Adelaide’s Greatest Showman & His Flaming Sambucas Ignite the Capri With Elton John Classics
Adelaide’s Greatest Showman Terry Nicholas Performing Elton John Hits At The Capri Theatre
REVIEW
There could hardly have been a more fitting setting for a journey through the music, colour and extraordinary life of Elton John than Adelaide’s beautiful Capri Theatre.
From the moment we settled into our seats, it became apparent that Flaming Sambucas had created much more than a collection of Elton John hits. This was a seated visual and musical experience combining live singing and dancing, spectacular costumes, video footage and imagery from across Elton’s career, along with narration from Terry Nicholas that took us back through the decades. And it didn’t take long for the audience to become part of the action either.
During 'Club at the End of the Street', a familiar face to Limelight SA, Claudio from Cas & Nori's Dancing with an Italian segment on 87.6FM , was invited onto the Capri stage along with fellow audience member Paul to dance alongside vocalists Anna and Katrina. It was spontaneous, hugely entertaining and one of those wonderfully unexpected moments that makes live entertainment so much fun. Claudio certainly embraced his unexpected moment in the limelight!
From there, Flaming Sambucas continued to take us on a journey through the music, flamboyance & fascinating story of Elton John.
Terry Nicholas – Piano, Vocals & Narration
At the centre of the production was Terry Nicholas, who proved himself a true performer. Moving effortlessly between piano, vocals and narration, Terry covered Elton John’s vocals with ease, while his piano playing and performance worked in wonderful synchronicity.
But it was Terry’s ability to tell the story as well as perform the music that gave the show another level of intrigue.
Throughout the evening, he shared stories from Elton’s life and career, including his remarkable songwriting partnership with Bernie Taupin and also his connection with John Lennon. These moments gave us an insight into the man behind songs that have become part of the soundtrack to so many lives.
And then there were the costumes!
The costume changes were spectacular and added enormously to the visual experience. Each new look brought another splash of Elton’s trademark flamboyance to the Capri stage and made you wonder what Terry might emerge wearing next. He certainly wasn’t content to remain politely seated behind the piano either. At one point, the piano stool went flying as Terry kicked it behind him & continued to play standing up - a wonderfully theatrical moment that captured the energy and showmanship of the evening. He then proceeded to climb on top of his piano & set yet another scene in his fabulous box of tricks.
Terry Nicholas – Piano, Vocals & Narration
Katrina Quigley & Anna Kotlova – Vocals
Anna and Katrina were an integral part of the performance, bringing their own glamour, movement and beautiful vocals to the stage.
Their voices were stunning - at times almost angelic - and complemented Terry’s vocals beautifully. Their harmonies added another dimension to the music, while their dancing and interaction brought plenty of personality and visual energy to the production. One of the things I particularly enjoyed was watching the connection between the performers. There was a genuine warmth between them, with little smiles and interactions throughout the show revealing a group of musicians who clearly enjoy performing together.
Katrina Quigley & Anna Kotlova – Vocals
Jamie Kuijpers – Guitar
While the piano understandably commands plenty of attention in an Elton John tribute, Jamie Kuijpers’ guitar work was an important part of recreating the sound and energy of these much-loved songs. Jamie brought colour and drive to the bigger numbers while also knowing when to step back and allow the vocals and piano their moment. It was another example of the balance between the musicians that worked so well throughout the evening.
Jamie Kuijpers – Guitar
Paul Angas – Drums
Providing the heartbeat behind the show was Paul on drums. From the quieter storytelling moments through to the songs that had the audience singing along, Paul provided the foundation that allowed the music to move seamlessly between moods. Together, Jamie and Paul gave Terry, Anna and Katrina a strong musical platform out front, and watching all five performers interact was one of the real pleasures of the evening.
Paul Angas – Drums
The Songs That Stayed With Me
With a catalogue as extraordinary as Elton John’s, there were always going to be songs that triggered memories and others that simply made it impossible not to join in.
One of the biggest singalong moments of the evening came with ‘Don’t Go Breaking My Heart’, performed by Terry and Katrina. It was joyful, familiar and exactly the sort of song that makes you realise just how deeply Elton John’s music has become woven into popular culture.
For me personally, though, it was ‘Imagine’ that delivered the goosebumps.
Sometimes it’s the songs we have heard hundreds of times that, in the right setting and performed with genuine feeling, suddenly stop us in our tracks. Sitting inside the beautiful Capri Theatre listening to those familiar words and melody was one of those moments for me.
More Than the Music.
