Gipsy Kings: From Slow Burn to Spanish Fiesta
Six guitars, infectious rhythms and a theatre that couldn't stay seated.
Gipsy Kings by Diego Baliardo | Thebarton Theatre, Adelaide | Saturday 17 October 2026 | A Tu Vera 30th AnniversaryTour
Celebrating the 30th anniversary of their song A Tu Vera (meaning By Your Side), the Gipsy Kings are honouring a musical legacy that continues to span generations. With founding member Diego Baliardo at the helm, they brought their fiery spirit and rich musical tradition to Adelaide.
The Gipsy Kings originated from two musical families in southern France, the Reyes and Baliardos. Today, different family-led groups tour internationally, each keeping their distinctive sound alive. This Adelaide performance featured original rhythm guitarist Diego Baliardo and members of his extended family.
Even before the band appeared, the atmosphere was building. A pre-show video featured a countdown to the performance, family photographs and snippets of their biggest hits. When Volare came through the speakers, the audience enthusiastically joined in. The band hadn't played a note, and already the audience was singing.
Six Guitars, One Unmistakable Sound
Across the front of the stage stood a human wall of six guitarists, an impressive sight in itself. You could sense a family connection through their appearance and the way they interacted. Playing just metres from the audience, they made us feel part of the performance rather than simply watching from our seats.
The guitars were a colourful sight, ranging from deep maroon and red to orange and natural timber. But it was the playing that amazed me. Fingers flew across the strings at incredible speed, some driving the relentless rhythm while others added melodies and flourishes. The stamina was remarkable.
There was also some playful interaction between the guitarists, trading rapid-fire musical phrases as though challenging each other to keep up.
Wearing his distinctive headband, Diego had the quiet presence of a respected family patriarch. Completely at ease, he wandered on and off stage, occasionally sitting to play, seemingly doing things at his own pace.
Early in the performance, something wasn't quite right with his microphone. He glanced towards the side of the stage, pointed it at a sound technician and gave a questioning shrug, as if to say, "What's going on with this?" Then he calmly sauntered away. No words needed, and you sensed the technician would be onto it pretty quickly.
All the singers delivered clear, powerful vocals, sharing a similar tone with a slight rasp. Their voices soared and wailed, giving the music its distinctive character. Behind them, the drummer was all smiles, regularly interacting with the percussionist and bass player. His short solo also went down well with the crowd.
Waiting for the Fuse to Be Lit
Very little English was spoken throughout the night, but it hardly mattered. A few simple phrases, including "Do you want to dance?" and "You like love?" were enough to get the message across.
The concert warmed up steadily. A brilliant solo performance of A Mi Manera (My Way) was an early highlight. The singer's powerful, emotional delivery earned a standing ovation from sections of the audience. Several performers then raised their hands, beckoning everyone to their feet. We happily obliged, although the momentum didn't last. The band seemed keen to keep us standing, even when the slower tempo called for little more than a gentle sway.
Meanwhile, the crowd was itching for those familiar hits. Several songs opened with similar-sounding introductions, prompting puzzled looks as we tried to recognise what was coming. The anticipation was building. All we needed was for the band to light the fuse.
Then came Baila Me. A powerful drum build-up had the musicians and audience chanting "Hey! Hey! Hey!" together. The shackles were off. Hands shot into the air, bodies swayed and people danced in front of their seats. Looking around, it was quite a sight. From the front rows to the back, even up in the balconies, the crowd was on its feet.
The Spanish Fiesta
The band had found another gear. The volume increased, the tempo lifted and punchy horn sounds from the keyboards added another dimension. The driving Latin percussion and sharp rhythmic accents gave the music an extra kick. For a while, it felt like we'd been transported to Spain, right in the middle of a fiesta.
Djobi Djoba kept the party rolling. Bem, Bem, Maria followed soon after, putting smiles on faces across the theatre. The guitars settled into a hypnotic, repeating rhythm as the audience clapped along and enthusiastically sang the chorus.
Then came the unmistakable guitar introduction to the song everyone had been waiting for, Bamboléo. All the singers clapped out the rhythm, encouraging the audience to join in. The crowd erupted into song, belting out the famous chorus with everything they had. Thebarton Theatre had become one enormous singalong. As the song finished, one of the singers called out, "We love you!"
"You want more? What do you like?" asked one of the singers. The answer came with the opening notes of Volare. The familiar vocal introduction drew everyone in, before a deliberate pause left the audience waiting for its cue. Then came the famous "Volare!" chant, sung at full voice across the theatre.
The crowd stomped their feet, demanding an encore. The band obliged with one final song, leaving us wanting more.
Different language. Same joy. One memorable night.
Photography by Kate Needs & Brett Partington
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Hans Zimmer: A Different Kind of Storytelling
A musical genius, world-class performers and an unforgettable celebration of sound and emotion.
Event: Hans Zimmer Live: The Next Level
Venue: Adelaide Entertainment Centre
Date: Thursday 15 October 2026
Hans Zimmer has composed music for some of the biggest movies ever made. The Lion King, Gladiator, The Dark Knight, Inception, Interstellar and Dune. The list goes on.
