From Melbourne pubs to global radio
The band came out of Melbourne's early 80s new wave, mixing reggae bounce with big pop hooks. Today the project centers on
Colin Hay, the Scottish-born singer who kept the songs alive after the original lineup split and after the passing of
Greg Ham in 2012. Expect a set that leans on the global hits, with
Down Under,
Who Can It Be Now?, and
Overkill anchoring the night. Deeper cuts like
It's a Mistake sometimes surface when the band has room to stretch. The crowd skews mixed-age, from longtime fans who bought the vinyl to younger listeners who found the songs through films and TV, and the mood is relaxed and sing-ready. Trivia note: the famous flute hook in
Down Under sparked a court case tied to the children's tune Kookaburra, and Hay once performed
Overkill on Scrubs in a memorable cameo. You might also hear a short story segment between songs, as Hay is known for dry, funny stage banter. For transparency, any talk of songs and staging here is an informed guess from recent patterns rather than a promise.
The Men At Work Circle: Fans, Memories, and Moments
Retro tees, clear-voiced singalongs
The scene feels friendly and intergenerational, with vintage band shirts, neat button-ups, and the odd bucket hat nodding to the era. People often echo the sax riff from
Who Can It Be Now? between numbers, a goofy warm-up that the players sometimes smile at. During
Down Under, expect a big chorus singalong and a few flags or scarves held aloft, more celebratory than rowdy. Merch leans classic: bold 80s fonts, tour-style back prints, and a poster featuring simple line art rather than flashy collage. You will hear fans swap memories of first gigs in pubs, but they also trade podcast and playlist tips for where these songs pop up in modern shows. The vibe is polite, lyric-focused, and a touch nostalgic, with people listening closely in the verses and opening up on the refrains.
Men At Work, Built On Groove and Voice
Tight rhythms, air in the mix
The band keeps grooves springy and leaves space for
Colin Hay's grainy tenor to sit clear on top. Guitars favor crisp, chorused cleans for the skank parts, while the rhythm section nudges tempos just enough to feel lively without rushing. Sax and keys split the classic lines, with a keyboard patch covering the old flute parts so the melody still dances above the beat. On ballads like
Overkill, they often drop the key a step and bring the drums down to brushes or light sticks, letting the lyric sit closer and older. The band likes short tags and call-and-response codas rather than long jams, which keeps the focus on song architecture. A small but telling detail: the verses of
Who Can It Be Now? are sometimes phrased looser live, with extra breath between lines to build tension before the horn hit. Visuals tend to be warm-color washes and clean backline lighting that frame faces and hands rather than chase effects. It is music-first, with dynamics carrying the drama more than staging tricks.
Who Can It Be If Not Men At Work?
Sharp hooks, clean groove kin
Fans of
The Police often click with this show because both lean on tight, reggae-tinged rhythm guitars and nimble bass lines.
Crowded House appeals to the same listeners who like smart melodies and wry stage humor, plus a shared Trans-Tasman pop sensibility. If you enjoy
Toto, you will recognize polished musicianship and radio-ready choruses that still feel band-driven.
Tears for Fears overlaps through 80s craft, singalong refrains, and shows that pace ballads against punchy singles. These bands prize clarity over volume, much like this set. They also balance nostalgia with fresh players, which mirrors how this lineup keeps the songs agile. Expect fans who trade stories about first hearing a hook on FM radio and then compare how the live versions breathe.
