Uploaded April 2026 | Updated September 2026, 3 minutes ago
In conversation with Australian Musician editor Greg Phillips, Mike Scott offered insight into what fans can expect when The Waterboys return to Australia, reflecting on past visits while outlining a tour shaped by both spontaneity and careful structure.
Scott admits his last Australian run, roughly a decade ago, now feels hazy in the “pre-pandemic fog,” though he recalls it as the beginning of an extensive touring cycle behind Modern Blues, including a memorable performance at the Sydney Opera House. Despite the grandeur of such venues, he says the sense of occasion quickly gives way to practicality once the band steps on stage, with his focus shifting entirely to how best to work the room and connect with the audience.
That connection will be central to the upcoming shows, which are set to be expansive, thoughtfully curated performances. Scott describes setlist construction as both practical and enjoyable, particularly with the challenge of integrating the band's latest release, Life, Death, and Dennis Hopper. Rather than scattering its songs throughout the show, the album, conceived as a narrative-driven concept work, will be performed as a dedicated segment within the set. Drawing inspiration from The Who's presentation of Tommy, the band will open with familiar favourites, segue into a 40-minute passage from the new album, then return to well-known material, creating a dynamic “set within a set” that balances storytelling with audience expectations.
The Waterboys' live approach remains fluid. With no rehearsals planned ahead of the Australian dates, aside from a thorough soundcheck in Perth, Scott describes the band as a “rock and roll machine” after playing around 80 shows last year. Even when setlists remain consistent, performances won't: songs are reshaped nightly, with subtle shifts in arrangement, rhythm, and vocal delivery ensuring each show feels unique.
This adaptability extends to the band's lineup, which Scott says is built on versatility and an elusive “inner musical light” he seeks in collaborators. Instrument-wise, he'll be bringing a selection of distinctive guitars, including his prized Dan Armstrong plexiglass models, long coveted since seeing them played by Keith Richards, alongside newer favourites that have recently dethroned his longtime go-to Gibson Les Paul.
As for pre-show rituals, Scott keeps things simple: a double espresso before stepping on stage. The choice of opening song, he adds, is less about tempo or familiarity and more about spirit and surprise, setting the tone for a performance that prioritises feel over formula.
Bit what what excites him most about returning to Australia is the act of performance itself. Once the jet lag fades, Scott is eager to “get lost in the music,” promising audiences a series of immersive, ever-evolving shows that reflect both the band's storied past and their continued creative momentum.
#australianmusician #thewaterboys #mikescott
In conversation with Australian Musician editor Greg Phillips, Mike Scott offered insight into what fans can expect when The Waterboys return to Australia, reflecting on past visits while outlining a tour shaped by both spontaneity and careful structure.
Scott admits his last Australian run, roughly a decade ago, now feels hazy in the “pre-pandemic fog,” though he recalls it as the beginning of an extensive touring cycle behind Modern Blues, including a memorable performance at the Sydney Opera House. Despite the grandeur of such venues, he says the sense of occasion quickly gives way to practicality once the band steps on stage, with his focus shifting entirely to how best to work the room and connect with the audience.
That connection will be central to the upcoming shows, which are set to be expansive, thoughtfully curated performances. Scott describes setlist construction as both practical and enjoyable, particularly with the challenge of integrating the band's latest release, Life, Death, and Dennis Hopper. Rather than scattering its songs throughout the show, the album, conceived as a narrative-driven concept work, will be performed as a dedicated segment within the set. Drawing inspiration from The Who's presentation of Tommy, the band will open with familiar favourites, segue into a 40-minute passage from the new album, then return to well-known material, creating a dynamic “set within a set” that balances storytelling with audience expectations.
The Waterboys' live approach remains fluid. With no rehearsals planned ahead of the Australian dates, aside from a thorough soundcheck in Perth, Scott describes the band as a “rock and roll machine” after playing around 80 shows last year. Even when setlists remain consistent, performances won't: songs are reshaped nightly, with subtle shifts in arrangement, rhythm, and vocal delivery ensuring each show feels unique.
This adaptability extends to the band's lineup, which Scott says is built on versatility and an elusive “inner musical light” he seeks in collaborators. Instrument-wise, he'll be bringing a selection of distinctive guitars, including his prized Dan Armstrong plexiglass models, long coveted since seeing them played by Keith Richards, alongside newer favourites that have recently dethroned his longtime go-to Gibson Les Paul.
As for pre-show rituals, Scott keeps things simple: a double espresso before stepping on stage. The choice of opening song, he adds, is less about tempo or familiarity and more about spirit and surprise, setting the tone for a performance that prioritises feel over formula.
Bit what what excites him most about returning to Australia is the act of performance itself. Once the jet lag fades, Scott is eager to “get lost in the music,” promising audiences a series of immersive, ever-evolving shows that reflect both the band's storied past and their continued creative momentum.
#australianmusician #thewaterboys #mikescott
