Live Review: Tina Arena
30 April 2023 at Fremantle Prison
Review by Sheldon Ang
Photography by Sheldon Ang Photography
With a hint of budding silhouette, she appears through the shadows from high above, descending from the steps with subtle elegance. The stage lighting carve a hallowing glow on her all-white figure, oozing an angelic aura as divine as her demeanour and accentuating the presence that personifies elegance. Tranced by the background harmonies, the cheering fans are transported from the haunting scenery of the prison confinement and into a state of delightful seduction, as she spins fluidly, arms propelling like a spiritual bohemian in rhapsody through the harbour breeze, before lighting her soprano range.
Tina Arena – who has sold over ten million records in four languages, opened the pandora of emotional bliss with the 1994 smash hit Heaven Help My Heart. It’s a ballad for the broken souls, an anthem for the bleeding hearts. Even after thirty years, Tina still begs for a divine intervention though her soprano vocal range, as if she’s still weaving through the cobwebs of the past. Her story telling is fueled by the memory seal, released with the palpable sincerity while casting a certain je ne sais quoi that charmed the crowd. Her facial countenance told the journey of pain. For many, her third album Don’t Ask was released during an era of visceral transition, when high schoolers became young adults with grown up responsibilities and heartaches. So within a few minutes, fans were transported from the prison quadrangle and into the dimension of Berry Bissell Take 40 Australia, Rage TV, Havana’s nightclub and Video Ezy.
There’s a few stories to tell here no doubt, a place where we can only hope that people can rest in some sort of peace in amongst whatever happened in their lives…but I have to say there’s nothing like a bit of history, there’s something about it – the place, the ambience, the energy and having all of you here as well, it is pretty fantastic – we are realy delighted to be here. I dreamt about being able to play in this venue, and thank you to John Zaccaria, the dream came through…
With that, the autumn wind hurled, goose bumps peaked in the unnerving environment. But under the half crescent moon of a cloudless night, the 1995 track Sorrento Moon oozed the summer breeze as fans were cocooned in a sing along revelry. The track lyrically narrates Tina’s childhood while holidaying in a beach town near Melbourne. The sounds of the flamenco guitar and the retrospective vocals personified the imagery of hustle and bustle of the nostalgic 80s and 90s of a tourist town, and a taste of a Mediterranean seaside; summer holidays of yesteryear stayed for the next hour or so.
The Melbournian of Sicilian heritage also brought her theatre pedigree onto the stage, Tina is a master of storytelling though the likes of Wasn’t It Good, a song that hovers over a past relationship, the one that did not eventuate into a romantic chapter. Afterall, Tina Arena was the epicentre in Evita – and within a couple of hours in those performance, she was able to churn through the characters of a naïve, impoverished teenager to a powerful figure who succumbs to sickness, yet yearning for power. It is no wonder and unsurprising her on stage persona reflects the storyline, especially in the tear jerkers.
And that brought us to a performance that many had considered to be the culmination of the night; the rendition of This Woman’s Work by Kate Bush. It was reminiscent to the scene of Christine Daaé’s audition that transitioned into her debut performance, “Think of Me” in The Phantom of the Opera, where the fleeting silence was mirrored by the sound of a pin drop, coupled with draw dropping trance. Her full-blown voice, personified by the falsetto perpetuated blissfully without the punctuation of clanky instruments, only to be erupted by a rapturous applause at the end. She held her ground like a soprano in an opera. Warm tears streaming down the cold faces of some. With fitting instruments, she’d’ve sung Ave Maria tonight. Maybe next time, Tina.
Even after five decades, Tina is far from resting her chords. The fans got a taste of her upcoming tracks, a preview of her album slated to be released on July 7. Usually, this would be moment when old school fans head for the bar. But it wasn’t the case; House from the album Love Saves – is a stunner. It’s fresh, relevant and introduces a slight rock element into her discography – yet sounding as every bit Tina. There’s no reinvention. The 2017 track Church had many head nodding and dancing, the upbeat, dramatic and rock-esque live sonic would fit comfortably on a Coldplay set list, thanks to the scintillating riffs, drums and the vocal powerhouse that was able to thread water over the strings and rhythm sections.
There was also the grace of utter gratitude. The polyglot has been part of the Australian lives for a half century, who found fame through Jonny Young’s Young Talent Time.
I was given the privilege of learning the craft…and I was tonight by some really wonderful human being, and one who is in the audience this evening who gave me this incredible journey…and I love you to pieces, so John is in the audience tonight…
The setlist commenced with a commercial track from the Don’t Ask album, and sitting in the quadrangle of Fremantle Prison means Chains would be the symbolic track to end the night. And as one would imagine, the three-word chorus echoed off these dungeon walls.
The after taste of Tina Arena’s performance lingers the next day, as a front row fan Lee Garces puts it; “I cried so many times on the night…Tina’s show left me with a reminder of how important it is to stand in your power and at the same time, remain humble and share your light with the world. Through her spoken words and song, her sweet, yet powerhouse of a voice held an energy that hit me straight in the heart. Her tribute to Chrissy Amphlett was absolutely incredible.”
Top fan Lee pretty much sums the night.
Tech Crew at Fremantle Prison: Avid S6l console with Waves , SE V7 Capsule for Tina’s voice. D&B J8’s and, J12’s with SL subs, Ricki Rae on Monitors, Peter Rubbie on Lights and Danny Olesh at FOH. All for good formula for a great sounding show.
Sheldon Ang Media expresses his gratitude to Tina Arena and Zaccaria Concerts and Touring for the exclusive Press Accreditation
About the Writer/Photographer: Sheldon Ang Media (est. May 2022) have been accredited to photograph and review the hottest acts in Perth including Rod Stweart, Red Hot Chili Peppers, Post Malone, Sting, Harry Styles, Backstreet Boy, and KISS with reviews shared by the likes of UB40, Delta Goodrem, The Fabulous Caprittos and Synthony on social media. 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.
Setlist
Heaven Help My Heart, Now I Can Dance, The Machines Breaking Down, Boys in Town, That’s The Way a Woman Feels, Sorrento Moon, Wasn’t It Good, This Woman’s Work, House, Church, Symphony of Life, Burn, You Set Fire To My Life, Chains.
