Sarah Blasko @ Hindley Street Music Hall, Adelaide 26/9/2025
It was a privilege to see Sarah Blasko perform her first two albums in full at the Hindley Street Music Hall tonight. I have been a dedicated fan for many years, ever since I saw her first Adelaide headline show at the Jade Monkey in 2003. Since then, I’ve been fortunate to experience her live performances many times over the last 22 years at many different venues around Adelaide, as well as the Big Day Out, the Laneway festival, a scorching afternoon at WOMADelaide 2016, and, most recently, in Paris just a few months ago.
One of the things I most appreciate about Sarah is her commitment to presenting complete albums live. With tonight’s performance, she has now showcased all but one of her records in this way, a testament to the strength of her back catalogue. Her most recent album reflected on her early life and religious upbringing, and tonight’s concert extended that journey. Performing her debut The Overture & the Underscore alongside her sophomore release What the Sea Wants, the Sea Will Have felt fitting, especially since Sarah considers the two records to be a creative pair, both co-written and co-produced with Robert F. Cranny.
Sarah’s band comprising long-time collaborators Neal Sutherland (keys), Ben Fletcher (guitar/keys), Laurence Pike (drums), Dave Symes (bass), and David Hunt (keys/acoustic guitar) recreated the two albums with remarkable fidelity and energy.
During the first set, Sarah was forthcoming with stories about the songs. She noted that some tracks from her debut hadn’t been performed in over fifteen years. Introducing Always Worth It, she explained that the song reflects how, despite life’s struggles, the journey is still worthwhile.
She also dedicated Perfect Now to Robert F. Cranny. Although the pair shared songwriting credits (much like Lennon and McCartney, she joked), this particular track was written entirely by Cranny at age seventeen. The song deeply resonated with Sarah as it mirrored her own experiences at the time of recording.
As the set unfolded, songs like Cinders offered glimpses of alternate artistic directions Sarah might have pursued before moving on to her breakthrough third album, As Day Follows Night. Highlights included the ballad True Intentions and the hidden closing track Long Time, performed with only Hunt’s acoustic guitar accompaniment. Throughout the evening, moments where Sarah performed with minimal instrumentation, just guitar or keyboard, spotlighted her remarkable vocals. Although I loved the concert tonight, I hope that one day she performs an entire concert in this stripped-back style.
The second set opened with the contrasting electronic textures of For You, foreshadowing sounds Sarah would later develop on Eternal Return. [Explain], with its restrained vocals, was a haunting centrepiece, while Woman by the Well, performed with just Hunt on guitar, was among the most moving moments of the night.
Queen of Apology, one of my favourite songs from the album, was outstanding live. I just love its insistent rhythm and quirky lyrics
Ben Fletcher and Dave Symes’ complementary backing vocals came to the fore on the penultimate song, Showstopper, delivered as a sublime gospel-inspired piece. Before beginning, Sarah explained that the song is about our shared experience of life and the reassurance that none of us is truly alone.
In a humorous moment, Sarah politely declined audience requests for her cover of Flame Trees, as it was never originally part of the first two albums, instead closing with I Could Never Belong to You, accompanied solely by Hunt on the keyboard. She revealed that the track was born out of a period of pressure while making her second record, during which she sought to reclaim her identity and assert that she belonged solely to herself.
The band rejoined her for a final bow, receiving a richly deserved standing ovation. This was a superb concert, and I sincerely hope Sarah and her band return soon.
Live Review By Richard De Pizzol