These days it is increasingly common to see VIP experiences on offer when tours go on sale. Crowded House‘s Gravity Stairs Tour, currently in Sydney on the forecourt of the beautiful Sydney Opera House, included the option to purchase a VIP soundcheck experience alongside access to the show. This afternoon I had the chance to get up close and personal ahead of the band’s second show.
Managed by Live Nation Australasia, the VIP Nation team deliver the experience alongside the venue and production teams. As an ex-events employee I always enjoy watching the preparations and communications that are critical in bringing an event to life, particularly one like this one that has to manage the complications of operating at a major tourist attraction and working venue, with public spaces and hospitality venues all having to be factored into the logistics.
Prior to the event there were multiple communications via email and text, all of which, I thought, gave very clear and helpful information regarding access times and entry points – including a photo, which really helps someone with a neuro-divergent mind like mine. I invariably spend days/weeks/months working through where I need to go and what time I need to be there, so getting clear information like this, especially when you’ve spent a considerable sum for the privilege, is excellent. The Sydney Opera House also sent communications via email which contained the ticket.
Arriving a bit early for check-in, see neuro-divergent mind comment above, I approached two of the Sydney Opera House customer service team who were already in place well in advance of the scheduled check-in time. They advised me that LNA would be starting check-in approximately 15 minutes later and to find somewhere comfortable to wait. It wasn’t much later that more people started to arrive and I was actually approached by one of the same SOH team that I’d previously spoken with and advised that we were able to move into the check-in area early owing to the heat. This was really excellent customer service, in my opinion, given the number of people that were moving around the access area (it was shared with public access in front of the Opera House Box Office area), and that they thought to ensure I was aware of the change in timing was very impressive.
We walked across under shelter to the other end of the Forecourt Entry where we were channelled into a VIP lane. The LNA VIP Nation team were already present and began the process of ensuring we were checked in efficiently and that we understood how the experience would work – access into the venue at a set time, soundcheck, then back out via our VIP merch collection, before returning later into the same queue for early entry ahead of doors. As there had been some physical Collector’s Tickets issued in the post as well as the digital tickets, both LNA and the Sydney Opera House teams came through and spoke with everyone to ensure we had the correct tickets for entry.
Owing to the heat now that the clouds had cleared they opted to keep us under the shelter of the Opera House stairs as long as possible. My Anglo-Saxon skin was most grateful, not to mention also for the cooling breeze that pushes through that section off the nearby harbour. After a while we were told we’d be going through security and bag check to be pre-loaded into the final queue section before we’d be allowed out onto the Forecourt. This was quickly achieved and we were all ready to go. It’s here that it felt like things ground to a halt for a while. Watching the various teams buzzing about, talking into radios and phones it appeared there was possibly a band-related delay – can’t be sure, but that’s the way it looked from my vantage point.
The time came for us to head in and we were ushered by the VIP Nation team towards the stage. I have to comment here on how surreal it felt to be casually strolling with a couple of hundred people towards Crowded House as they tweaked things onstage. No doubt they expected us, but there was an exclamation from Neil Finn as he saw us heading en-masse across the paving. “A pack! Hello!”, greeted us as we arrived at the rope that was placed about 5-10 metres from the barrier.
As soundcheck is the final opportunity for bands to get things right for the show it felt blissfully voyeuristic to be part of the moment. It was so wonderfully odd to be standing just metres away from one of our iconic bands as they chatted and worked through the setup. At this point they were working on the ending of “Hole in the River”, and it was incredible to witness the way they could make adjustments on the fly to get the song sounding exactly as they wanted it to be later, including Nick Seymour and Liam Finn working out harmony layers.
The only other time I’ve ever attended a soundcheck I was told by the Tour Manager to make sure that we didn’t applaud after songs because the focus is meant to be on the technical aspect for the performers, but nobody could have stopped folk from applauding today – which, I must add, was always graciously acknowledged by Neil Finn – because holy shit, really. Next up we got some of “I Can’t Keep Up With You” from Gravity Stairs and I was mesmerised by the harmonies. How effortless it all seemed, and so beautiful.
Around this time Neil Finn commented about how nice the temperature was, which was quickly followed by someone else recognising that they, unlike us, were in shade. He asked us if we were hot, which of course we were, standing like lemmings in the Australian sun. Nick Seymour was concerned for our welfare and asked that we be moved closer to the stage into the shade, but we remained steadfast in our spots behind the rope. It was at this time that I heard one of the best lines I’ve heard in ages. Liam Finn said “I can loan you the shadow of Neil for a while”, which sent me into a fit of giggles and others around me laughed. An accomplished musician in his own right, no doubt, but we were certainly reminded at that instant that he shares the stage with his profoundly accomplished father.
On a personal bass-loving note, I was so delighted to be able to watch Nick Seymour for a while. I’m a sucker for a bass guitar at the best of times, but it’s definitely special to see someone you’ve admired for a long time playing with such ease and proficiency, particularly in such an oddly intimate-but-not-even-remotely-intimate setting.
“Now We’re Getting Somewhere” was our next treat. Full song, which is crazy for a soundcheck, I think, and it was bloody great. That song always makes me think of Paul Hester and watching Elroy Finn down the front on the snare was bittersweet and wonderful.
It was just after this that Nick Seymour insisted we be permitted to cross the threshold and move into the shade directly in front of the stage. As we relocated with declarations of thanks Neil Finn looked down at us all and declared that “it’s scary with you all so close”. I don’t doubt it, but we were very grateful not to be further morphing into dancing lobsters.
Rounding out soundcheck was the full version of “Into Temptation”, and what a memorable way to finish. Not a hint of strain in the vocals, and such a clean sound. It really is hard to fathom being so close for such a treat. More applause from us, and then a quick farewell from Neil and the gang and we were done. We made our way back across the Forecourt and the VIP Nation team, always smiling, were there to hand us our VIP merch with instructions, again, on what time to return to ensure the early entry to the venue element was realised.
This is my second time in a month experiencing LNA VIP Nation’s experiences and I’m thoroughly impressed. I realise it isn’t everyone’s cup of tea to spend extra money to have these experiences, and it’s a significant amount of money at that, but for me it’s been a revelation and money well spent. This is one afternoon for the memory banks.
