Live Review: Bon Jovi, Birds Of Tokyo

Birds Of Tokyo opened valiantly and with a super strong set to a mostly empty stadium – certainly not what they deserve (and no doubt to the frustration of fans who would have loved to have seen them but were stuck in particularly ridiculous Sydney traffic). Heavy in scope but with an understated approach, their tunes and performance did the local scene proud.

About half an hour later, and with the place finally near full, Bon Jovi took to ANZ like the pros they are. Somehow frontman Jon Bon Jovi is still able to masterfully find his close-up and flash them pearly whites despite the cavernous size and scope of the venue, and while such superficialities may seem unnecessary, they are actually essential parts of the brand and experience. It’s been 31 years since their first tour to Oz (and five since their last) – something Jon thanked us for, referring to the crowd’s "friendship and kindness" over that time. There’s no denying that Bon Jovi deliver a type of stadium rock that wouldn’t be born today – but as the crowd carried them, as we have for the last three decades, we also appreciated this increasingly raw breed and its survival.

There is certainly a nostalgia here (there was not a closed mouth or unclenched fist as we all say “Ooooh oh, we’re halfway there, oooooh oooh, livin' on a prayer!”), but this wasn’t a tribute act to days gone by either. The band’s newer tracks are notably slower and dare we say it, closer to heavy country than heavy rock, but a little opportunity for a breather is something we all secretly appreciated (and singles This House Is Not For Sale and Roller Coaster are still very singable, if less danceable than older Bon Jovi fare). Some interesting tongue-in-cheek commentary took over the backdrop during God Bless This Mess (with fake headlines covering the band’s supposed demise again and again), while the simplicity of big close-ups of guitar solos and rock moves were all that was needed during Lay Your Hands On Me and I'll Sleep When I’m Dead.

Two encores gave us more old gold, including Bad Medicine, Wanted Dead Or Alive (complete with a call out to "All the cowboys in the house") and Blood On Blood. While it’s fair to say we have all aged a little (Jon notably missing or moving around some of the bigger vocal moments – perhaps just the pressures of a big tour?) – the show was still solid as.