Images: Justin White Photography
According to an article in The Hollywood Reporter, when the infamous Texan blues rock band ZZ Top were on set for their charismatic cameo on the sci-fi Western blockbuster film Back To The Future Part III, a camera was damaged and a small delay was required to fix the issue. During this intermission, lead actor Michael J. Fox asked the trio if they would play their single ‘Hey Good Lookin’’, which the trio happily did. Guitarist/vocalist Billy Gibbons, bassist/vocalist Dusty Hill and drummer Frank Beard then continued performing for a further two hours.
Eventually, one of the people on-set enquired about whether the camera was repaired and ready. The Academy Award winning director Robert Zemeckis then explained that it had been for quite some time, he just didn’t want to stop the party.
That party started over 50 years ago in Houston when Mr. Gibbons’ earlier outfit Moving Sidewalks disbanded in 1969. 56 years later, ZZ Top were present in Adelaide to ‘Enjoy And Get It On’ with that perpetual party, albeit with some new guests upholding that same ‘Fearless Boogie’.
Opening an event of this magnitude for a band requires considerable self-belief; accomplishing this feat as a solo act? That is undeniably “heroic fearlessness”, and it is exactly what Adelaide-born guitarist and songstress Dallas “Fearless” Frasca achieved.
Strutting onto the substantial stage with the spotlight solely on her and the rest of the stadium cloaked in darkness, Dallas bewildered the audience into a captivated awe with her remarkable riffage. Her voice was that of The Sirens, the mystical creature that lured seafarers toward their deaths – but instead of their demise, this was a spiritual uprising for the onlookers through the power of soulful riff rock. Her guitar was her spellcasting wand and the enchantment was divine.
‘Anything Left To Wonder’ was a hard rockin’ blues number that Monster Truck would be beyond envious of. The single prompted practically every seat in the house to become a rocking chair with the spectators convulsing and bouncing in glee at Dallas Frasca’s prowess. ‘All My Love’ began with an array of technical difficulties and instead of salvaging what she could and sprinting through the song, Dallas simply stopped, apologised, asked for a new guitar and started again. The track itself would fit flawlessly on the Yellowstone TV series, and the only other noninterference that could be observed, were the continual chants of “We Love You!” from the adoring aficionados.
If Adelaide wasn’t drawn to the sublime Siren’s song(s) at this point, they were unquestionably captivated by the illustrious closing sequence the (now) Victorian executed.
“Do we have any Led Zeppelin fans out there?” Dallas more screamed-than-asked before launching into a rendition of ‘Kashmir’, just as the crowd was elevating their groove, Ms. Frasca morphed the composition into ‘Black Dog’. This was honestly only a tease though, as the anthem then transformed into ‘Immigrant Song’ quickly followed by ‘Whole Lotta Love’ to an eruption of cheers.
Sadly, this performance was always destined to be a short one, but Dallas Frasca assuredly got the party started for what lay ahead.
“But you tell me over and over and over again, my friend.
Ah, you don’t believe we’re on the eve of destruction.”
As Barry Morgan’s hit ‘Eve Of Destruction’ boomed through the speaker system, South Australia became very aware that mischievous merriment was only moments away…. Then entered George Thorogood & The Destroyers to a Michael Buffer inspired announcement.
George jumped onto the stage that he was deadest on making his sanctuary and after an elaborate bow, the rock’n’misconduct was set to begin.
‘Rock Party’ inducted AEC into the celebration and it was a riot of greaser-punk-boogie-rock attitude that combusted like fireworks. Dance moves, finger pointing, swagger and even a launching dismissal of his sunglasses – Mr Thorogood was up to no good, in the best way possible.
“See that’s rockstar shit” he playfully explained before rocketing into ‘Who Do You Love?’ which George sneakily snuck in the lyric: “Good times in Adelaide can’t be beat”. The crowd was certainly moving to the beat of that drum played by Jeff Simon, they were revelling in the saxophone stylings of Buddy Leach, their boots were shaking along with the bassist Billy Blough, they were savouring the six-string antics of guitarist Jim Suhler. But, most of all, they were raving along with the righteous George Thorogood as they have been for almost 50 years.
