Jason Bonham @ Thebarton Theatre, Adelaide 23/4/2026

“Then as it was, then again it will be, And though the course may change sometimes, Rivers always reach the sea” – Led Zeppelin, Ten Years Gone

Sharing the same ill-fatedness of so many legendary bands and artists, the story of LED ZEPPELIN was cut short by the untimely and tragic death of their irreplaceable drummer, John Bonham.

One of a litany of English bands born in the musical landscape which surrounded or succeeded America’s infamous Summer of Love, while contemporaries PINK FLOYD commanded control of the psychedelic rock narrative from ‘across the pond’, Led Zeppelin dominated the darker, heavier side of the burgeoning counter-culture.

Surviving the sex, drugs, hedonism and relentless transatlantic touring schedule synonymous with the era, thriving throughout the 1970s, nothing but the end could be considered for the band’s co-founding members – Robert Plant, Jimmy Page & John Paul Jones – after the shocking events of 25 September 1980; the day John Bonham died.

Occasional once-off performances, of course, occurred. Most notably, 1985’s Live Aid appearance, was followed in 2007, by a memorial concert dedicated to Atlantic Records’ Ahmet Ertegun, where Bonham’s son, Jason, following in the footsteps of his percussionist father, joined the fold.

Reflecting upon this moment, as well as another GENESIS experience, on a night nearly twenty six-years after the catalytic death, Bonham Jnr emotes: “If you get a chance to play drums for one of your heroes, you take it; it’s the greatest compliment… and I never know if I’ll ever get the chance again.”

And, with no opportunity to broaden the experience with Led Zeppelin themselves, Jason formed his tribute – Jason Bonham’s Led Zeppelin Evening (JBLZE) – reviving the music and memories of his father’s career, imbibing it with his own intimate personal connection.

A montage of Radio Free America hits and hosts of the 1970s slides in and out of frequency before landing: “Ladies and gentlemen, this is Physical Graffiti.” The current edition of the JBLZE world tour series, reaching its ‘final, powerful’ conclusion in Australia, celebrates fifty years of Jason Bonham’s ‘ultimate’ Led Zeppelin record, tonight’s penultimate show performed under the arches of the historic Thebarton Theatre, Adelaide.

Smooth as Custard Pie, the tributary quintet grooves to the cheers of the awaiting concert-seated audience. Transitioning through the various taupe and tan lighting that will become a recurring feature of the performance, The Rover and second generation drummer stands to attention behind his kit, as prismatic strobes keep in line The Wanton Song of remembrance.

“I soon realised it’s not about my love of the music, it’s not even about my father and his; it’s about your love. That’s why we’re tonight.” Playing the whole Physical Graffiti album, “not necessarily in the order you’re used to and, if you’re good, you never know what surprises will come later…”

The iconic sliding guitar introduction of In My Time of Dying, made infamous by Page, is recreated by Akio ‘Mr. Jimmy’ Sakurai, returning the crowd to its time. Vocalist James Dylan channels Plant whilst also adding a hint of his own whiskey velvetness, conjuring a call-and-response from the crowd inside the Houses of the Holy, the Wisconsin native recreating English folk-rock anthems to befit southern American soundtracks for classics, such as No Country For Old Men; echoing yesterday they find their own place In The Light tonight.

“Thank you for allowing us to be the most self indulgent band we can be”, Bonham quips. Recollecting, “Adelaide was a rocking audience three years ago”, we’re invited to get up and get Sick Again upon the command of dual-instrumentalist “Alex Howland over here, who’s about to take us on a journey”. The synth and rhythm guitarist, a pied piper guiding the audience across the musical Bron-Yr-Aur, ascends to share the stage with fellow guitarist, Sakurai, using a bow to play acoustic guitar like a cello into an intermission of sorts.

Deep cut Boogie with Stu sees John Paul Jones’ effigy, Dorian Heartson, swap basses in exchange for the magical mandolin of Black Country Woman. A song which tells the story of a borough renowned for other messiahs of music and metal, such as BLACK SABBATH, Bonham heralds a move, Down By the Seaside to where artists such as NEIL DIAMOND might find themself more at home; the segue demonstrating the diversity and breadth of Led Zeppelin.

Beginning the final Night Flight, camera phones of every audience member and Jason Bonham himself illuminate Thebarton Theatre from pitch black to daylight for the iconic Ten Years Gone. Purple haze and magenta streams Trampled Under Foot by familiar autumnal colour schemes herald the segue into the sixth studio album’s undisputed hit, Kashmir. A song about spiritualism and the metaphysic, as it was, so it will be; fathers and sons unite in harmony for the last song of the major set.

A Whole Lotta Love displayed for the group, multiple audience members disband from their seated positions, dancing in the aisles together with the touring tribute. Rock and Roll fever cannot be denied any longer, the crowd on their feet, Bonham takes a last look from behind his kit. No Stairway to Heaven to climb tonight, simply a heartfelt message on behalf of himself, his band and (no doubt) his father, whose legacy lives on: “I’m speechless, thank you.”

Live Review By Belinda Quick