Live Review: Carole King & Shane Howard

Former Goanna frontman Shane Howard is still a fierce commentator on indigenous Australians' rights, and yet his humble and warm onstage banter places him in reassuring stead with the audience. His crisp guitar in Razor's Edge rents the air alongside his heart-tugging harmonica in Silvermines. The stories behind his songs, including the fun and locality-pleasing references of A Little Bit Of Lovin', are funny, honest, and sometimes sad with a barely-present gospel behind them. Solid Rock's inevitable appearance is revitalised by not only news of the Federal Government's move to further indigenous recognition, Howard also sings the chorus in local language – it's as coercive and demanding as it was in 1982.

The lights go down as the ageless silhouette of Carole King fills the pool of light surrounding a grand piano. At 71, King is not only a stalwart of a bygone era, she's an active force in the industry still, penning hundreds of number one hits for herself and others. She opens with Home Again and it's formidable with a solid backing band and singers. A couple of pitchy lines slip through during Up On The Roof but really, the delicacy of her husky wail is still as instantly affecting and penetrating as it was to our mothers and fathers. Everyone knows, or should know, a Carole King song, and it's clear everyone here does, young and old, as huge cheers go up for Way Over Yonder, Where You Lead, and at just about every song entry. It's hard to believe 1963's Hey Girl hits the fifty-mark this year and King jokes she's not that old, but “actually I am, and that's okay with me”. The way she physically throws herself into the belters would make you think otherwise, and her prowess continues on the upbeat Sweet Seasons and a special, almost unaccompanied Tapestry. It's evident how special 1971's Tapestry album is to King; she talks warmly of its history and engages with the audience's undeniable love for it when she so easily could have turned into just any other diva. Classics It's Too Late, Will You Love Me Tomorrow and an expansive and exuberant I Feel The Earth Move fulfil many a wish list before she exits.

But there's more in the bag as far as Tapestry goes, returning firstly with the sojourning So Far Away. A Natural Woman is simply exquisite; when the arch in her voice bends to snatch those top notes, that's when you understand those tags 'raw' and 'honest'. You've Got A Friend is the closer and the crowd singalong is magical and memorable. With a bow and gracious thanks she leaves, and the delight of seeing a true great in the flesh is written on the faces of all.