The large screen behind the performers added another layer to the experience, with imagery and video taking us back through Elton John’s career while Terry’s narration filled in pieces of the story.
Combined with the costumes, choreography, lighting and live music, it meant there was always something to watch as well as hear.
But perhaps one of my favourite parts of the evening happened after the final song. Rather than simply disappearing backstage, members of Flaming Sambucas made their way into the Capri foyer and mingled with guests.
I particularly enjoyed having the opportunity to meet and chat with the performers after the show. They generously shared their time amongst audience members for conversations and photographs, and after watching all that sparkle, flamboyance and showmanship on stage, it was lovely to meet the people behind the performance.
Flaming Sambucas Performing Elton John Tribute At The Beautiful Capri Theatre
For me, that is often what makes live entertainment memorable.
It isn’t only the songs we hear or the performances we watch. It’s the people, the atmosphere, the unexpected moments and the connections that happen along the way.
Flaming Sambucas delivered plenty of Elton John sparkle at the Capri Theatre, but underneath the costumes, glasses and theatricality was something even more important - five talented performers whose passion for the music and enjoyment of performing together shone through.
And judging by the smiles, singing and applause around the theatre, the audience was more than happy to come along for the ride.
The Limelight SA verdict ★★★★★ 5/5 - a not to be missed, sensational musical & visual extravaganza!
Flaming Sambucas Performing Elton John Tribute At The Beautiful Capri Theatre
Are you ready to be entertained? Stay tuned for Flaming Sambucas next Elton John & ABBA shows via their gig guide below:
Photography credit: Kate Needs
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Patrick James proves sometimes less really is more
An intimate afternoon of songs, stories and genuine connection at Mount Barker Town Hall
There was something wonderfully uncomplicated about Patrick James’ afternoon performance at the Mount Barker Town Hall.
Another reason I chose to attend Patrick James’ performance was my own connection to the Adelaide Hills. I spent much of my childhood alongside my father and brother, visiting country pubs and town halls throughout the Hills at barn dances.
Walking into the Mount Barker Town Hall and experiencing live music in that setting took me straight back to those days. There’s something special about music in a country hall - the history, the familiarity and, above all, the sense of community.
Patrick’s intimate performance was a timely reminder that these venues are about so much more than the music; they’re places where people come together, connect and create memories
No elaborate production. No huge band. No theatrics.
Just one musician, a guitar, a keyboard, a beautiful old hall - and a room full of people prepared to stop for 90 minutes and listen.
And somehow, that was more than enough.
Australian singer-songwriter Patrick James brought his intimate live show to Mount Barker on Sunday, 9 August, performing two shows at the historic Town Hall after the first sold out so quickly that another performance was added.
Patrick told the audience how much he loved Mount Barker - and judging by the response from the Hills crowd, the feeling appeared to be mutual.
From the moment he stepped onto the simply lit stage, the afternoon had an easy, almost conversational quality. Moving between guitar and keyboard, Patrick shared his music along with stories and plenty of gentle humour.
He was humble, engaging and had a natural ability to communicate with his audience without anything feeling rehearsed or forced.
One story in particular captured his understated sense of humour.
Patrick recalled visiting a local coffee shop earlier that day, where the barista casually asked if he was enjoying his day. Patrick mentioned he was spending it in Mount Barker and returned the question, asking what the barista had planned.
The answer? He might go to a concert later that day.
As it happened, it was Patrick’s concert.
It was one of those little stories that had the room laughing and perfectly summed up the relaxed nature of the afternoon.
But Patrick didn’t restrict the performance to the stage.
At one point, guitar in hand, he stepped down and made his way into the audience to share a song from amongst the crowd. Suddenly the distinction between performer and audience all but disappeared.
Later, towards the end of the show, he joined us in the hall once again, this time sitting at the piano to play a piece surrounded by his audience.
Those moments transformed what could easily have been a conventional singer-songwriter performance into something much more personal.
The historic Mount Barker Town Hall proved an ideal setting. The old-fashioned character of the room, the audience gathered closely together and the warm lighting along the edge of the stage created an atmosphere that felt almost like a private performance.
Patrick’s stripped-back format allowed his voice, lyrics and musicianship to take centre stage. There was no rush and no sense that the show needed to be bigger than it was. Instead, the songs and the stories surrounding them were simply given room to breathe.
Perhaps the best indication of Patrick’s connection with his audience came after the final song.
Rather than disappearing backstage, he made his way to a table near the entrance of the hall, where he stayed to chat with audience members, sign CDs and happily pose for selfies.
