Christopher Mark Murphy

The story of one of the greatest live concerts ever filmed, with interviews with band members Jon Farriss and Kirk Pengilly, plus never-before-seen backstage moments.

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It was 40 years ago this year that INXS first came together, which – make no mistake about it – is an impressive anniversary and one worth celebrating. 20 years ago this year, another event took place that won’t soon be forgotten: Michael Hutchence died at the age of 37. These two moments in INXS history are bookended by the anniversary of the greatest commercial success in the band’s career: the release of KICK, an album which has, over the course of the intervening 30 years, gone platinum three times over in the UK, six times over in America, and seven times over in Australia.

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This is a story about music you were never meant to hear - for years I had wondered what has happened to the sons and daughters of the great Cuban musicians and singers. Then in 2002, I was approached by an Australian musician who asked if I was interested in new Cuban music.. he told me to go over the world map that hangs in my office and have a look at Cuba. Down the bottom, you will see a little town, Santiago de Cuba That's where it happens.

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INXS fans can rejoice over the release of this buoyant concert film, shot during an ecstatic performance before 72,000 hopping fans in London's Wembley Stadium on 13 July, 1991. The Australian band's vocalist, the late Michael Hutchence, is at his feral-romantic best, stalking and swiveling his way through an energized set of welterweight pop. The show starts with a big, boomy "Guns In The Sky", takes a turn toward unexpected soulfulness with "New Sensation" and spreads the wealth with a sharp set of ballads and rockers. Hutchence has fun with a naughty "Know The Difference", plays around with a Jagger-esque take on confessional soul in "The Loved One" and milks "Never Tear Us Apart" for all it's worth. The band sounds more muscular than they did in the studio, hard-charging and rough on "Suicide Blonde", drunk on a jazzy guitar hook in "Need You Tonight" and completely danceable on "Bitter Tears".

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