Live Review: The Corrs Down Under Tour Leaving Perth Breathless
RAC Arena Perth on the 26th of October 2023
Review by Sheldon Ang
Photography by Sheldon Ang Photography
She slithers mellifluously across the stage, possessed by the sonic denominator and ruptures from the tri-colour army. The shimmering hues from above paint her picture, carving an angelic aura that personifies an alluring elegance. Drawn onto the energy of ten thousand, the singer then granualised her attention to a fan, who screams and returns gesture while recording her fleeting moment for the personal archives. Others vie for the singer’s attention. She reciprocates with a smile and casting those hypnotic eyes onto the smittened. Through the smokey air, she bends her knees and twirls like a ballerina under a summer rain, possessed by the bohemian rhapsody of Celtic and contemporary infusion. To her right, the violinist sister weaves her arms, hypnotically casting a quintessential classical sound and sight of her upbringing, entwining with the ferocious drums pummelled by the paradoxically graceful practitioner, as the gentle breeze billows the fine blonde frocks. The keyboard adds to the element of white, orange and green. Drenched by synchronised harmony over the infectious hook and rhythm promulgated by the foursome, the cheering fans of the world’s most isolated city are transported from the present conundrum of adulthood to the wonder years of post adolescent affirmation.
“We are a blend of modern rhythms and technology with acoustic instruments, violin, tin whistle, drums and of course the voices, the marrying of these instruments is our sound.”
The Corrs – a family-run business, is Irish after all. They are subject matter experts in music brewed from a festive, folksy demographics of cathartic shenanigans and unbridled revelry. With the universal language sipping through their veins, the four siblings have been composing a range of musical scores with uber dexterity, slithering through the pop culture across the high school years with melodic delight and harmonious synchronicity. In short, the distinctive fusion between traditional music and contemporary sounds have formed the base ingredients of irresistible classics, propelling the Irish powerhouse into the world charts.
Even though the Perth RAC Arena was invaded by the Corrs army – a scene akin to a football march to Croke Park, the night wasn’t just about The Corrs. Rather, the summery vibe of a festival-like atmosphere swept across the nostalgic field of ten thousand thanks to the super subs who are headliners in their own capacity.
As the golden hour kissed the RAC Arena, Germein, a trio of sisters from Adelaide sparked the evening of festivity. Georgia, Ella and Clara Germein did a lot more than just warming the stage with hits such as Good For A Girl that was filled with edgy guitar hooks and accompanied by ethereal harmonies. Their 30-minute set may have been a fleeting moment – but the three musicians have planted their name in Perth with cover such as My Island Home. Perthians will always welcome Germein with open arms.
A few minutes before twilight, Toni Childs, an Emmy winner, three-time Grammy nominee and now a Bryon Bay resident made herself at home by sitting the front centre of the stage. Her vocal engine was sparked by the smash hit I’ve Got To Go Now. Her bluesy, soulful vocals driven by those powerful grinding and grilling falsetto drew immediate reaction with utter silence among the audience. It was a shock and awe invasion, as she painfully lyrically narrated about a wife leaving her husband with her kids after a series of domestic violence through those rich throaty, funnelling personification. Stop Your Fussin’ followed as she stood in bare feet and greeted her band members, followed by House of Hope and Don’t Walk Away. Childs took to the floor, greeting the audience while firing her thunder struck vocals. The power, emotion and honesty were catapulting, drawing the audience closer to the stages through those distinctive voice that can only be Toni’s. Toni Childs need to tour across Australia. She, herself was worth of the money spent.
The celebration continued with the ever so charming Natalie Imbruglia. It has been a quarter of a century since Torn, which sparked the album Left of the Middle, spreading her wings in the UK and Australia, reaching seven million copies worldwide, by far the best performing debut album by an Australian female artist. She gave Perth thirteen songs, sparking from What It Feels Like, Wished I Was There, Wrong Impression and Shiver – a solid start with the first four songs that were embedded in the commercial charts. Draped in a cute blue dress, Imbruglia was convivial as a lively adolescent, weaving her hair like a 90s rocker and spinning around like a love struck high schooler as she turned back the clock to the days of Barry Bissell and Take 40 Australia. What’s still apparent is the palpable sincerity oozed through her vocals, and the visceral compulsion sounding like the advice of a girl’s best friend who is wise and matured. At 48, her live vocals seemed to have manifested from life’s experience, and hardened to a rock star echelon – sharing its ferocity. The current live version of Torn has more grit and zest – with less emphasis on the the coming of age vulnerability – perhaps performing a retrospective observation of her twenty something self. She finished her set with Big Mistake – a track where she once again soared to the peak in those high falsetto and explosive crescendo.
