During his ARIA Hall of Fame speech last week, You Am I’s Tim Rogers said “I love rock & roll.” Never a truer word was said and it’s perfectly fitting for the behemoth show that lit up Brisbane Entertainment Centre (BEC) on Friday night (21 November).
The BEC is notoriously known for its ‘out of town-ness’, nestled in the wetlands of the northern suburb of Boondall. Distance aside, the town planning is logical as traffic and subsequent sound levels require a buffer, so all is forgiven.
The entire precinct was buzzing with pre-show food and beverage offerings, merch stands and endless chit-chat from arriving fans. There’s an excitement among the throng as rock & roll tragics mix with families. It’s quickly obvious that 3.5 decades of Lenny Kravitz music has had an impact on many.
A mild fog hangs across the indoor arena, probably remnants of stage show testing. It creates a mysterious tone as the crowd seeps through the doors and are guided to their seats. Some are dressed like cosplay Kravitz, complete with leather vests, paisley and sunglasses – the latter coming in hand as the night goes on.
Jet are in support on the Blue Electric Light tour. They need no introduction and are welcomed with a huge cheer. The Melburnites hold a special place in many hearts through their rapid success across the world.
Nic Cester quickly kicks the group off into ‘Last Chance’, the opener from their mammoth 2003 debut album ‘Get Born’. It immediately creates a field of bobbing heads as the rock rolls across the floor. They give it everything they can. They’re allowed to be loud as the hits keep coming.
If their absence after disbanding in 2012 somehow let the music slide to the back of the collection, tonight quickly slid them to the front. Cester’s voice is as good as it was in the ’00s, making ‘She’s A Genius’, ‘Get What You Need’ and 2024 single ‘Hurry Hurry’ feel excitingly fresh.
‘Look What You’ve Done’ followed by the mega ‘Are You Gonna Be My Girl’ and ‘Cold Hard Bitch’ has the crowd singing every word. An excellent cover of ‘It’s A Long Way To The Top (If You Want To Rock n Roll)’ by AC/DC is slid into the middle of the set; the band are naturals at it, being they have often leaned heavily into the AC/DC sound through the years. The boys are back, but did they ever really go away?
The stage is quickly cleared and in the blink of an eye, a huge drum riser, keyboards and racks appear. The road crew are like a Formula One pit crew – trained like Marines and never dropping a second. The venue is a sea of anxious fans awaiting sight of the headliner, one Leonard Albert Kravitz – better known as Lenny Kravitz.
Thick fog was pumped across the stage as Strafe’s electro funk ‘Set It Off’ rings around the room. Blue (electric) light floods the zone. It creates audience tension like a Michael Jordan-era Chicago Bulls court entry as ‘Sirius’ by The Alan Parsons Project is blasted.
A wailing guitar shatters the air as long-time Kravitz partner, Craig Ross, kicks into action somewhere in the blue. It settles, allowing the audience to calm. Suddenly, a yellow beam spotlights the headliner in the centre of stage. The crowd roars as Kravitz launches into ‘Bring It On’.
The intro of pure funk-fuzz leads to six air cannons blasting and sending smoke into the rafters. The pressure blast is probably felt in the back, so spare a thought for the front row. It’s an epic kick off, reminiscent of a KISS show.
Kravitz and crew are not here to muck around. They’re well versed and know exactly where they sit in the scheme of things. Kravitz controls his guitar feedback and leads straight into ‘Dig In’ from the 2001 self-titled album.
He’s a slinky showman, slowly stepping with intent around the stage like a jaguar. It’s obvious the crowd is here not just for the music and he plays into it. Jas Kayser is a powerhouse on the drums. Her hair is otherworldly as the rear stage light shines through it. The bass-drum is like a shotgun as it blasts across the crowd. It’s quite possibly what a defibrillator feels like.
Recent single, ‘TK421’ is a genuine banger. While its DNA is borrowed from ‘Housequake’ by Prince, it’s a pure Lenny Kravitz work of art. ‘Always On The Run’ lifts the backsides of seats. Its dirty funk-rock is candy to those seeking a good night. A mother seated with her family in front of this reviewer is jiving with her arms in the air. Her two kids are mortified, but mum doesn’t give a crumb of a care.
Kravitz works through a range of his dozen albums. ‘I Belong To You’ and ‘Stillness Of Heart’ have the crowd singing back-up. Reports of other cities falling a little flat at this point became futile as the Brisbane crowd lifted and fed Kravitz’s energy.
Strangely enough, it was Kravitz’s silence between songs that drew the biggest cheers. Not many can hold a crowd like this and it’s not lost on anyone the man is blessed with great genes, rendering his 61 years pointless.
I’m sure there’s a saying among stage production circles that goes something like this: ‘It takes a village to raise the roof.’ The stage show is on another level. It feels like a stadium production crammed indoors. Team Kravitz must be a city as the crew consists of live TV cameras, pyrotechnics, tightly choreographed animation and sublime sound production.
A handful of flashbacks and new ones dot the middle of the set. ‘Paralyzed’ from the recent ‘Blue Electric Light’ would make Rush’s ‘Tom Sawyer’ proud, adding numerous flame jets for face-melting good measure (the aforementioned sunglasses would now come in handy). Kravitz’s ability to artfully draw funk from rock and R&B from roll is astounding.
Kravitz goes alone on piano for ‘I’ll Be Waiting’ before the band arrives on cue. Introducing the band – all ten touring members – Kravitz mentions lead guitarist, Craig Ross, has been with him since 1991.
He follows on with “and speaking of 1991,” as the band kicks into the sublime ‘It Ain’t Over Till It’s Over’. Note and pitch perfect, it’s a song that does not feel a single year of its 34-year-old heritage.
‘Again’, ‘American Woman’ and ‘Fly Away’ confirm that seats are no longer needed. The previously mortified children in front are singing arm-in-arm with mum. Core memories are firmly activated.
A blistering ‘Are You Gonna Go My Way’ finishes the main set with a light show that threatens eye imprints like a welding flash. It’s enormous. It’s beautiful. It’s primal and wild.
A brief break finds the band back onstage for a long jam of Kravitz’s first single, the 1989 hit ‘Let Love Rule’. Literally performed as a communion, it sees Kravitz enter the lower floor for a slow lap. Greeting fans and walking casually singing as he goes, the crowd follows like they’ve seen a messiah.
Security forms a relaxed wall, allowing fans to reach and shake his hand. A moment of over-exuberance sees a fan ‘accidentally’ tangle with Kravitz’s iconic dreadlocks, purportedly detaching four of them. The un-panicked star made his way back to stage to finish the psychedelic groove and farewell the crowd.
This was a show. A bombastic, supersized show with A++ performances in a tightly managed environment. Kravitz is a genuine star, we all know that, but witnessing what he brought to the Brisbane crowd casts off any wavering doubts that stars tend to fade over time. Not the case. I love rock & roll.
‘ The preceding article may include information circulated by third parties ’
‘ Some details of this article were extracted from the following source scenestr.com.au ’
