Sparks proved at Melbourne’s Palais Theatre on 28 May 2026 that great live music does not require giant video screens, elaborate stage sets or theatrical props. With five musicians on stage, standard concert lighting and a catalogue stretching back more than 50 years, brothers Ron and Russell Mael delivered a riveting 100-minute performance that demonstrated how enduring songs and committed musicianship remain the most powerful tools in live entertainment.
by Paul Cashmere
This was Sparks’ third visit to Australia, following their first tour in 2001 and their long-awaited return in 2023 after a 22-year absence. Just three years later, the Los Angeles duo were back, arriving fresh from the European leg of their Mad! world tour and presenting a set that balanced new material with key moments from their extensive catalogue.
The enthusiasm inside the Palais reflected the unique relationship Sparks have built with Australian audiences over 28 albums and the previous two tours. Some fans first discovered the band during their quirky 1970s video ‘This Town Ain’t Big Enough For Both Of Us’, also a highlight of this show. Younger people in the audience where there because of more recent projects including the documentary The Sparks Brothers and the film Annette. The result was a multi-generational audience united by admiration for one of popular music’s most singular acts.
The performance began with So May We Start from the 2021 Annette soundtrack, immediately establishing the theatricality that has long defined Sparks. Ron Mael took his place behind the synthesiser with his trademark deadpan expression while Russell Mael bounded across the stage with seemingly limitless energy.
Backed by guitarist Eli Pearl, bassist Max Whipple and drummer Darren Weiss, Sparks delivered a set that highlighted how effectively their songs translate to the stage. Studio recordings often accentuate the duo’s eccentricities, but in concert the strength of the songwriting becomes unmistakable. Songs such as Reinforcements, Sherlock Holmes and Mickey Mouse revealed layers of craftsmanship beneath the wit.
The newer material sat comfortably alongside the classics. Do Things My Own Way, Running Up a Tab at the Hotel for the Fab, JanSport Backpack and My Devotion demonstrated that Sparks remain creatively active more than five decades after their debut. Rather than sounding like legacy act obligations, the recent songs felt fully integrated into the show’s narrative.
A particular highlight came with Ron Mael stepping away from his keyboard for Let’s Get Funky (Ron Version), delivering his understated vocal performance and deliberately awkward dance moves that have become a fan favourite. The crowd responded enthusiastically, as they did throughout the evening whenever the usually deadpan Ron broke character.
Musically, the concert constantly shifted gears. The electronic pulse of Beat the Clock recalled Sparks’ influential collaboration with producer Giorgio Moroder. Music That You Can Dance To transformed the Palais into a dance floor, while Porcupine offered a glimpse of the band’s newest material from the 2025 MADDER EP.
The set reached its peak with three of the band’s most celebrated songs arriving in succession. When Do I Get to Sing “My Way” prompted a venue-wide singalong before The Number One Song in Heaven pushed the energy even higher. By the time Sparks launched into This Town Ain’t Big Enough for Both of Us, the audience was fully engaged. More than 50 years after its release, the song remains one of the most distinctive singles in rock history, and its dramatic delivery remains remarkably powerful in a live setting.
One of the most impressive aspects of the evening was its simplicity. There were no distractions from the music. No video content competed for attention. No elaborate production attempted to compensate for shortcomings elsewhere. Instead, the focus remained entirely on the performers and the songs. It was a textbook example of how a live show can succeed through performance, repertoire and audience connection rather than technical spectacle.
The encore reinforced that approach. (Baby, Baby) Can I Invade Your Country carried fresh relevance in an increasingly uncertain geopolitical climate, while Russell alluded to the The Girl Is Crying in Her Latte video, featuring Melbourne’s own Hollywood star Cate Blanchett, who he said they did reach out to, to see if she was home on Melbourne but unfortunately she was in another hemisphere working.
The evening concluded with more recent 2020 track All That, providing a communal and reflective finale before the Mael brothers returned centre stage to accept an extended standing ovation.
At an age when many artists have long since retired, Sparks continue to tour with energy, precision and purpose. The Melbourne performance confirmed that the band remains not only relevant but creatively vital. More importantly, it served as a reminder that the fundamentals of live music have not changed. Great songs, talented musicians and genuine audience connection remain the foundation of every memorable concert.
Setlist
So May We Start (Annette soundtrack, 2021)
Do Things My Own Way (Mad, 2025)
Reinforcements (Propaganda, 1974)
Sherlock Holmes (Angst In My Pants, 1982)
Beat The Clock (No. 1 In Heaven, 1979)
Mickey Mouse (Angst In My Pants, 1982)
Running Up A Tab At The Hotel For The Fab (Mad, 2025)
Let’s Get Funky (Ron Version) (Music That You Can Dance To, 1986)
Porcupine (MADDER EP, 2025)
A Walk Down Memory Lane (Interior Design, 1988)
JanSport Backpack (Mad, 2025)
Music That You Can Dance To (Music That You Can Dance To, 1986)
When Do I Get To Sing “My Way” (Gratuitous Sax & Senseless Violins, 1994)
The Number One Song In Heaven (No. 1 In Heaven, 1979)
This Town Ain’t Big Enough For Both Of Us (Kimono My House, 1974)
Whippings And Apologies (A Woofer In Tweeter’s Clothing, 1972)
My Devotion (Mad, 2025)
Encore:
(Baby, Baby) Can I Invade Your Country (Hello Young Lovers, 2006)
The Girl Is Crying In Her Latte (The Girl Is Crying In Her Latte, 2023)
All That (A Steady Drip, Drip, Drip, 2020)
Watch the Ron Mael Noise11 interview:
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