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Brisbane Entertainment Centre - Wed Jun 17
With no support band, tonight begins with an unapologetically nostalgic bigscreen look at the last 50 years played to Old Friends – images of ‘60s New York folk heroes Simon & Garfunkel interspersed with hippie protests, ‘70s punks, MTV… and finally a picture of the dazzlingly generic Brisbane Entertainment Centre in which we’re seated. The two men who now appear in the spotlight haven’t aged terribly gracefully (Garfunkel’s red wiry brush makes him look particularly like a mad professor), and the nine-piece band rocking out makes Hazy Shade Of Winter sounds more like The Bangles’ version than the original, but those harmonising voices can’t be mistaken for any others.
What follows is essentially an impressive list of greatest hits, starting with some of the touching ballads for which the two remain best known – I Am A Rock, Kathy’s Song (which Art perhaps unwarrantedly calls ‘the greatest love song of his generation’) and Scarborough Fair. Before long, the two childhood chums treat us to some well practised but jovial ‘How it all began’ stories of school play stardom and Everly Brothers worship, even giving a rendition of their teen 1957 hit Hey Schoolgirl (under the name Tom & Jerry), and Gene Vincent’s Be Bop A Lula. It’s a real joy listening to the most famous duo in pop music history reunite to play Homeward Bound and Mrs Robinson, but it quickly becomes apparent who needs who more. Simon, the writer of these songs, plays guitar throughout and, though punishingly short and a teeny bit dorky, is comfortable as a rock star. Garfunkel on the other hand is there just for his soaring voice and seems like he needs something more to do, often pulling awkward involuntary air guitar movements, or standing still to watch the band do their thing.
When he gets a three-ballad solo, including the haunting/tacky Bright Eyes from Watership Down (depending on your mood), it’s clear that despite his crystalline voice and utter likeability, Garfunkel can’t deliver his songs 100% confidently. In contrast, Simon’s solo material doesn’t float or wisp out from the stage – it grooves, and so does he in front of the full band – multiple guitars, drums, keys plus a range of wooden flutes / melodaphones / accordions / cellos / a PVC pipe trombone… whatever they’re in the mood for. Me And Julio Down By The Schoolyard gets the most ecstatic response yet, topped by an immense rendition of Diamonds On The Sole Of Her Shoes. With Simon’s amazing solo catalogue to draw on (including the devastatingly unplayed You Can Call Me Al – boooo!) it’s almost a pity to see Garfunkel return, but he quickly redeems himself with a goosebump-giving rendition of their signature tune, set closer Bridge Over Troubled Water, a song that I’ve never realised the emotive power of until tonight.
Naturally, there are a couple of encores packed with hits – the awesome Cecilia, the biggest sing-along in The Boxer and the lifting and falling revolution-in-a-folk-song Sounds Of Silence. Finally, with the houselights on and rapturous applause, The 59th Street Bridge Song (Feeling Groovy) sends the older crowd into the night whistling and strutting, warmly knowing that despite a stadium setting and a show that’s inevitably been played identically around the world, two hours plus of Simon’s songs and Garfunkel’s voice still feels like a very special night out.
SIMON TOPPER
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