The Australian Bee Gees Show

A frisson of excitement not felt since the rocking abs and blue derrières of the “Thunder From Down Under” troupe came to Vegas – only this kind of buzz is for a very different kind of rock and blues. It's 2011 and three sopranos set to reignite the dynamism of three pop siblings (known best as the “Gibb brothers”) have just announced the bombshell that the Bee Gees are back – set to play the Excalibur Hotel on an open-ended run. Yet another daring production in a show littered with tribute acts?

Funnily enough, these guys aren't plugging their debut. Michael Clift, Wayne Hosking and David Scott have been hitting the high “C” since 1996 as the lead characters in “The Australian Bee Gees Show” - a production intended to bring the legacy of the Bee Gees, to the attention of a new generation. Former bassist to the likes of Ben Elton, Ronan Keating and Shania Twain, Tony Richards is considered the jewel in the crown of “The Australian Bee Gees Show”, credited with much of the musical arrangement and multimedia work. Ex “Australian Eagles – The Show” percussionist Mike Mitchell serves as the beat-smith and provides the deeper harmonizing backing vocals for ballad tracks. “Australian Bee Gees” is brought together by director Adam Steck - a respected promoter of international acts and shows, which have included Bob Dylan, Crosby Stills and Nash and “Frank Marino's Divas Las Vegas”.

Flanked by three video screens and a plethora of inconspicuous monster amps, the evening stage is mostly bare, save for the spectacular beam-down spotlights, criss-cross up-lighting and a couple of disco lasers. It's evident that the “Australian Bee Gees” rely on little in the way of gimmicky props or glittering backdrops, since it's very concept relies upon multimedia. It's a move that true fans will find separates the caliber of the “Australian Bee Gees” from other tribute acts, and key proof their in it to do justice to a legacy, rather than pull a copycat act.
Throughout the show, the real Bee Gees are projected onto HD video screens, following their career through early venues and festivals, to international awards ceremonies such as the B.M.I Icons in 2007. Little is needed in the way of narrative, although the on-stage Bee Gees keep up the momentum with brotherly banter between songs like “I Can't See Nobody” and “Nights on Broadway”. I say brotherly, yet it's hard to believe these guys aren't related. Such is the nature of their easy-going chemistry and natural harmonies that they seem to exude that same familial bond that defined the original Bee Gees – and they don't even realize it! Then again, they have been on the road together for 15 years – so it should come as no great surprise.

For anyone expecting the teetering platforms and outrageous flares synonymous with 1960's Manchester fashion, don't dress yourself up in anticipation! With a similar ideology that influenced the minimal stage set-up, the “Australian Bee Gees” opted out of the full persona transformation, believing it would detract from the vocal tribute. Instead Scott, Hosking and Clift settled for the black suits and leather jackets of the later Bee Gee years, which combined with their natural resemblance to the stars, is sufficient. In true Bee Gees style, the lads spark ripples of excitement with a few teasing chords from “You Should Be Dancing”, occasionally rotated with the breathy “Jive Talking”. Both set the tone for the next few numbers, which don't seem all that set in stone as the Australian Bee Gees confer amongst themselves – then with the audience. In effect, everyone gets a chance to give some sway to proceedings, although it's a unanimous verdict if “Night Fever” or “Stayin' Alive” are among the choices.

With vocals like these, it may well have been enough for “Robin”, “Maurice” and “Barry” to sing along to a simple backing track, but half the reason they've been invited to over 40 countries worldwide is because they made it live. Mike Mitchell and Tony Richards provide the basal noise, upon which Clift and Hosking build their riffs, rhythms and complexities. The end result is a true to original sound, that rarely oversteps the mark of being unbearably loud – unless you count the disco classics, for which a corner of the theater has been especially designated the disco dance-floor!