And here's me, 58 years old, a lifelong musician who'd never seen any of these movies, let alone heard of Hans Zimmer. Most people discover his music through the movies. I wanted to do things in reverse, arriving as a blank canvas, free from expectations. Could the music alone take me on a journey?
Eight rows from the stage, the experiment was about to begin.
What followed was a fully immersive sound experience that kept catching me by surprise. At times, I found myself leaning forward in my seat, mouth open in sheer amazement.
The concert opened with The Dark Knight (Batman). Thunder gave way to a dark, industrial soundscape. Heavy bass and driving rhythms built suspense, with sudden shifts in the music adding to the tension. Towards the end of the piece, without warning, an incredibly deep bass frequency roared through the arena. My chair shook as the vibration surged through me, creating an intense full-body buzz that left me feeling instantly nauseous.
In all my years of experiencing live music, I'd never felt anything quite like it.
Extraordinary Individuals, Performing as One
Japanese electric cellist Mariko Muranaka was impossible to ignore. Her electric cello sparkled under the lights as she sliced her bow across the strings in a frenzy of movement, yet with remarkable precision. She gripped the instrument as though wringing its neck, her waist-length hair whipping around. Fierce, intense and full of attitude.
Guitarist Guthrie Govan was a different character altogether. His long silver-white hair glowed under the stage lights, adding to his enigmatic presence. Hans described him as possibly the world's best guitarist, praising his ability to improvise something new every night. I loved watching Zimmer stand almost face-to-face with Guthrie during his solos, smiling broadly and soaking up every note. He seemed just as captivated as we were.
Slovakian musician Veronika Vitázková impressed with her versatility, switching between flutes, panpipes and an electronic wind instrument that looked like a space-age breathalyser.
Colombian bassist Juan García-Herreros, better known as Snow Owl, had the imposing presence of a warrior, with his long hair adding to the effect. Yet as he drew his bow across the strings of his upright bass, the sound was surprisingly smooth, mellow and perfectly controlled.
On traditional drum kits, Holly Madge and Aicha Djidjelli were perfectly synchronised, right down to their head movements. I noticed that when Zimmer introduced them individually, each stood to acknowledge the audience. They then exchanged a glance before sitting back down on their respective drum stools at precisely the same moment.
Even when they weren't playing, they were in time.
Returning after the interval, Zimmer showed his cheeky, self-deprecating humour. Complaining about the unexpected cold in Australia, he joked that he needed an old man's cardigan, before quickly acknowledging that he was, in fact, an old man himself. Zimmer had a wonderful way of making his musicians feel like the stars of the show. His introductions were filled with warmth, humour and genuine admiration. He celebrated their individuality, giving each performer their moment to shine.
A great musician can command attention. A generous one knows how to give it away.
A Language Beyond Words
Australian vocalist Lisa Gerrard, described by Zimmer as a 'national treasure', has a rare gift. She can move an audience without singing a single recognisable word. As a child, she developed her own vocal language, which she calls the language of the heart. Her father famously defended her unique singing style, encouraging her rather than trying to change it.
She initially turned down Zimmer's invitation to work on Gladiator, reluctant to be associated with another Russell Crowe film. Director Ridley Scott suggested sending her footage of the movie. After watching it, she changed her mind. The rest is history.
Onstage, she was graceful and stately. Her captivating voice needed no translation.
You felt it.
Moments of Wonder
One of the night's most breathtaking performances came during Interstellar, featuring music that began as a love note to Zimmer's son. Vocalist Molly Rogers reached incredibly high notes, using wordless sounds while violinist Alexandra Tirsu matched her pitch with remarkable precision. At times, voice and violin became almost indistinguishable, creating one beautiful sound. Alexandra's gentle side-to-side bow strokes were almost hypnotic. Together, they held the audience spellbound, earning a huge round of applause.
Suspended high above the audience at the back of the arena, aerial performer Nina Treiber shimmered under white spotlights, her sparkling bodysuit transforming her into a human mirrorball. All around me, heads turned to watch. While aerialists often dazzle with speed and daring spins, Nina's performance was all about grace and beauty. Her gentle movements made her appear almost weightless, as though floating through space.
It was stunning.
The charismatic South African vocalist Lebohang Morake, better known as Lebo M, received a huge cheer as he appeared onstage. He's the voice behind the famous opening chant of The Lion King. Having never seen the movie, I had no idea I was watching the man responsible for one of cinema's most recognisable musical moments.
The rich, powerful voices of the Nairobi Chamber Chorus were magical. Their faces radiated joy as they swayed naturally to the rhythms. They seemed to be having the time of their lives, and I couldn't help smiling.
There was so much to take in, but one thing really impressed me... the sound quality. All that musical power was delivered with incredible clarity. The volume of every instrument seemed perfectly balanced. Even with the whole band playing, I could isolate each sound. Nothing competed. Everything complemented.
What stayed with me wasn't just the outstanding performances and visual spectacle. It was the personalities of the musicians, the way they connected with each other and how much Zimmer clearly loved watching them shine. It was a musical rollercoaster. One moment powerful and confronting, the next beautiful and moving. I never knew quite what was coming next.
After a lifetime of playing music, I walked away feeling I'd grown as a musician. That's something I hadn't expected.
I arrived with a blank canvas. Hans Zimmer filled it with sound, emotion and a whole new way of telling stories.
Photography by Brett Partington
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