Review: The Whitlams @ Festival Theatre 11/04/26
The Whitlams combined with the Adelaide Symphony Orchestra for a sold-out show reimagining their biggest hits, cementing their position as one of the country’s most iconic acts.
Words Brad Pine // Images Candice Hu
The Whitams @ Festival Theatre 11/04/26
Singer-songwriter Tim Freedman has been an everlasting figure in the Australian music scene with his band The Whitlams, an outfit whose first album came out way back in 1993. This current tour sees the band venture out with various symphony orchestras across Australia, armed with an extensive songbook made even bigger by 2022’s Sancho and 2024’s Kookaburra (under the offshoot The Whitlams Black Stump).
As the weather in Adelaide turned towards the wintery side, music lovers mingled with football fans in town for Gather Round on the walk down King William St, only to part so we could embrace the warmth of the Festival Theatre. Needless to say, the foyer of the Festival Theatre once again shone with costumes and artwork, leading to what shaped as a rather sophisticated performance.
The stage was packed with seats for the orchestra, instruments placed with great care amongst the thick of it. The Adelaide Symphony Orchestra made their way on stage, led by Associate Concertmaster and violinist Cameron Hill. Conductor Guy Noble began the proceedings with a cream-suited Freedman appearing in a spotlight. Instead of behind the keys, Freedman sang ‘The Beauty In Me’ unrestricted. With ‘Ease Of The Midnight Visit,’ he went to his trusted piano as the other Whitlams joined – the stage was now in full volume.
“Tonight seems to be full of the true believers,” Tim regaled the audience, who responded in kind with rapturous applause. The next few songs were dedicated to the character of Charlie, who encompasses different friends within Tim’s life. This established the tone for this first set as one of reflection and sombreness. The inclusion of the Adelaide Symphony Orchestra added a greater depth to these songs, leaving the audience in a thoughtful state.
However, Freedman also became the comic relief in between songs. For someone who has listened to all the Whitlams albums before this concert (I had Torch The Moon on heavy rotation when it was released), I could not have prepared myself for the jibes and digs that Freeman expressed throughout the night. From a tattoo of Wayne “The Weed” Weidemann’s name supposedly on Guy Noble’s chest, to uncouth remarks at the Gather Round crowd, Freedman made sure he could cement a spot in the comedy section at next year’s Adelaide Fringe Festival.
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The next group of songs were taken from the newer catalogue of albums, with ‘Nobody Knows I Love You’ from Sancho and ‘Fallen Leaves’ from Kookaburra getting a solid response. Both of these tracks showcased more than just Freedman’s piano skills. Jak Housden on guitar and Matthew Fell on bass had their moments in the spotlight, and that showed the camaraderie that The Whitlams have. Even though Terepai Richmond on the drums was all the way behind the ASO, he still became an integral part of the show, with my focus shifting to him throughout the night.
With Torch The Moon turning 25 next year, we got to experience ‘Cries Too Hard’ which had a touch of Bond thematics about it - this was my highlight for the first set. It had just the right amount of punch for the selection of songs used in the first half. The set concluded with ‘The Curse Stops Here,’ allowing the ultimate fusion between the songwriting of Freedman and the symphonic nature of the night.
Set two saw Freedman strut to the front of the stage like a ‘70s glam rock star, giving knowing glances to the front row on his way to his piano. The first song was ‘Blow Up The Pokies’ – a fan favourite and the main indicator for the tone of this half of the performance. We were going to see more of the singles, and The Whitlams were going to enjoy every moment alongside us.
After another humorous tale poking fun at Noble and the iconic Scotty’s Motel, the crowd was definitely warmed up. ‘Up Against The Wall’ and ‘Out The Back’ brought more of the rock element out until we hit the symphonic interlude. The band left the stage, leaving it open for the ASO to take full focus. From my seat, I could see Freedman on the side of the stage, air-conducting and listening intently to the amazing musical display. The band returned for ‘Out The Back’ whilst a rapturous applause congratulated Noble and the orchestra. Another brilliant moment from the night.
The biggest cheer came for ‘No Aphrodisiac.’ Alongside Freedman’s melodic piano playing, the playfulness of his singing and deliberate play on inflections and lyric delivery showed how much fun he and the band were having. Even Housden was given ‘Where’s The Enemy’ to sing lead whilst Tim provided backing vocals. ‘Thank You (For Loving Me At My Worst)’ had the loudest sing-along and people getting out of their comfy Festival Theatre seats to groove along. ‘Gough’ and ‘You Sound Like Louis Burdett’ continued the party vibe and closed out the second set.
With enthusiastic applause, The Whitlams returned to deliver ‘I Will Not Go Quietly’ without the orchestra backing. But ‘Band On Every Corner’ had all involved again – the audience still mostly on their feet, embracing the band and the orchestra to their fullest. Noble and The Whitlams took their final bow as we ventured out again into the cold, where the Gather Round crowd merged with us again.
The Whitlams’ orchestra tour has showcased some of the finest songwriting this country has to offer. Tim Freedman may be the poster boy of the Whitlams, but this concert allowed all members of the band and the orchestra to shine. We may not have got some ‘Chunky Chunky Air Guitar’ moments, but we thank you all the same.
Want more pics of the gig? Check out our full photo gallery here.
