Paul Kelly, Corner Hotel, 11/11/2025
Paul Kelly, Corner Hotel, 11/11/25
pic: Smokie Dawson
Paul Kelly’s previous shows in Melbourne were at the Rod Laver Arena in September. Such is my aversion to large venues (for music gigs) that I never for a moment considered purchasing tickets. But last week, when it was announced that Kelly would be playing a show at the Corner Hotel, I was determined to be in the audience. Naturally, it was sold out, and my wife Marg and I felt privileged to be there, as we knew quite a few friends who were unable to procure tickets.
The first gig I ever saw at the Corner Hotel was Sydney band Spy v Spy, when I was just 17 years old. I was underwhelmed by that experience, but over the years I have grown to love the Corner. It is now one of my favourite music venues, and one of the last reminders that only a generation or so ago the suburbs of Melbourne were dotted with great band-rooms like this.
Last week, Paul Kelly released his latest album Seventy to positive reviews. Mostly gentle and introspective, and with a loose story-telling theme, I found that repeated listening over the weekend was increasingly rewarding. Essentially, this show at the Corner was an album launch, with Kelly and his crack band playing Seventy from start to finish. Only a few weeks ago, I was at the nearby Margaret Court Arena with my son Luke to see Royel Otis, currently one of Australia’s hottest bands. I was easily one of the oldest punters at the venue. How different this crowd was at the Corner, where I was comfortably in the sweet spot of the age profile!
From the outset Kelly was in fine form, engaging with the crowd in his usual comforting and self-deprecating manner. The tracks from the new album, given more space to breathe in a live setting, seemed to have more life. Highlights included the brilliant Rita Wrote A Letter, destined to be an enduring crowd favourite, The Body Keeps The Score (written with Billy Miller, who accompanied Kelly and the band on stage for the track), Take It Handy, and the bluesy I Keep Coming Back For More. After the new album’s tracks were done, Kelly told the crowd that he was pleased – and that he was greatly looking forward to playing them live in the future.
Paul Kelly’s band is exceptional and never strikes a bum note. Anchored by the rhythm section of bassist Bill McDonald and drummer Peter Luscombe, and powered by guitarists Dan Kelly and Ash Naylor (the latter surely one of this country’s greatest guitar players), the band really came to life when they launched into a set of “old favourites”. The band members’ interactions on tracks such as Dumb Things and Before Too Long were a joy to witness. The crowd was also in an ebullient mood, becoming even mire engaged when the familiar oldies were played, roaring the words of standards like Too Her Door and the classic Deeper Water back at the main man.
I have seen Paul Kelly perform upwards of twenty times, in locales big and small, outdoor and indoor. Standing only a few metres from the stage, this one felt special. It was like meeting up with an old friend at a much-loved venue. I don’t think he has ever disappointed. His voice strong and stage presence undiminished, at the age of 70 Paul Kelly is still firing on all cylinders. It was a delight for my wife and I, and quite obviously the rest of the crowd also, to see him and his band in such fine form at the Corner Hotel. I look forward to the next time.
Setlist: Tell Us A Story (Part A), Don’t Give Up On Me, Rita Wrote A Letter, The Body Keeps The Score (with Billy Miller), I Keep On Coming Back For More, Take It Handy, Happy Birthday Ada Mae, The Magpies, Made For Me (with Rebecca Barnard), Sailing To Byzantium, My Body Felt No Pain, I’m Not Afraid Of The Dark, Tell Us A Story (Part B), Too Her Door, Before Too Long, Double Business Bound, Deeper Water, Dumb Things, How To Make Gravy, Going To The River With Dad, Leaps And Bounds.
You can read more from Smokie HERE
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Thanks for the review Smokie. I am still giving ‘Seventy’ a spin – preparing myself for 2026 (yikes!!!!). I’ve also added the album to the Best Ever Albums database and my 2025 top 100 album chart.
Paul always gives his audience a high quality performance – exposing the new stuff and also remembering the old stuff – just as we remember it & love it! His consistency is most endearing.
Great stuff, Smokie. Jealous that you got tickets. I’ve just been listening to the album. Some genuine highlights: Tell Us A Story, Rita Wrote A Letter, The Body Keeps The Score, Happy Birthday Ada Mae and My Body Felt No Pain (which gives me goosebumps). What a song cycle. He is the Yeats of Australian music – gets better with age.
Great night, Smokie. How could it not be?
When I heard about ‘Rita Wrote A Letter’ I was worried. I personally blame Jaws 2, but sequels are often disappointing. Is there a bigger gap on the planet than that between Caddyshack and Caddyshack 2? Of course, Rita’s a fine song but I’d have rathered than he left Dan, Joe, Frank and Dolly et al in peace and allowed us to contemplate their future.
That suggested, I agree that it’s a pretty decent album. Thanks.
No surprise that it was a great show Smokie. For a minute I pondered getting tickets but we saw him in September at Rod Laver, which was a great concert. Mind you, PK was the second best act that night, after Lucinda Williams, who was at her best. Now we are talking great songwriters!
I don’t think there is an Aussie music artist besides Warner (of course) that I have seen more times than PK. So many great gigs over the last 40 years! He has too many good songs to go wrong.
Having said that, I don’t think he has made a decent album for at least 20 years. Some good to excellent songs along the way but no albums of note. Ash Naylor is PKs ticket, one of the best guitarists going round. PKs missing link since Steve Connolly 30 years ago.
As for Rita Letter song, just no. Its tone and the perspective jar; I don’t believe the story or the motivations. In Gravy (a simple snapshot of a family gathering for Xmas) you could identify with characters and feel for Joe. In Rita the breakdown is explained, like overly explained leaving little space for the listener to interpret. It feels like the writer is responding directly (and in a clichéd way, including the grade 9 English class essay “talking from the grave POV,”) to what the first story suggested. I know harsh, but it hurt my ears, lol.
Cheers