Bernard Fanning @ The Rosemount
w/ Stella Donnelly
Wednesday, October 11, 2017
Despite having recently released his fourth solo album, Bernard Fanning will always be remembered as the lead singer of Australian rock legends Powderfinger. He has been known to pull out a few songs from his former band’s back catalogue, so it was a bold statement that on this tour, with a new ensemble, he didn’t include a single one – and it was still a great show, lapped up by the enthusiastic crowd – the first of a run of four sold out nights in the intimate confines of the Rosemount.
Stella Donnelly is a talented young local singer-songwriter on a sharp upward trajectory. Recently she’s taken her solo career to the next level, having made a big impression at the BIGSOUND industry showcase in Brisbane. She came out as winner of the inaugural Levi’s Music Prize and has also recently signed a couple big management deals.
And it’s obvious why – starting off the night to an already packed room of people, most of whom would be a good 20 years older than her and not have a clue who she was, didn’t seem to daunt her in the slightest. She quickly won over the crowd with her charming banter, sweet yet powerful voice, nifty guitar work and well written songs that range from humorous anecdotes to more affecting sombre issues. Finishing with the lead single Mechanical Bull off her debut EP Thrush Metal she’s got the makings of a star indeed.
But tonight, the more mature aged crowd were here to see the man who has soundtracked half their lives with his songs. Bernard Fanning soon emerged with his band The Black Fins, and was warmly welcomed. In fact the whole concert had a very casual, good natured vibe – like catching up with an old friend – as the crowd shouted out comments and Bernie replied.
Coming on around 9pm, nice and early for a weeknight, they launched straight into Shed My Skin, the opening track off the new album Brutal Dawn. With a second guitar, bass, drums and violin/keyboard, the sound was nicely full and fleshed out, with Fanning’s familiar voice leading the way.
The end of the first song received a rapturous applause from the packed room that remained respectfully quiet through the whole show. “That was the first song off the new album. This could be the second song… I can’t fucking remember. I’ve made too many records lately,” Fanning joked, as he led into what was indeed the second track How Many Times?
The applause kept rolling to welcome big single Songbird off his first solo record from back in 2005 Tea & Sympathy. Tracks like this and Reckless (from Civil Dusk – companion piece to Brutal Dawn) veer into alt-country, folky territory, which he seems very comfortable with these days. But he soon broke out the electric for Tell Me How It Ends and nicely done cover of You Wreck Me dedicated to the late, great Tom Petty.
One of the highlights of the new album is America (Glamour and Prestige) and it sounded even better live, as Fanning’s voice soared. He played a beautiful solo piano version of Watch Over Me, a song he said everyone in Adelaide used as an opportunity to go to the bar, but tonight, barely anyone moved and they hung on every note of the ballad.
You could feel the love in the room, and Fanning expressed his appreciation of his fans, and their ongoing support, as well as this particular run. “Four sold out shows! Fucking hell Perth!” His joking, affable stage presence and charisma really shine in a smaller room like this.
He explained how he’s decided to do away with the idea of the encore, “We all know we’re just gonna go outside and smoke half a dart, and then come back on”. So before playing the ‘final’ track, he asked the crowd to go crazy at the end and pretend they left the stage.
To ‘finish’ they played a rocking version of classic song The Letter made famous by Joe Cocker, with guitarist Andrew Morris taking over on vocals. Accordingly, at the end, the crowd went mental. Keeping the ruse going, Fanning quipped, “Just pretend at this point we’re doing lines out the back”. They were soon ‘back’ and launched into the catchy riff of Wish You Well to more raucous middle-aged cheers.
Finishing strongly, they followed with the slinky groove of Which Way Home? which highlighted the strength of the rhythm section, before they unexpectedly segued into the mighty riff of Black Sabbath’s War Pigs, a random cover which made you realise how in a way, Fanning’s powerful voice recalls a smoother, less screamy Chris Cornell.
Sleeping Rough put a ribbon on it, and they were gone for real this time. While he’s been somewhat a victim of the Aussie tall poppy syndrome, Fanning has aged gracefully, and reminded everyone that he’s truly one of country’s greatest songwriters and most distinctive voices, as he effortlessly projects, hitting every note.
ALFRED GORMAN
Photos by Linda Dunjey Photography
