Live Review: Paul Kelly

Commencing the first of his three shows at Melbourne Recital Centre, Paul Kelly and band (comprising J Walker, Zoe Hauptmann, Dan Kelly and Bree Van Reyk) take to the stage in a purposeful line. Kelly explains that this evening's show will be delivered in two parts: the first a beginning-to-end performance of his 2012 release Spring And Fall; the second, a celebration of more familiar tunes, hinting at a casual stroll down memory lane. Tonight's focus on the new material doesn't necessarily mean a departure from the sentimental; on the contrary, Kelly encourages the smitten-before-they-even-arrived audience to think of the first half like two sides of a record. And don't worry, he says, he'll tell us when it's time to turn it over. With that, we embark on the story of Kelly's conceptual masterpiece.

Kelly begins with New Found Year followed by When A Woman Loves A Man and For The Ages, as we immerse ourselves in the optimism of a new love. It would take some serious nitpicking to fault Kelly's band, which through perfect harmonies and instrument swapping create the kind of rapport necessary for a venue where anything less would be quickly exposed. We delve deeper into the album and soon our new love becomes rocky. True to his word, Kelly informs us that Someone New marks the end of 'side one'. Time And Tide takes us to an unpleasant place, and Kelly lets us stay there with little-to-no commentary in between songs. Finally, after the bitterness of None Of Your Business Now, Kelly and band reach the final song of the album. Little Aches And Pains marks the end of the first part of the show and, according to Kelly, is best thought of as occurring a long time after the previous ten micro-narratives.

Part two of the show kicks off with Bradman. Through classics such as Our Sunshine and Before Too Long, Kelly lets us in on how he goes about creating his life's work. From identifying verses with colours to writing songs with his son around a campfire, it's clear that this man whose voice has so often spoken for a nation simply must tell his stories. One such anecdote comes before Sweet Guy, a song written from a female's perspective that Kelly found he couldn't give away (to any willing female vocalist) and thus had to sing himself.  “I've been cross singing ever since,” Kelly reflects. How To Make Gravy comes next and the tea towels bearing this song's title at the merch desk spring to mind. (Note to self: make a purchase on the way out.) The beginning of From Little Things Big Things Grow is met with cheers from the crowd and again when Urthboy, Jane Tyrell and co join the band onstage to sing out this classic Kelly anthem. The entire band (including the newly extended line-up) vacate the stage. Before the crowd becomes completely hysterical, the band return and it's time for the encore. Kelly summons the crowd to their feet and we all gladly obey, dancing out the remainder of Deeper Water and continuing through Dumb Things. Meet Me In The Middle Of The Air calls for the band to gather around a microphone and sing a cappella. A second encore brings the show time to nearly two hours. The night finishes with From St Kilda To Kings Cross, but not before Kelly thanks everyone involved in the show – band and crew.

A quick peruse on Facebook en route to the car unveils a fellow concert-goer's post that says it all: “Bob Dylan: America's Paul Kelly”.