“What a great privilege of life!” Dallas Frasca enthuses about the position she finds herself in: of late, she’s been warming up stages all around the country for two important acts who significantly shaped the evolution of rock’n’roll.

Performing solo with her custom-built stage rig, Frasca sounds like no one else on the planet. She’s a majestic presence up there, strutting around the stage space like a boss and shaking her fuchsia-pink balayage tresses. “You will have to punch me harder/ To knock me down…” – Anything Left To Wonder is a powerful resilience anthem. All My Love Is Gone is an instantly appealing mass sing-along moment.  

“Do we have any Led Zeppelin fans out there tonight?” Frasca inquires before masterfully belting out a medley and cutting sick on guitar. If you’re familiar with Frasca’s gutsy timbre, you already know she’ll nail Immigrant Song’s soaring “Ah-Ah-Aaaaaaaah-AH!”s, which she does – that voice could cut through granite.

As the house lights dim ahead of George Thorogood & The Destroyers’ arrival on stage, Barry McGuire’s Eve Of Destruction blasts through the venue sound system. Then a voiceover introduces “the undisputed rock’n’roll heavyweight champions of the world”. “Come on, everybody, there's a rock party tonight…” – Thorogood and co. launch straight into the irresistible Rock Party and sound fucking fantastic from the get-go. 

He’s a real poser is our George! Finger pointing around the arena and even pointing both thumbs back at himself like, ‘Check out my badass self!’ Thorogood localises a section of Bo Diddley’s Who Do You Love? (“The times in Melbourne can’t be beat”) and also Bad To The Bone (“I'll make an old woman blush/ And an Australian girl squeal”). Hamish Anderson (the band’s “chick bait”, according to Thorogood) is on maraca duty for this one, and Buddy Leach’s sax contributions are always welcome. We’ll never tire of Thorogood’s exhilarating “Brrrrrrrrrrr” trills.  

He then delivers some “good news”: “I found out today that The Delaware Destroyers’ probation officers have allowed them out for 24 hours for this one engagement” – his entertaining banter often has us in stitches. “Is somebody gonna go to jail for rock’n’roll?” Thorogood pauses before gleefully announcing, “It might as well be me!” 

During the always-hilarious One Bourbon, One Scotch, One Beer, a legend near us hollers, “Only one?” There’s lotsa songs about drinkin’ and chasin’ skirts as George Thorogood & The Destroyers perform their special brand of legit, old-school rock’n’roll with aplomb. Such synergy! And raspy, stank-face inducing slide guitar.

A rockin’ rendition of Van Morrison’s Gloria and the mock-aspirational Get A Haircut (“…and get a real job”) gets us going, but obviously Bad To The Bone is the rock’n’roll masterclass we’re all waiting for. “Do you want it? How bad do you want it?” Thorogood teases. Ooft, that debilitating riff leaves us begging for mercy! 

“I’ll keep on rockin’ til the day I die” – we sure hope so, Georgey! This band’s peak gig fitness is on full display this evening, and we feel so sorry for you if you missed out. Book a flight and catch one of their remaining interstate dates, maybe? 

ZZ Top’s aesthetic alone is enough to drive us wild. Multi-coloured Magnatone amplifier stacks, beards, matching bejewelled Nudie suits, yellow 17-string bass – we’re here for all of it. 

Dusty Hill, ZZ Top’s OG bassist, passed away in 2021 and, as per his request, was replaced by Elwood Francis, their longtime guitar tech. Geez, we bet it’s a relief for Francis when he switches from the 17-string to a 4-string bass following the band’s opener, Got Me Under Pressure – it must weigh a ton!  

Australian fans had been expecting this latest ZZ Top tour to feature two of the band’s original members until very recently. At the 11th hour, advice from “medical personnel” caused drummer Frank Beard to pull out. So, who’s gracing the drum stool this evening? John Douglas, who kept Beard’s drum stool warm when he was unable to complete The Elevation Tour’s recent US leg. Yep, he’s a well-qualified stand-in.  

“Melbourne, Australia” is mentioned during Jesus Just Left Chicago, then Gimme All Your Lovin’ struts in to snatch “all our hugs and kisses, too!” When the inimitable Billy Gibbons and Francis scoot across the stage in unison, we collectively lose our shit. The guitarists clearly delight in this interplay, synchronising their guitar necks and steps or slowly sinking into leaning lunges. Their showmanship is beyond! 

“We’re just makin’ this shit up!” Gibbons jests before My Head’s In Mississippi. He tells us ZZ Top have shared stages with Jeff Beck of late, then we score a Merle Travis cover: Sixteen Tons.

The self-referential Sharp Dressed Man is performed so effortlessly. True masters of their craft, this trio makes it all look so bloody easy! Like a walk in the park, but with added exaggerated knee-shakin’ moves. Gibbons and Francis switch to fluffy white axes. We jump up to move our Legs around, but sadly, no other audience members follow suit. How could you not dance to this one?    

There’s a costume change. The guitarists reappear sporting matching purple jackets and shiny silver shoes. “You can’t get rid of us,” says Gibbons in trademark how-low-can-you-go speaking voice.  

“I’ve got a girl, she lives on a hill/ She won’t do it but her sister will…” – oh, Lordy! Tube Snake Boogie – which is driven by Douglas’ punchy, explosive drumming –  doesn’t muck about.  

We immediately recognise La Grange’s riff, then that rim-clicking drum pattern, and they’re off! “A how, how, how, how…” – have mercy on our souls! Francis helicopters around, hopping on one leg while continuing to play bass, and the crowd goes apeshit. Hell yeah, what a time! 

There’s no elaborate backdrops, giant video screens, visuals or pyros this evening, but these production elements are certainly not missed. Instead, we witness an abundance of talent, charisma and eye-catching stage outfits.  

As we file out the arena doors like awestruck zombies, an exiting punter correctly appraises ZZ Top: “They win again!”