Review: David Gray @ Thebarton Theatre 07/11/25
19 years since he last played in Adelaide, British singer-songwriter David Gray put on a phenomenal performance that had the crowd hoping it won’t be so long before his next visit.
Words Tobias Handke // Image supplied
David Gray w/Gordi @ Thebarton Theatre 07/11/25
If I’m being honest, I wasn’t aware David Gray was still making music. It was only after a copy of his new album, Dear Life (which is exceptional), landed in my inbox that I realised the award-winning UK singer-songwriter was still at it.
Crossing over into the mainstream thanks to his hit 1998 album White Ladder, which topped the UK album charts after it was re-released by Dave Matthews’ label ATO Records two years later, Gray became the next face in a long line of British male singer-songwriters to dominate the charts in the early 00’s. Think James Blunt, Damien Rice, Jamie Cullen and the like.
His next two albums landed at #1 on the UK Albums Chart before his commercial success began to decline in the mid-00s, although Gray has continued to enjoy sustained success with a run of critically acclaimed albums over the past decade, including this year’s Dear Life, which has brought the contemporary vocalist to Adelaide for the first time in almost two decades.
Before Gray’s headline performance, Australia’s own Gordi dazzled with a short solo set of old and new tunes. Sporting an LA Lakers tee, Gordi switched between keyboards and guitar as her gorgeous voice reverberated around the newly renovated Thebbie Theatre. She described ‘Way I Go’ as a “little old gay love song” that the heterosexuals could enjoy, while new tune ‘PVC Divide’, taken from her just-released third album Like Plasticine, reminded me of Bon Iver with its experimental instrumentation and manipulated vocals.
Gray arrived on stage to rapturous applause, and after a quick “Hello Adelaide,” launched into ‘After the Harvest’, the opening track from his latest long player Dear Life. The enthusiasm from the crowd continued during ‘My Oh My’, with people clapping and singing along, before Gray announced he was taking everyone “back to 2005” with the soaring ‘Slow Motion’.
Dressed in a nondescript black suit, Gray doesn’t give popstar vibes, but there is no denying his voice is absolutely exquisite. Despite approaching the big 6-0, he draws you in with his emotional range, and there is a general excitement when he sings, as if he really loves what he’s doing. Gray is ably assisted by this four-piece band, particularly energetic drummer Craig “Clune” McClune, who first played with Gray in the ‘90s. His facials and enthusiasm while performing are infectious, often geeing up the crowd with his antics.
The set is dominated by songs from Gray’s Life in Slow Motion, with the upbeat ‘Hospital Food’, absorbing ‘Nos Da Cariad’ and ‘From Here You Can Almost See the Sea’ all received well, but it was ‘The One I Love’ that had people up out of their seats and dancing in the aisles.
Gordi joined Gray for the breathtaking duet ‘Plus & Minus’ while Gray explained how ‘Leave Taking’ was based on the poem Leaving by American writer Louise Bogan. 'Please Forgive Me’ got one of the best responses of the night, with Gray seemingly extending the track to keep the feel-good vibes going.
Sitting at the keyboard, Gray elaborated on the making of ‘Last Baot To America’, which was inspired by his father’s passing and the massive party they threw for him before he died. Gray recounted how his dad told him, “he wasn’t afraid of dying, but the things he would miss out on,” which struck me as quite poignant and gave the song an added emotional pull.
There were moments like this throughout the night where Gray would share a tidbit about a song or open up about his life that gave the show a personal feel, like Gray was actually talking to everyone individually and not an entire theatre.
A cover of Depeche Mode’s ‘Just Can’t Get Enough’ had Gray shimmying across the stage and the crowd on their feet, before ‘Babylon’ brought the house down, with Gray and co exiting stage left. Punters stamped the floor and yelled for an encore, with Gray obliging for two more songs, a cover of Soft Cell’s ‘Say Hello, Wave Goodbye’ and the brilliant guitar ballad ‘Sail Away’.
Gray might not be making a dent on the charts like he used to, but as evidenced by the nearly sold-out Thebarton Theatre, there is still a strong appetite for Gray, with his powerful and heartfelt songs still resonating with audiences. Let’s hope it’s not another 19 years before he decides to visit Adelaide again.