It was a fitting end to an afternoon that had been built around connection from the beginning.
In an era when live entertainment can sometimes feel like a competition to be louder, brighter and bigger, Patrick James offered a reminder of just how powerful the opposite can be.
A musician.
A room.
A collection of songs and stories.
And an audience genuinely listening.
Laid-back, intimate and refreshingly genuine, Patrick James at Mount Barker Town Hall was a lovely way to spend a Sunday afternoon - made all the more memorable by an artist who seemed every bit as happy to meet his audience as they were to meet him.
Limelight SA attended Patrick James - Live in Concert at Mount Barker Town Hall, Sunday 9 August 2026.
Photo/Video Credit: Kate Needs
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Huxton Creepers Turn Back The Clock At The Croxton
Cult Melbourne band the Huxton Creepers built a loyal following in the ’80s and are back on the road celebrating four decades since the release of their debut album, 12 Days to Paris.
Photo Credit: Brett Partington
GIG REVIEW - Huxton Creepers | The Croxton Bandroom, VIC | 8/8/26
Along with The Stems, Hoodoo Gurus and Sunnyboys, they were part of the soundtrack for a generation of young Australian music fans and aspiring musos. They had charisma, those crunchy ’60s-style guitars and, most importantly, great hair.
Rob Craw had the long blond frontman hair, Arch Law cut his own path rocking an impressive red Afro, while Paul Thomas and Matthew Eddy, with their classic rockstar locks, bookended the stage. Although some of the hair has gone, baldness now appears to be very much in fashion for Craw and Law.
Nearly 40 years later, I'd made the trek from Adelaide to Melbourne to see them again - this time at the Croxton Bandroom.
The Croxton was bigger than I expected - a perfect venue for bands, with its wide stage and red paisley-style carpet giving it an almost theatrical feel. The room was filled with musos and loyal punters who'd been following bands like this for decades. Denim, leather and even the occasional suit jacket were on display.
The gig-savvy among them had already spotted the wide carpeted steps to the left of the stage and claimed the best seats in the house. The safety barrier up front, presumably designed for younger, wilder crowds, had found a new purpose - a place to hang jackets and safely double-park Jim Beam and Cola cans.
The Icecream Hands warmed the room with a punchy set of familiar favourites, driven by clean, jangly guitars and strong vocal melodies. Frontman Charles Jenkins made sure we knew they had new music available - and that they'd be signing merch afterwards. He may have mentioned it more than once.
Fair enough too. Playing live isn't necessarily the payday people imagine these days, and the merch table matters.
Before the Creepers started, I spotted Arch Law in the crowd and wandered over to introduce myself. Being a fellow drummer, I figured he'd probably be up for a chat - we're usually the last blokes anyone talks to.
I was right.
Arch couldn't have been more approachable. What I thought might be a quick exchange turned into an easy conversation, including why Adelaide hadn't made the tour schedule.
As showtime approached, Rob Craw was on his knees at the front of the stage checking his guitar pedals.
Old-school attention to detail.
Then it was time for the music. The premise was simple - 12 Days to Paris, played from beginning to end.
The Murderess opened proceedings before Autumn Leaves arrived and the handbrake was off. This was the Creepers I remembered - gritty guitars, rough edges and great melodies. The stage lighting was superb and the band sounded full, loud and raw - just the way we like it.
I'd planted myself in the second row. At 6'2", it probably wasn't the most considerate place for me to stand. But I'd come all this way, wanted the photos and had claimed my spot.
Bugger it - I wasn't moving.
From that close, you notice the stuff you miss from the back of the room. New guitarist Julian Matthews, who stepped in for Paul Thomas for this anniversary tour, regularly exchanged glances with Craw as they quietly cued each other through starts and endings.
There was a neat crossover too. Matthews also plays bass with The Stems - a fitting link between two bands from that same great era of Australian guitar music.
One of the early songs had a shaky beginning and was quickly restarted. Nobody cared. These were long-time followers hearing songs that had been part of their lives for decades. Perfection wasn't the point.
Soon after, the night's worst-kept secret arrived - the Flamin' Groovies' Shake Some Action, a “surprise” accidentally leaked during a radio interview. Slotted into the middle of the album running order, it broke things up nicely and was a natural fit for the Creepers' garage-rock roots.
King of the Road was a standout - gritty guitar chug, big chorus and pure Creepers drive.
They closed 12 Days to Paris with I Will Persuade You, one of their best anthemic numbers. You don't really listen to this one live. You join in. And the Croxton faithful did, “whoa-ohs” and all.
