Cheap Trick
The simple fact that Illinois rockers ‘Cheap Trick’ chose to introduce their Melbourne show at Margaret Court Arena with some cheeky self-referential Bart and Homer Simpson soundbytes was a pretty good indication as to what the audience could expect from the evening. Exemplary pop culture framed in comical boyishness…

“Ladies and Gentlemen. boys and girls, please welcome to the stage the best $%^&*@# band you’ve ever seen, Cheap Trick!”

Seeing this band live is akin to going to the carnival. Their loyal audience, (it should be mentioned many of whom were sporting Kiss t-shirts tonight) came along expecting to see every (cheap) trick in the book played out on stage and true to form, the band didn’t disappoint.

Although formed way back in the 70’s, incredibly three of the four original members (Neilsen (g), Zander (v) and Petersson (b) still remain – the notable exception being drummer Bun E. Carlos – his massive footprint on the drum riser is admirably filled these days by an earnest and talented Daxx Nielsen (son of lead guitarist Rick) who is more than able to match Bun E’s manic parts.
Lead singer Robin Zander – once a heartthrob adonis with famous long blond locks – is now in his early sixties and dresses from head to toe in black leathers with his trademark hat pulled down low over his shaded eyes. He strides to the mic and is all business as he launches into a committed and earnest rendition of set opener ‘Hello There”. The looks may have gone westward but gratifyingly that killer voice is still very much intact.
The iconic baseball capped Rick Nielsen is undeniably the audience’s favourite member and is at his most jocular tonight. His mic stand is festooned from top to bottom on both sides with dozens of guitar picks and we soon discover why Not only does he swap to a different guitar every song but then he punctuates almost every line of each song with a nonchalant plectrum toss to some eager audience member. This translates into literally hundreds of plectrums over the course of show.

At one stage during ‘If You Want My Love’ he strides back and forth across the stage, proudly displaying his local empathy and support for the Melbourne scene and in particular Malcolm Young of AC/DC. He pulls his jacket open wide to reveal he’s sporting a limited edition Cherry Bar ‘Get Well Malcolm T-Shirt’, bringing huge roars of appreciation from the fans who recognise the sincere and heartfelt gesture.
‘If You Want My Love’ is their first rousing singalong of the evening and despite a frustratingly muddy sound mix (which sadly the band seem to battle with most of the set) the power of the song cuts through and the audience revel in the joyous reminiscence of it.
There is some gorgeous guitar work from the boys during the extended ‘Taxman, Mr Thief’ and ‘The Ballad of T.V. Violence (I’m not the Only Boy)’ before they introduce the title track from perhaps one of their most adored albums, ‘Heaven Tonight’. The track live is a revelation and they clearly love playing it.

Petersson performs an extended bass solo while the other three take a well deserved break before returning to thrash out the awesome ‘I Know What I Want’ from their ‘Dream Police’ album.The show’s true highlight, though, comes when they play three of their biggest hits back to back: ‘I Want You To Want Me’, ’Dream Police’ and the sublime ‘Surrender’.
Nielsen doesn’t miss any opportunity to good naturedly show off and we see a solid parade of flashy/gaudy guitars ranging from a square Bo-Diddley model emblazoned with Cheap Trick album artwork to his infamous checkerboarded 5-necker which he only trots out for their final big hit of the night, ‘Surrender’.. The behemoth is obviously extremely weighty and he certainly strains to hoist it above his head as he grandstands the solo.
All too soon the last notes of ‘Surrender’ ring out and the hour long set is over, sound issues aside, it is an extremely satisfying showing and leaves many a smile on those Kiss fan’s faces. It is only much later that most of them realise that the boys omitted to play their biggest hit ‘The Flame’.

Setlist:
Hello There
Baby Loves to Rock
Clock Strikes Ten
If You Want My Love
Stiff Competition
Taxman, Mr. Thief
The Ballad of T.V. Violence (I’m Not The Only Boy)
Heaven Tonight
Bass Solo
I Know What I Want
I Want You to Want Me
Dream Police
Surrender

Billy Idol
Expectations were riding high after Cheap Trick’s stellar set… could Idol top it…?
A lengthy atmospheric instrumental intro and then suddenly he runs out of the darkness and onto one of three risers and there he is, bouncing around. The spritely punk is back, as youthful, buffed and boisterous as ever. Resplendent in trademark leathers, with his attitude, ego, sneer and trademark yelps at the ready.
Opening proceedings with new cut ‘Postcards from the Past ’ from Idol’s new album ‘Kings & Queens of The Underground’, his ever-present maestro and co-conspirator for over 30 years, virtuoso Steve Stevens quickly establishes himself as master of the stage and it is glaringly obvious just why he has been the absolute linchpin of Billy Idol’s career. On second song, ‘Cradle of Love’ he is a virtual one man blitzkrieg. He effortlessly controls the momentum of the show with his monster riffs but at the same time magically embellishes the brutishness of each song with sparkling sonic subtleties – deft touches of masterful detailing that effortlessly elevate each track to another level again.
Billy implores “Melbourne to DANCE!” on old Generation X fave ‘Dancing with Myself’ and the audience gleefully respond in kind.

