid” followed but the first half of the set was disappointingly lacking in vigour and emotional connection. The audience politely clapped at the end of songs, but rarely made much other noise to express engagement during the songs.
The low-key set continued with the dearly loved “Vincent”. Gentle, beautiful and pushed into the sublime with the addition of blues slide on electric guitar, “Vincent” was the first song to really reach out and engage the crowd. For the first time in the show it was clear that McLean was interested in honouring the hits.
An affecting and rock-tinged cover of Roy Orbison’s “Crying” brought the house to its feet in time to meet the first magic words of “American Pie”. The familiar landscape of McLean’s magnum opus drew cheers of delight and exuberant, gleeful singing from the patient audience. The experience was slightly marred by the house lights coming up during the song but that did not phase the beaming McLean who treated his devotees to an encore of one of the most upbeat parts of his senimal classic. The welcome “Castles In The Air” followed before the set rounded out with a cover of Woody Guthrie’s “Hard Travelin’ ”, complete with honky-tonk piano.
Don McLean is undoubtedly a consummate performer who enchants with his trademark voice and style but this show would have benefited from a greater concession to the hits and a more varied pace. More than 40 years on though, “American Pie” still rocks.