Natalie Imbruglia is a lyrical narrator, sparking a reminder of our first love, the unrequited hurt, the coming of age cacophony, while drawing the audience into falling in love again with that girl in the music video with a domesticated setting.
Lights out.
So after three and a half hours since the golden hour, darkness set with the anticipation that could be felt from Dundalk.
The limelight was on Caroline – literally. She pummelled the drums with deadly ferocity, signalling the start of the Celtic party. Andrea, Sharon and Jim joined the stage. The Corrs commenced their set with a harmony of pop and soft rock in Only When I Sleep. Even after 25 years, Andrea Corr – lead vocalist and multi-instrumentalist, is still astro-travelling through a love struck fantasy, de-crystallising her heart and manifesting to reality. Alas, the visceral yearn is still embedded into the realms of her dream.
For many, the 1997 track from their second album Talk on Corners remains a one of their favourites. The harmonies were inexorably entwined. The recognisable introduction of rock-esque drums by Caroline and deep rich electric guitar by Jim was the perfect spark to the night. The violin by Sharon cut through the arena and painted with the busking Dublin scene, fusing with the rock element of the rhythm section, culminating into a rich fusion of folk, Celtic and rock serenading the 10,000-strong fans. The sonically charged number weaved enchantingly as the denominator for the breathy, airy tones of Andrea Corr. It was an explosive introduction.
The green pride swept the room throughout the night with traditional instrumental scores such as Erin Shore, before darkness swept with Forgiven, Not Forgotten – a track about taking one own’s life and leaving someone else behind.
Our parents considered moving to Australia, so I suppose, we could have come from here
There were moments of subtleness and poignancy, with Little Wing and No Frontiers – Jimmy McCarthy cover, where Caroline and Sharon took the mic in the latter. The heartfelt poignancy in their performance touched the nostalgic realms for so many, a moment of reflection casting over the entire Arena as they harmonised beautifully, instilling the violinist and drummer as world class vocalist. The fans stood in a worthy standing ovation.
It wasn’t surprising The Corrs have been influenced by the likes of Fleetwood Mac, dedicating their sentiment through the latest release.
We would like to dedicate to Christine McVie who passed away last year.
Any attempt to cover a Fleetwood Mac track is sacrilegious. But the band’s tribute to the late Christine McVie is a unique celebration, a respectful rendition with heavenly Irish delight of the violin. Dreams was the other dedication to the legendary band, a fast paced, dancing version which is also thr album title of their Ultimate Collection.
The Irish siblings cruised with a wet sail towards the end with back to back commercial hits with So Young, a song written by Andrea about their parents. They can thank their parents as thousands sang and dance to the world wide hit. It’s one of those songs where two words forming a chorus would stick in the hearts and minds of so many over the years. And so the crowd gave their shot in karaoke, even if that’s the only two words they knew. Listening to the crisp harmonies, up tempo melodic line live was uplifting. I Never Loved You Anyway drew close before the encore, as Andrea equipped with cynicism, driven by Celtic folklore and complete with tin whistle.
Runaway formed part of the encore – which became a moment of embrace and karaoke, as Andrea encouraged Perth to sing along at the introduced. The seminal piece was produced by the legendary David Foster, and the infusion of the strings and melody and harmony was a flowy soothing delight. Digital lighters lit up the arena like a thousand eyes in celebration of the airy, floating ballad, with the Cupid arrow striking the hearts of our younger selves again.
Breathless closed the night, a standout track among the standouts in The Corrs discography. The fusion of the silky smooth vocals of the guitar sliders and the violin was the perfect penultimate ending to the last performance of the traditional folk tune – Toss the Feathers – a dedication to Ireland though song and dance.
The Corrs are touring across Australia and New Zealand. Tickets are available from One World Entertainment
Sheldon Ang Media expresses their gratitude to Chris Maric Media, One World Entertainment, Apex Entertainment and The Corrs for the photo accreditation and tickets.
About the Writer/Photographer: Sheldon Ang Media (est. May 2022) have been accredited to photograph and review the hottest acts in Perth including KISS, Red Hot Chili Peppers, RnB Fridayz, Rod Stewart, Sting, Harry Styles and Backstreet Boys with reviews shared by the likes of UB40, Delta Goodrem, The Fabulous Caprittos and Tina Arena. He has interviewed rockers Ace Frehley (KISS), John Steel (The Animals), Frank Ferrer (Guns N Roses), Phil X (Bon Jovi), Andrew Farris (INXS), Floor Jansen (Nightwish), Ian Moss (Cold Chisel) and forty other legends.