A joke about the possibility of being arrested that night was outstandingly offbeat, which suited the single ‘Mama Talk To Your Daughter’ flawlessly. “Welcome to the hangover from hell…” GT announced before presenting ‘I Drink Alone’ and canvasing stories of his grandad. Thorogood went solo for the majority of ‘House Rent Blues’ which lead into the striking party anthem ‘One Bourbon, One Scotch, One Beer’ faultlessly. After nearly 20 years of music journalism, this writer has yet to hear such an incredible and imposing sing-along, the revelry was truly remarkable.
‘Get A Hair-cut’ channelled The Ramones in a brilliant fashion and inspired some punk attitude in the process with George making jests about being “17 again”, “appreciating refined lyrics” and even downing a shot…. of tea, which he threw in humorous disgust. ‘Gear Jammer’ added some southern rock and slide to the equation and bolstered the energy of the stadium. The cover of Hank Williams’ ‘Move It On Over’ added some required “honky tonk” to the aura and elevated the anticipation for the headliners.
“G-L-O-R-I-A” echoed wondrously throughout the building as ‘The Destroyers covered the classic by Them with Van Morisson; however, that echo was eclipsed by the booming belter known as ‘Bad To The Bone’. George Thorogood maybe 75, but his rollickin’ rebelliousness is most certainly glowing and alive.
“…he just didn’t want to stop the party.”
Remember those eight words from the commencement of this article? It is perfectly befitting to the long-serving guitarist and vocalist Billy Gibbons of Rock’n’Roll Hall Of Fame Inductee boogie rock royalty ZZ Top. Although, the Texan trio’s entrance onto the stage, a tradition Mr Gibbons has literally done thousands of times before, was nearly humble in some ways; the attitude, the zeal and the outfits were thankfully the charismatic counterpart of humility – they were theatrical.
‘Got Me Under Pressure’ kicked off the party with sequenced moves between Billy and bassist Elwood Francis whose yellow monster of an instrument appeared to be worryingly yet wonderfully “heavy”. The cover of Sam & Dave’s ‘I Thank You’ allowed Gibbon’s whisky-soaked growl harmony shine brighter in the band’s spotlight. This was to be towered by the hit single ‘Gimme All Your Lovin’’, which naturally went out to “all the pretty girls” as Billy had designated the compelling composition toward countless times before, in an idyllic fashion.
The stoner sludge blues rock of ‘I’m Bad Nationwide’ transcended poetry and the three-drink-recipe George Thorogood sung and preached about earlier became so enticing, it was practically a necessity. ‘I Gotsa Get Paid’ had that southern heart and soul with the delightful dustiness that only ZZ Top can conquer so wickedly. The realistic point of fascination though is the diversity this song upholds; if one listens carefully, the influence of hip-hop, funk and country all fuses into this artistic expression brilliantly. But as Billy Gibbons comically expressed:
“Don’t get too excited, we’re making this shit up”.
‘My Heads In Mississipi’ was sensationally scorched in that “so hot it burns” motif. A rendition of Merle Travis’ ‘Sixteen Tons’ was delivered radiantly and dedicated to Jeff Beck – the audience appeared to be hesitant about the cover at first, but in fine ZZ top fashion, it was stronger than ‘Concrete & Steel’.
‘Just Got Paid’ acted as a transcendent prequel to the mega-hits that were ‘Sharp Dressed Man’ and ‘Legs’, which comprehensively triggered resounding sing-alongs from the heavier-than-devoted audience.
An encore was not just expected, it was required. After what seemed like an eternity, the trio returned with Gibbons expressing that the three-piece had to simply sharpen their outfits.
The bluesy brilliance of ‘Brown Sugar’, the tremendous ‘Tube Snake Boogie’ and indisputably, the highway-driving-anthem and resounding ‘La Grange’ shook the walls in rockin’ rapture to close-out another ZZ Top party.
Great Scott! Theoretically Adelaide did go Back To The Future. ZZ Top please ‘Doubleback’ as soon as possible – Adelaide will always revere El Loco.
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