New single Opposites Attract proved this wasn't purely a nostalgia lap - snarly guitar, grungy edges and another hooky chorus.
They're not just playing their past. They're still adding to it.
By late in the night, Craw's voice was beginning to struggle. There was no white flag. The mood seemed pretty simple: “We'll deal with my voice in the morning.”
They still returned for four encore songs. Matthew Eddy stepped up for his only lead vocal of the night on Stop Your Sobbing and did a cracking job. It may have given Craw's throat a brief respite, but he couldn't help himself - joining Eddy on the harmonies, raspy voice and all.
By the time the house lights came up, my ears were ringing. Exactly how a Huxton Creepers gig should leave you.
They still had the ingredients that made them such a compelling band in the first place.
Crunchy guitars. Big melodies. Solid drums.
Some combinations never get old.
Photo Credits: Brett Partington
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'Vintage Cheese' Causes Chaos on the Coast
Vintage Cheese & The Cheesettes
The debut gig nobody quite saw coming.
If you wandered into the Brighton & Seacliff Yacht Club on Sunday afternoon expecting another cover band playing a few pub classics, you were in for a rude shock.
Within minutes, it was obvious this wasn't going to be one of those days.
Adelaide band 'Vintage Cheese' had been quietly building a cult-like following, promising to play long-forgotten cheesy classics that most bands would be too embarrassed to touch.
The gig had sold out seven weeks before, and by the time the band went on stage, more than 250 people (including those gathered on the outdoor deck) had packed the venue.
Heads turned.
Nobody quite knew what was coming next.
An Elvis-style fanfare thundered through the room with all the grandeur of a Las Vegas residency. For a brief moment, you could almost imagine The King himself was about to appear.
Instead, out walked six middle-aged blokes calling themselves Vintage Cheese, dressed with complete disregard for fashion.
They opened the set with one of the cheesiest songs ever recorded.
Beautiful Sunday. (On a Sunday!)
Ridiculous... yet perfect.
The room smiled back.
This wasn't just a concert.
It was three hours of people forgetting how old they were, letting loose and having a bloody good time.
To be fair, nobody acted their age.
Leading the charge were three glamorous women in sparkly gold dresses known simply as 'The Cheesettes' - Vintage Cheese's own party starters.
They didn't wait for someone else to start dancing.
They were the start.
Carrying oversized glass bowls overflowing with Cheezels, they handed them to complete strangers like edible badges of honour.
Nobody questioned it.
Nobody wanted to.
At the centre of all the mayhem was Pete, the band's showman.
Arms permanently outstretched, long black locks flowing, his shimmery black shirt catching the afternoon sun, and a permanent cheesy grin, he bellowed out each song with the confidence of a seasoned cabaret performer.
He wasn't just singing.
He was inviting everyone into the show.
Then came something most bands can only dream of.
Within the opening eight songs, a huge conga line had formed.
It snaked through the room, onto the balcony and back again as complete strangers placed their hands on the shoulders of the person in front, going wild without a care in the world.
They simply went with it.
One older woman joined the conga line, wine glass still in hand, gently steadied by her two grandsons as they laughed their way around the room together.
Moments like that were happening everywhere.
As if on cue, the weather joined the party.
The overcast morning gave way to a spectacular Adelaide winter afternoon, with sunshine pouring across the yacht club for most of the day.
Then all hell broke loose.
Yellow balloons bounced across the dance floor as a modified cordless leaf blower launched entire toilet rolls high into the air.
Everyone laughed.
Many ducked.
Before long, the dance floor was covered in a tangled web of white paper, with people trying to untangle themselves.
Absolute chaos.
Wonderful chaos.
One of the more unusual sights was how many phones were held high...not just to film the band, but to capture the fun unfolding all around them.
The crowd had become part of the show.
Music became the excuse for connection. Conversations flowed as though everyone had known each other for years. Before long, entire sections of the room were singing together, not because everyone knew every lyric, but because everyone wanted to be part of it.
The dance floor remained packed from the first set to the last.
Nobody wanted the day to end.
For a few hours at least, strangers became friends.
As the gig drew to a close, a stunning winter sunset lit up the sky.
It was the perfect backdrop to an experience that had delivered far more than anyone expected.
Walking out of the club, one thing was obvious.
Vintage Cheese hadn't come to impress the crowd.
They'd come to involve them.
Not in a cool way... Just Fun!
Venus - Crowd Favourite
Brown Eyed Girl - Ska Style
Conga Line Kicks Off….
Country Roads- Classic!
Photography: Kate Needs & Ruth Steer
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