Live Review: Elton John, Busby Marou

It's the first day of daylight savings and we wonder how Rochford Wines is already chockers at 3.30pm when gates-open time was 3pm. Dad's pretty stoked to be plus one even though it takes a few goes for him to understand that Busby Marou is two people, Tom Busby and Jeremy Marou. The duo plays a cover of Christine Anu's My Island Home, many in the crowd sing along and, geez, they look like nice blokes! Their soft strumming and gentle harmonies ease us into our Day On The Green and Dad says he doesn't regret watching Busby Marou even though there's a chance we've missed dessert.

While people-watching, we note that there are more people sporting Tigers attire to celebrate Richmond's win yesterday than there are Elton John fans dressed flamboyantly, although we do spy a few pairs of oversized star or heart-shaped shades plus some bright-coloured sequinned jackets and matching top hats. Dad shares a story from back in the day: he played a cassette in his car — which he recalls was a yellow Ford Fairmont GXL decked out with a quality, bass-boosting sound system — and when John's Funeral For A Friend came on, it apparently made this scribe cry (as a toddler). Mum "went crook at" him for upsetting me, Dad remembers, and so he retorted, "It wasn't my fault! It was Elton!"

It's still light when John barnstorms the stage, opening with The Bitch Is Back. His red-and-black outfit and blinged-out sunnies don't disappoint and John quickly demonstrates piano mastery. As soon as the controlled, plonk-plonk-plonk-plonk intro to Bennie & The Jets kicks in, it's mass euphoria and mass singalongs (even though many in the crowd fail to hit the high notes, their enthusiasm can't be faulted). And Dad's pretty excited to note that some of the musos onstage might even be older than him.  

"This is the last stop of our little Australian sojourn," John points out, "so we're gonna make the most of it, okay?" I Guess That's Why They Call It The Blues is a perfect example of John's glorious lyricism ("Time on my hands could be time spent with you/Laughing like children/Living like lovers/Rolling like thunder under the covers..." - hey, that's a bit saucy!). And again with John's piano virtuosity; "With those little chubby fingers," marvels Dad. Has John had triggers surgically implanted into those phalanges? Then we all, "Aaaaaaw!" to signal the start of Daniel. Cue first tears shed for the day. During back-to-back new songs (Looking Up and A Good Heart), Dad shares, "I don't know any of these. Maybe this is a promo tour to sell more copies of his new album?"

Dad says he likes the 'bank manager' drummer Nigel Olsson (defined as such due to his red-and-black striped tie, complete with tie clip). John is backed by a five-piece band, incorporating both Olsson and percussionist John Mahon (who should be a rhythmic gymnast the way he simultaneously throws and spins that tambourine). After John delivers a speech about love he appropriately presents I Want Love and we gaze around Rochford Wines to appreciate some "Say Yes" light installations. We then ponder what's more annoying: people dancing badly or singing along off-key? But, then again, Tiny Dancer was written to sing along with (thanks to Almost Famous) and it's a real communal bonding experience.

John's cover of Waltzing Matilda, solo on piano, which we take a second to recognise, is a thoughtful inclusion that somehow becomes a Mozart-style boogie-woogie version before segueing straight into Rocket Man (I Think It's Gonna Be A Long, Long Time). "Beautiful!" Dad enthuses of the starry galaxy visuals on the cyc. "Imagine how good that'd be in the dark!?" Truly transporting stuff. 

Someone passes a Richmond scarf up to the stage, which John refuses to wear (because it clashes with his outfit, obviously). He does congratulate Richmond on their first win "since 1980", however, and we're impressed by his local knowledge. John's MD/guitarist Davey Johnstone - who we're pretty sure shares a wigmaker with keyboardist Kim Bullard and possibly even John himself - is unparalleled and we're told he's been on John's payroll since 1971. John then tells us he's been touring to Australia since that same year.

As George Michael's magnificent face shines out from the cyclorama, it makes the perfect tribute as John launches into his duet with the late star, Don't Let The Sun Go Down On Me. We would love to hear Michael's voice, though (as is the case in the Queen + Adam Lambert shows during which Freddie Mercury's majestic voice, and accompanying archival footage, somehow magically enters at one point).    

You'll probably see the drunkest people ever at A Day On The Green shows, so it comes as no surprise when the bar closes at 7pm.

The hits keep coming as do the Kleenex moments: Goodbye Yellow Brick Road, Your Song (SUCH a tearjerker!) and Sad Songs (Say So Much) - during which we just love singing the, "They reach into your room/Woah-OH-oh-OH!" section. I'm Still Standing could be the theme song for many old bastards in attendance - "Yeah! Yeah! Yeah!" And how much fun is it to sings the "Laaaa-Lalalala-Laaaa" part in Crocodile Rock!? Potentially the most awesome audience participation moment ever! All onstage change the weekday in the tail end of the rambunctious Saturday Night's Alright For Fighting to "Sun-day!" but it's a bit of a stretch given these days of the week contain a different amount of syllables (grammar vigilante alert). Johnstone's guitar work here is next-level.     

Before the encore, John takes his sweet time signing autographs for front-row fans, which is super-endearing. Candle In The Wind closes proceedings on a poignant note and we pay tribute to both Marilyn Monroe and Princess Diana; none leave without something it their eye.

The brilliance of Elton John ensures he totally commands the stage from his piano stool, which is no mean feat. He's a living legend and his catalogue is astounding. We're told John's catching a helicopter to Essendon Airport from which he'll fly straight to Sydney tonight. Dad reckons he'll probably catch up with his mate Molly Meldrum (if they've buried the hatchet).