Review: Twenty Sixteen
Gluttony – The Fantail
Tuesday 24 February 2026

Twenty Sixteen is more than a nostalgic glance at the legends we lost — it is a musical diary of life.

On an early Tuesday evening, a near-full house was treated to over an hour of some of the finest music from the past 50 years. Musical Director Ben Todd (Adelaide-born drummer extraordinaire) has masterfully assembled an exceptional lineup of musicians to deliver a tribute worthy of high praise.

The show opens with a slightly unusual rap-styled Leonard Cohen monologue that momentarily leaves you wondering where it’s headed. But once the music kicks in, there’s no stopping this train of delight.

This musical time machine journeys through the catalogue of lost greats including David Bowie, Prince, George Michael, Glenn Frey, Maurice White, Sharon Jones, Leon Russell, and Rick Parfitt of Status Quo.

You might expect “just a cover band,” but this production is far more than that. The vocal talent is outstanding, featuring Dusty Stephensen, Kylie Auldist, Jaron Jay, and Nick James Jeffries (vocals and sax). They are supported by Jack Strempel (keys), Flik Freeman (bass), Harrison Smith (trumpet/flugelhorn/keys), and Musical Director Ben Todd on drums, whose precision and musicality perfectly anchored the band throughout the performance.

Directed by Zac Tyler with writing by Amelia Ryan, the show delivers hit after hit with seamless pacing. Standout moments included Auldist’s powerful rendition of Hallelujah, the tight harmonies throughout Maurice White’s - Earth, Wind & Fire tribute. Dusty Stephensen wrapped himself effortlessly around Bowie’s catalogue and beyond, while Jaron Jay paid fitting homage to Prince, reminding us how much modern artists owe to the Purple One.

For me, the highlight was Nick Jeffries’ version of Leon Russell’s “A Song for You.” This beautifully stripped-back performance, showcasing Jeffries’ vocal range, tone, and emotional depth whilst featuring a haunting flugelhorn solo from Harrison Smith,.
Crowd favourites flowed one into the next, tied together with just enough dialogue to keep the audience fully engaged. The daylight setting slightly softened the atmosphere — blue skies replacing what might have been a more dramatic evening backdrop — but the venue was comfortable, sightlines were excellent, and the sound production just superb.

The up-dancing version of Status Quo’s “Rockin' All Over the World.” transformed the venue into a celebration, with the audience clapping, swaying, dancing and embracing the rock spirit that made the original an anthem. It was a perfect reminder that this production honours not only the artists we lost, but the sheer fun and vitality of their music.

While new in name, the show carries a familiar spirit from the team’s previous success, 27 Club. Twenty Sixteen is poised to be one of the musical highlights of Fringe 2026. It compresses a lifetime of iconic music into just over an hour of unforgettable performance.

As I left the arena, I was reminded not only of the brilliance of the artists honoured but also of the dedication of productions like this that ensure their legacy lives on.

Twenty Sixteen is absolutely worth the price of admission and would be a strong contender for Best Musical Production at Fringe 2026 — should such an award exist.
Book your tickets now for this toe-tapping, sing-along, up-dancing parade of hits.

⭐️⭐️⭐️⭐️⭐️
5 Stars
Stephen Foenander
For Adelaide Review Team