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Neil Diamond Adelaide Oval, Sat 26 March It is estimated that a staggeringly 2.5 million Australians (including your intrepid reviewer) own 1972's 'Hot August Night', the seminal live album that showcased singer/songwriter/guitarist Neil Diamond to the world. As such it was with a great deal of interest the missus and I ventured to the Oval to see if this outstanding "Heritage" artist could cut it in today's era of instant pop gratification. And yes, he can cut it; with a few caveats. The night wasn't so much hot: more cool and laid back from the get go. Everyone knows the "Good Lord!" bit in Crunchy Granola Suite, which opened the proceedings, but tonight it was drowned in the heavy synth of Alan Lindgren, losing the song's oomph. The next three songs (Desiree, Remember Me and Beautiful Noise) also fell flat, with Neil, dressed in black from head to toe with a diamante studded shirt, prowling the stage Vegas cabaret-style and doing funny little steps and hand gestures that would be at home at the Flamingo Hilton but not Adelaide Oval, where those in the Chappell stands needed the large video screens or high powered binoculars. However, when Neil picked up the guitar and launched into Cherry, Cherry the mood in the audience changed noticeably, the cringe factor disappearing through Play Me and Love On The Rocks only to reappear when America was introduced with a sincerity level that George Dubya would be proud of. The duet You Don't Bring Me Flowers, originally performed with Barbra Streisand, was ably presented with backing singer Linda Press. The staging of this song, with Neil stage right and Linda stage left, split screen with cameras on both, evoked a film clip but the level of showmanship pulled it back from complete tweeness. And that really was how the rest of the two hour show went: one minute, outstanding brilliance (a sublime September Morn), then OTT indulgence (an improvised song about the band getting back together). Three mediocre songs later, including a video montage based around 'Jonathon Livingston Seagull', Neil let rip with a reverential rendition of Holy Holy and a superb arms-waving-in-the-air Sweet Caroline followed by a funked up version of I'm A Believer. The lack of Girl You'll Be A Woman Soon, Porcupine Pie and Song Sung Blue were sort of made up by the inclusion of Forever In Blue Jeans and Play Me, an outstanding Red Red Wine (which featured a Brooklyn rap name checking UB40), the weird-as Soolaimon, and the set-closing I Am I Said. The encore featured a cracking Cracklin' Rosie and a highly charged Brother Love's Travelling Salvation Show before finishing with a sleepy laid back track that I didn't recognise. Neil, you should always go out with the crowd wanting more. And speaking of going out, Neil's departure from the stage elicited laughter from more than a few people in the audience as he slowly descended the ramp at the rear of the stage, pausing at each step for what seemed an interminably long time, basking in the glow of adulation. The man is the consummate showman, prowling the stage, gazing and waving to the audience, and doing those damn annoying hand gestures and choreography, and with tickets either $60 or $100, and what seemed like a full house of 20,000 very happy and satisfied customers, numerically there is no argument. But, Neil Diamond tonight was very much a case of the sum being greater than the parts.  |
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