Got your Oasis ticket yet? Or have you decided hell would freeze over before you found yourself at one of their shows? Funnily enough, a chilly underworld has been front of mind since the brothers Gallagher announced their conversion to loving siblings and close musical companions with absolutely no primary interest in the financial rewards that come from pretending you really, really want to play again.
Around the time Oasis were first breaching the barriers of radio, pop charts and good taste, noted charmers and close friends all, Los Angeles’ own Eagles, reformed for a tour and then album after more than a decade apart. This was a little surprising to people given one key Eagle had declared that hell would freeze over before he would play with those $(@%! again. But lo, peace was restored, accountants were pleased and a tour and live album called – oh the hilarity! – Hell Freezes Over – ensued.
By the time of their 2010 tour of Australia, captured below in Wind Back Wednesday’s memory bank, no one was surprised. By anything. Least of all the members drawn from various parts of Eagles history who made Fleetwood Mac look like the best of friends.
But absent surprise, could they muster interest – on and off stage? And did this show give us any hint, or concern, about those 2025 Oasis shows?
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EAGLES
Sydney Entertainment Centre, November 30, 2010
WHAT A STRANGE BIRD this show was.
For a long time it was a case of band and audience who deserved it each or who could blame each other, if either could muster the energy. Then it was a case of be careful what you wish for with a climax of if not mixed then certainly complicated blessings.
On one side was a dedicated but passive audience, waiting to be entertained, to be “given” a show while giving almost no energy back themselves. Though they politely greeted the long blocs of newish songs which opened both sets (Busy Being Fabulous and Guilty Of The Crime rising above the recorded versions) and whooped appropriately at the end of each of the classic songs that followed, in between they sat, smiled contentedly and received.
On the other side was a business-like band of musicians who almost grimly went about their work in the first half, professionally deploying tunes and offering near-perfect harmonies as the four frontmen’s occasionally vulnerable voices (Timothy B Schmidt the most worrying in his signature I Can't Tell You Why) were augmented by four more voices from the highly efficient and skilful backing band. All done well but there was nothing you could call zeal.
Apart from some well-rehearsed lines from Glenn Frey, they barely spoke, with Don Henley saying his first word one hour in, and that was to comment on how “quiet” the audience was. Sure the audience wasn't exactly energised but who could blame them when there was a complete absence of passion in front of them. Business is business but this business is also meant to be show business isn't it?
During this pleasant but tepid hour it was hard to remember that the Eagles in their pomp had been a vibrant and very good rock band whose early country flavours were only part of the deal.
But relief for those a little harshed by the mellow – like the two chattering buffoons behind me who had been calling out for Joe Walsh to "rock out” – came midway through the much longer second set when hardly essential songs Life's Been Good To Me, Dirty Laundry and Funk 49 were turned into at first solid then extravagant and then finally over-indulged explorations.
While this too eventually grew boring as the minutes ticked away during the guitar workouts, at least the band had rediscovered something like its mojo, though you could see a good portion of the room sink into their seats a bit wondering when Take It Easy would arrive (at the beginning of the encore as it turns out) and if they’d get to the carpark before midnight.
With five all but sold out shows in Sydney alone on this trip, Eagles really are impervious to criticism, as evidenced by the fact they got the obligatory standing ovation. But with a catalogue this deep and, let's be fair, this good, a bit of self-reflection wouldn't hurt about exactly what they are offering on stage and why.
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