Honouring their legacy, the Dire Straits Experience lit up Auckland’s Kiri Te Kanawa Theatre last night, to deliver exemplary renderings of Dire Straits’ most well-known songs, giving fans exactly what they’d hoped for, and more.
Helmed by Chris White, the go-to saxophonist for Dire Straits during their transcendent period of the mid 80’s to early 90’s, the Dire Straits Experience are made up of talented and dedicated musicians, who respectfully perform DS’s music, keeping the flame going, their music in the public consciousness, and touring the world over.
Having already had a dose of Dire Straits at the beginning of the year, with The Dire Straits Legacy band playing Matakana in January (including ex DS musicians also), where that group presented an outdoor somewhat looser show with bursts of individual brilliance, the DS Experience brought forward a tighter unit, polished to the tee.
And with a decent crowd set in the Kiri Te Kanawa Theatre, top-class lighting and sound, the elements were all there for some magic.
Opening on flute, Chris White got the ball rolling with the lengthy travelogue number, Telegraph Road.
Aotea Centre was the right pick for sure, with a great sound mix immediately evident. The sound of tightness from touring was also checked.
Filling the pivotal part of Mark Knopfler, guitarist/vocalist Terence Reis fit the bill with his skilful delivery, free from pretentious mimicry.
Solid Rock, an out and out stonker, ushered in another great guitar player in the group, Richie Barrett. Exchanging Fender strats and telecasters, Reis and Barrett made for a galvanising double-act.
Into Tunnel of Love, and you just had the foreshadowing that tonight was going to be a hits-filled evening.
Back then Dire Straits were Making Movies, and it felt like going to the flicks, such was the relaxed atmosphere going down. You could even get Pringles and M&M’s from the bar.
The wee hours Latin balladry of Your Latest Trick featured an extended sax solo from White.
Along with the rolling Walk of Life, these were two of seven tunes performed from the album Brothers in Arms (1985).
White was to tour that record for 14 months with Dire Straits, extended out with huge sales via the latest in recorded music formats at the time, the compact disc.
Prior to that, White had caught the ear of Knopfler when hired for a soundtrack recording date. He impressed to the point of next minute, he’s the first call horn player for the band.
Romeo and Juliet, with Reis playing the intro on a National style O resonator guitar, gave us exhibit A of a great sound mix and acoustics.
White had space to solo again. He’s always been refined. His style in the realm of David Sanborn and Michael Brecker, soulful and contemporary.
So Far Away opened with a reworked intro Calypso-style, segueing seamlessly into the version we remember.
By now you were getting people spontaneously jumping out of their seats to dance it out. Cueing effects, and varying keyboards from piano, synth to Wurlitzer organ, the double team of Michael Bramwell and John Maul covered all bases.
The Man’s Too Strong upped the arrangement and tempo too, given a Celtic twist. White switched to flute, with Irish pipes replicated on the keys. White’s tambourine playing was beyond proficient, one could presume he went to Ray Cooper for lessons, such was his multi-manoeuvred swagger.
Soprano sax received some employment on Private Investigations, including plenty of riff-trades between White and Reis.
The concert reached its high point here, with the culmination of performance, lighting and song mood intensity. The spareness of arrangement drew attention to drummer Luke Naimi, who played meticulously methodical throughout, and South African bassist Yoyo Buys, who stepped to all the right moves.
Wild West End and Lady Writer represented DS’s first two albums admirably, giving way to a rearranged Ride Across the River, rebranded with a bigger band punch.
Two Young Lovers revved it up and stretched all players. White had interviewed stating no headbands, we’re not a tribute band.
That was true, aside from Reis sneaking in a wrist band. For the most part though this was all about kicking out the grease and bringing up the polish.
On Every Street, the standout title-track off their final record (and only entry tonight), walked the line between Rock’n’roll and spirituality. A vital space.
There was more soprano sax from smooth operator White, and then it was on to the mood anthem, Brothers in Arms. With sharp light reflecting off Reis’ scratch plate, we got a glimpse of those moments and memories of Knopfler and his genius.
Dire Straits signature/most recognizable tune, Sultans of Swing, delivered, and had all up off their seats. It was the appropriate song to finish on, barring one glaring omission that was anticipated as an encore. And we got that in the MTV inspired Money for Nothing.
The finale Going Home (from the Local Hero soundtrack), closed it out with dual melody lines from Reis and White, guitar and sax swinging in harmony.
Recalling Hank Marvin and his red Stratocaster, doses of nostalgia were heaped on for fans of Dire Straits music. In an old-fashioned way, a great night was had by all!
Mike Beck
Photography by Leonie Moreland
Setlist
Telegraph Road
Solid Rock
Tunnel Of Love
Your Latest Trick
Walk Of Life
Romeo And Juliet
So Far Away
The Man’s Too Strong
Private Investigations
Wild West End
Lady Writer
Ride Across the River
Two Young Lovers
On Every Street
Brothers In Arms
Sultans Of Swing
(Encore)
Money For Nothing
Going Home