As Stevens continues the assault and sprays the floor with the unmistakable staccato salvos of ‘Flesh for Fantasy’, the audience are once again in raptures and transported immediately straight back to 1983. This ecstasy is only then trumped by Billy – who with back coyly turned to the audience beguilingly changes his top at the foot of the drum riser. The girls all swoon. Idol’s vocal delivery is fittingly gorgeously warm and sultry and the first of tonight’s high water marks is reached.
Quite unexpectedly, Billy broadsides the audience who are not expecting to hear any really early material and trots out a second Generation X favourite in the form of ‘Ready Steady Go’ – the crowd go completely ballistic.
Then it’s time to slow things down a little and next is a gorgeously sensitive rendering of ‘Sweet Sixteen’. Billy intros this on acoustic guitar with a whispered recount of his inspiration for the song. After the first verse, Stevens chimes in and again takes the sublime track to another level.

Another extended blues intro styling by Stevens signals an even mellower interpretation of a melody that is vaguely familiar. Turns out it’s ‘Eyes Without A Face’. 1983 all over again.
Time to ramp things up a notch and what follows is nothing short of spectacular.Idol: “we’ve now got a couple of mates who are coming up to join us on stage for this next one… it’s Robin and Rick from Cheap Trick’.
The tricksters are obviously thrilled to be sharing the stage with both Idol & Stevens and Rick looks like a kid in a candy shop as he trades licks with Steve on an extended and epically riotous version of The Doors’ ‘LA Woman’, renamed just for tonight to ‘Melbourne Woman’. It seems to go forever and like another little boy brimming with exuberance Idol runs from one player to another, willing each on to even greater heights.

After that workout, it’s now time for another quick breather and Steve takes center stage alone and plays a five minute interlude showcasing his breathtaking artistry. A spanish solo with flamenco stylings, coupled with a ‘Stairway To Heaven’ gag which draws hearty laughs from the fans and then the full band are back and it’s into the final stretch of the show.
‘Whiskey and Pills’ and ‘Blue Highway’ follow. The drummer goes completely mental at the song’s conclusion with arms flailing and drumsticks going in all directions. One actually catches in the curtain above his head where it remains suspended for the rest of the show. There are very some ‘Spinal Tappish’ moments here and during songs Billy throws out paper plates, drumsticks and signed copies of the setlist (a few of which are whipped over his sweaty torso before he dispatches them into the adoring audience).

By this stage of the night, there is really only a few remaining things to be said as Billy launches into ‘Rebel Yell’. Of course, the place goes nuts. The roof is set to lift off. All the impact of the original is reproduced here and the audience duly reflect it back to the band in appreciation – Billy revels in the moment. A quick encore break backstage for a breather and then he saunters back on stage with Steve. Ever the Jester, Billy addresses the audience and then Steve in turn…“ I’d just like to thank STEVE STEVENS for making my life… so @#$%^&* incredible… thank YOU!… and now Steve, can you please show the audience what a hit song sounds like?”
The immortal intro to ‘White Wedding’ ensues and we are off once again for the final time. After nearly two hours of high energy Idol he finishes up with ‘Mony Mony’ and is still bouncing around as he laddishly introduces the band and then farewells the audience. Exceeding expectation, this was a set consummately delivered with all the power of the original.
Setlist:
Postcards from the Past
Cradle of Love
Can’t Break Me Down
Dancing With Myself (Generation X song)
Flesh for Fantasy
Save Me Now
Ready Steady Go (Generation X song)
Sweet Sixteen
Eyes Without a Face
Melbourne Woman (aka L.A. Woman)(The Doors cover) (with Robin Zander & Rick Nielsen of Cheap Trick)
Interlude (Steve Stevens Guitar Solo)
Whiskey and Pills
Blue Highway
Rebel Yell
Encore:
White Wedding
Mony Mony