Until recently, the first and only time I had seen Colin Hay perform was in 1983, at the “Stop The Drop” concert at the Myer Music Bowl. Most punters are there to see Midnight Oil, who are at their early, incendiary best. But there are also other artists on the bill, including Hay, who sits down on the stage with a guitar, says “Hello, my name is Colin”, and performs Who Can It Be Now? Men At Work are reaching their zenith, but here is a peek into what the musical future will hold for their lead singer.
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I get a little nervous when I commit myself to concert tickets too far in advance: circumstances can change, something else can bob up. It all makes the not insignificant financial investment a little risky. But after many years of not being in the right place at the right time, my wife Margaret and I take the plunge and purchase tickets to see Colin Hay, some five months in advance.
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Like many people, I prepare for live music shows by bingeing on that artist’s back catalogue to refamiliarize myself with songs that I may not have listened to for some time. I check out Colin Hay’s recent setlists, and unearth some gems with which I was not acquainted. Unsurprisingly, these musical roads keep leading me back to the album where it all started for Colin Hay. I realize that it had been years since I had really listened to it. Business As Usual is of a time, and like all the really memorable albums, it has the ability to draw me back to that time; regardless of whether it has been six days or six years since I have listened to it.
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In November 1981, Men at Work’s Business As Usual is released. It immediately becomes something of a soundtrack to long days spent at the beach during that 1981/82 summer. It was not just the ubiquitous Who Can It Be Now?, Down Under and Be Good Johnny that capture my attention. The languorous Down By The Sea and the jaunty People Just Love To Play With Words are two of my favourites. I know that the album is special, but no-one has any idea just how successful it will prove to be.
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41 years since that day I saw Colin Hay at the Music Bowl, he walks on to the stage of Hamer Hall. It is his 71stbirthday. He opens with Touching the Untouchables, one of the more obscure tracks from Business As Usual. His voice is strong and clear, and with a crack backing band, he delivers a performance that it is both expansive and intimate at the same time. The intimacy derives from his knack for telling compellingly engaging yarns between songs: he is taking us along with him on this night. He includes a couple of covers, not the least being a beautiful version of Waterloo Sunset, which he says is one of the greatest songs ever written. On this night in his old hometown, it is of course Down Under that receives an especially rapturous welcome by the audience, and there are at least eight Men At Work songs on the setlist. For me, Be Good Johnny and the outstanding Overkill are highlights. Overall, it is a brilliant show.
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The final song of the evening is arguably Colin Hay’s best, the gorgeous and reflective Waiting For My Real Life To Begin. Its poignance strikes a chord with my wife, who plays it on repeat in the ensuing days. I marvel at the manner in which music can bind us more tightly to our feelings and emotions. Long may that continue.
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In the aftermath of the show, I contemplate Men At Work: their beginnings in the ‘Cricketers Arms’ in Richmond, the wonderful debut album, the heights they reached, the success in America which included a Grammy, the bitterness of the band’s break up, the unfortunate copyright lawsuit, and the terrible passing of the talented Greg Ham. I consider Colin Hay and marvel at how he forges on, living in Los Angeles, many years sober, obviously enjoying himself immensely, providing great enjoyment to punters, such as Marg and I – as he did on this night. Long may he continue.
You can read more from Smokie HERE
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Great work Smokie.
The music and memories live on.
Colin Hay is a genius.
For no particular reason I never warmed to Men at Work and as a teenager snobbishly (and inaccurately) dismissed them as novelty but Colin Hay’s a vastly different story. He, Stephen Cummings and James Reyne have all served us well for decades.
Thanks Smokie.
Well played Smokie (and Margaret).
I was lucky enough to see Colin Hay from one of those booths at the Forum a few years back.
“Waiting for my real life to begin” was already a favourite.
As were “Beautiful world” and “Maggie.”
His showmanship was unexpected though. At times it was like a comedy gig.
Five stars.
A wonderful album Smokie, and enjoyed your thoughts on his live show. Despite really enjoying all of Colin’s releases both solo and in Men at Work, I am yet to see him live.