Retro-pop duo breathe life into the hits

DARYL HALL & JOHN OATES/ ICEHOUSE Rating: 4/5 The Plenary, February 2

By InvestSMART · 4 Feb 2012

By InvestSMART ·
4 Feb 2012

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DARYL HALL & JOHN OATES/ ICEHOUSE

Rating: 4/5

The Plenary, February 2

Michael Dwyer Reviewer

A SHED-LOAD of radio hits is money in the bank for anyone who can reform the old band these days, but how they stand up makes the difference between nostalgia and magic.

The archetypal synth melodramas of Icehouse rolled out like carefully restored museum pieces in the hands of Iva Davies and his latest tightly drilled team.

Robotic precision and brittle textures are perhaps crucial to '80s FM staples such as We Can Get Together, Hey Little Girl, Crazy and Great Southern Land, but the shrill volume seemed desperate to compensate for songs that had lost meaning in the winds of fashion.

Bequeathing Man of Colours to youthful sideman Michael Paynter, who over-sang it like an Idol show-pony, failed to inject sorely needed spontaneity into a stilted set. Daryl Hall, guitarist John Oates and their wickedly tight soul sextet flicked the switch from sterile reminiscence to visceral immediacy before the first chorus of Maneater.

The power and elasticity of Hall's voice was stunning. The band's syncopated funk feel and rich Philly soul harmonies were so instinctive that songs as well-known as Family Man, Out of Touch, Rich Girl and especially I Can't Go For That were free to fly in fiery improvisations.

Whatever year this is, you had to be there.

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Frequently Asked Questions about this Article…

What overall score did the concert review give Daryl Hall & John Oates and Icehouse?

Reviewer Michael Dwyer gave the show a 4/5 rating in the concert review.

Which artists and venue does the review cover?

The article reviews performances by Daryl Hall & John Oates and Icehouse (led by Iva Davies) at The Plenary on February 2, with commentary by Michael Dwyer.

Which popular '80s songs were highlighted in the review?

The review mentions Hall & Oates favourites such as 'Maneater', 'Family Man', 'Out of Touch', 'Rich Girl' and 'I Can't Go For That', and Icehouse staples including 'We Can Get Together', 'Hey Little Girl', 'Crazy' and 'Great Southern Land'.

How did the reviewer describe Icehouse's live performance and sound?

Icehouse's synth-driven songs were described as 'carefully restored museum pieces' with 'robotic precision and brittle textures'; the reviewer felt the shrill volume sometimes compensated for songs that had 'lost meaning in the winds of fashion.'

How did Hall & Oates' live show compare in the review?

Hall & Oates were praised for flipping from 'sterile reminiscence' to 'visceral immediacy' (notably by the first chorus of 'Maneater'), with Daryl Hall's voice showing 'power and elasticity' and the band delivering instinctive syncopated funk and Philly-soul harmonies.

Did the review call out any individual performers or guest musicians?

Yes — Icehouse bequeathed 'Man of Colours' to sideman Michael Paynter, but the reviewer said he 'over-sang it like an Idol show-pony' and that this failed to inject the needed spontaneity into a stilted set.

What theme about nostalgia versus live performance does the review highlight?

The review notes that having a backlog of radio hits is valuable, but how those songs are presented separates mere nostalgia from genuine magic — and, according to the reviewer, Hall & Oates achieved that magic on the night.

What was the reviewer's final impression of the concert experience?

The article closes on a strong experiential note: despite the era of the songs, the reviewer summed it up with 'Whatever year this is, you had to be there,' implying the live show delivered an unforgettable experience.