Live Review: Sebastian Bach, The Art, In Hydes Shadow

Unfortunately due to circumstances (read: public transport), this reviewer only caught the tail end of In Hydes Shadow. The Sydney/Central Coast mob's alt-nu-rock may not have seemed the ideal fit, but garnered a respectable response as the sold out crowd filtered in. Sydney rockers The Art were seemingly more up the turnout's alley. The glammers are almost old hands at opening for international acts and looked and sounded the part. Although lacking a few truly knock-out songs, there was considerable effort.

"Are we at the Metro, or did we take a left turn at Eastern Creek?" Sebastian Bach bellowed a handful of songs in, one of many references made to his 25-year affinity with Australian hard rock audiences, be it via his previous Skid Row guise or solo. The frequent remarks relaying fondness for these parts were laid on a tad thick; covering Rose Tattoo and AC/DC reinforced the sentiment with all the subtlety of a sledgehammer to the cranium. Ditto rechristening American Metalhead as Australian Metalhead.

Irrespective, the predominantly middle-aged crowd lapped such banter up, as well as Skid Row favourites that formed the set's crux from stone-cold classic opener Slave To The Grind onwards. You name the Skid Row smash — Monkey Business, Youth Gone Wild, Big Guns, 18 & Life etc — it was likely aired. Bach can be a walking headline, but a well-versed showman, whipping his microphone around like a lasso and aided by an efficient band. He's also aware of vocal limitations; eschewing some moments he understandably can't nail these days, and instead enthusiastically encouraging punter interaction. The 90-minute display was sans tantrums (there was a fan's successful on-stage marriage proposal though, a precursor to power ballad I Remember You). Overall, it was precisely the hit-laden nostalgia kick the majority craved.