Emily Williams and Greg Gould teamed up on Saturday night to celebrate the music of Whitney Houston and George Michael taking the audience at the Ellington Jazz Club back to the 80s and 90s.
Williams took to the stage first to deliver some impressive renditions of songs made famous by Whitney Houston. The Gospel According to George & Whitney certainly leaned into the gospel element.
Dressed in a vivid orange suit, glasses and her hair piled high, Williams opened with I’m Every Woman, the Chaka Khan song that Houston recorded for her top selling soundtrack for The Bodyguard. Williams is close to the work having played the lead role in the musical version of the story in London’s West End.
The intimacy of The Ellington Jazz Club allowed us to experience one of Australia’s best vocalist up close and personal. Having first come to attention on Australia Idol, and then delivered party vibes as a member of Young Divas, before moving into the realm of musical theatre, Williams showed that she has some serious vocal ability – give the woman a record contract ASAP.
Backed by a four piece band, and two impressive backing vocalists, Williams worked her way through a series of songs recorded by Houston, but it was selection of songs that carefully balanced the expected with the slightly leftfield.
Big hits like How Will I Know, Saving All My Love For You, and a flawless delivery of I Will Always Love You, were interspersed with I’ll Be Your Baby Tonight, the reggae tinged My Love Is Your Love, and Houston’s cover of Steve Winwood’s Higher Love – a posthumous hit.
There is slight overlap in the world’s of Whitney Houston and George Michael, they recorded just one song together, a version of Houston’s tune If I Told You That. They performed the song live in New York back in 2000. Greg Gould joined Williams on stage for the rendition of the tune.
While the Venn diagram of the two artists work might only seem to have a slight overlap, there’s a lot in common about George Michael and Whitney Houston. Both were massive artists in the 1980s with undeniable talent, both later had struggles with mental health and substance abuse, they both kept their sexuality hidden for large parts of their lives, tragically both died too young, but most importantly they were inspired by the same kinds of music.
Throughout her career Houston cited Aretha Franklin as a major influence, and she often covered some of Houston’s hits. George Michael recorded with Houston, and had a penchant for singing Stevie Wonder songs, he recorded several of Wonder’s compositions and performed others in his live shows.
Gould’s half of the show saw him singing songs written by George Michael and songs by other artists that Michael recorded. Freedom 90, Father Figure and the rockabilly Faith allowed Gould to show off his vocal skills.
Fastlove got people up and dancing, and while someone in the crowd shouted out for I Want Your Sex – alas it wasn’t on the planned set list. A tender moment came with a rendition of the Bonnie Raitt tune I Can’t Make You Love Me, which Michael recorded and released as a b-side.
Gould also got to recreate his Australia’s Got Talent final moment with a rendition of the Anthony Newley classic Feelin’ Good. Michael recorded both a studio and a live version of the song. A powerful rendition of I Knew You Were Waiting For Mei saw Gould equally matched in vocal talent by backing singer Carrie Fischer.
Gould’s voice is very different to George Michael’s, he’s more expressive, grittier, and i found myself thinking of singer’s like Joe Cocker and Renee Geyer who plunged deeper depth of soul sounds. Listening to Gould sing these well known and much loved songs revealed new elements of each tune.
Williams rejoined Gould on stage for a final party, an enthusiastic delivery of Step By Step, the Annie Lennox song Houston covered for the soundtrack to her film The Preacher’s Wife.
The finale was a rousing rendition of I Wanna Dance With Somebody (Who Loves Me), which got the crowd on their feet for a final hurrah.
