INXS: Live Baby Live

INXS: Live Baby Live

We don’t often review concerts here at Cineluxe, mainly because not a lot of them come out featuring 4K HDR video and Dolby Atmos audio. (We did review Hans Zimmer: Live in Prague, which while only in HD quality did feature an engaging Atmos soundtrack.) So, when INXS: Live Baby Live received a full 4K HDR restoration from Eagle Vision following a limited-

engagement theatrical run at the end of 2019, it seemed like a perfect candidate for review.


I graduated high school in the late ‘80s—the height of INXS’ popularity—and I’m a big fan of the band’s music. Their albums Listen Like Thieves, Kick, and X—from which this show draws much of its material – were in regular rotation in my car’s Sony Disc Jockey 10-disc CD changer. Unfortunately, I never had the opportunity to see them perform live before lead singer Michael Hutchence committed suicide in November 1997, putting an end to the band.


This show was captured in July 13, 1991 with INXS performing in front of a sold-out crowd of nearly 74,000 fans at London’s Wembley Stadium.


According to, director David Mallet (who has also filmed the likes of Peter Gabriel, Queen, 


This 1991 concert gets a 4K HDR upgrade that puts you in the middle of the massive Wembley crowd—without having to deal with all the sweaty bodies. 



The frenetic cutting might not be to everyone’s taste, and wider shots tend to look more HD than UHD, but the 4K excels in the closeups.



The Atmos soundtrack is the real star of the show, with an evocative mix that sounds realistic and huge.

AC/DC, Elton John, U2, and Pink Floyd) used 17 cameras and a helicopter to capture this concert on 35mm film, which has been painstakingly restored from the original negatives over a six-month period to 4K Ultra HD. The show is presented in a more cinematic widescreen 1.85:1 aspect ratio, which was created “by going through the film shot by shot and repositioning every one to get the best out of the frame.” The new Dolby Atmos soundtrack was “created by the band’s Executive Music Producer Giles Martin and Sam Okell at Abbey Road Studios.”


INXS’ performance was part of a larger event called “Summer XS,” which also featured performances by Jesus Jones, Deborah Harry (aka “Blondie” and I hate that I might have to explain that to anyone!), and The Hothouse Flowers. This explains the relatively “short” 98-minute performance, but believe me, the concert certainly doesn’t feel short, and more than makes up for any lack of time with an abundance of energy.


I’ve only ever been to one live stadium show, Taylor Swift’s “Reputation Stadium Tour” back in 2018, but the contrast between these two performances was interesting. Where Swift used all manner of technology at her disposal, including giant-sized sets and props, multiple backup singers and dancers, elaborate video screens and pyrotechnics, INXS just took to the stage by themselves and proceeded to kill it for 98 straight minutes. There are no gimmicks or crutches here—no overdubs or vocal backing tracks, no guest performers or added members to fill out the band, just Hutchence and the other five band members at the height of their career pouring themselves into the songs, with Hutchence seeming to gain more vocal strength and energy as the show goes on.


You can see the packed house at Wembley falling under Hutchence spell, with 74,000 bodies writhing and moving in time to the beat, jumping, dancing, digging, and hanging onto his every note. It is as powerful a performance as you’re likely to see, reminiscent of Freddy Mercury’s hold over the crowd at the same venue just a few years before.


Watching the concert also made me appreciate just how much I prefer to be enjoying this show from the comfort of my home theater with a well-made martini in hand. If you look closely, it appears that several people are pulled out of the seething mass of bodies after passing out. Being able to enjoy this in peace and comfort rather than being trapped in the suffocating and claustrophobic scrum at the front rows at Wembley is a pleasure beyond words.


The set list features 22 songs, including most of the band’s biggest hits to that time, with the notable absences including “The One Thing,” “Listen Like Thieves,” and “This Time.” (The show precedes Welcome to Wherever You Are and doesn’t feature any tracks from that album.) Even still, there is plenty from start to finish that will have you rocking out, and I dare say if you don’t find your head bobbing and your toes tapping at multiple points along the way, you might want to check your pulse.


With so many camera angles and shots to choose from, I did notice that the view jumps around quite a bit, which you’ll either like or you won’t. The view changes almost every few seconds, whether to a different performer, perspective, angle, wide, or crowd shot. This can make for a dynamic viewing experience, but if you like a concert film that mostly stays back and keeps the band in frame, this editing might be a little frenetic for you.


Interestingly, my Marantz processor listed the video format as 4K/50Hz, which is unusual for US films. Kaleidescape explained that the film was natively filmed by Eagle Vision for their UK audience, so it is native 25 frames-per-second, not the 24 fps of US movies. However, Kaleidescape claims this shouldn’t pose any compatibility or weird motion issues, and I certainly didn’t notice any.


While it is a 4K HDR transfer, I’d say the video quality can be a mixed bag. Some lengthy shots (from the helicopter?) and pans of the crowd can be a mess, almost veering into VHS quality, whereas closeups of the band are sharp and detailed and 

mostly look terrific. On the whole, I’d say the concert is more HD-looking than UHD, and you likely won’t use this to show off how great your video system looks. Having said that, the video quality is definitely well beyond serviceable and puts you in the middle of the performance.


Image quality starts to really improve after about 30 minutes into the show when the sun has mostly set at Wembley, and you can far better appreciate the stage lighting, with the bright colors and lights getting some nice pop from HDR. HDR also helps with the shadow detail, as lights play across the performers as they walk in and out of bright spots. You also get some good color saturation from the stage lights or Kirk Pengilly’s incredibly saturated red suit. There is a bit of grain in some of the early sky shots and in stage lighting, but it is organic and inoffensive.


But make no mistake, the audio is the star of the show here, and you’ll want to get the full lossless True HD Atmos soundtrack from the 4K disc or Kaleidescape download to fully appreciate the performance. The presentation is huge. In fact, one of my listening notes says, “Doesn’t sound like a studio mix at all; sounds like a big, fat, giant stadium concert experience!” Audio is primarily spread across the front channels and mixed up into the front height speakers, creating a massive wall of sound, but there are tons of ambience, reverb, and crowd noise mixed into 

INXS: Live Baby Live

the side and rear surround speakers to immerse you in the experience and put you right in the middle of Wembley. You know, without all the sweating bodies.


Bass starts off big and huge during “Guns in the Sky” and has that deep, thump-you-in-the-chest quality of a stadium PA system, letting you easily feel it in your seat. The bass-heavy mix is also a great way to demo the benefits of your system’s room correction. Turning Audyssey off on my processor caused the bass to become kind of a flat, one-dimensional affair with little focus or impact, where re-engaging it just tightened the screws on the low frequencies and gave them way more punch and slam.


Featuring just a couple more F-Bombs than Hamilton (typically when Hutchence is engaging the crowd), Live Baby Live is 99% family-friendly, and a great way to introduce younger listeners to one of the great bands of the ‘80s. If you haven’t enjoyed a concert in your home theater, this makes for a fun evening that will have you rocking and singing along while taking you back nearly 30 years. Like a great album, this is a show you’ll likely find yourself returning to, and with Kaleidescape’s pre-bookmarked songs, it makes jumping straight to your favorites “What You Need”!

John Sciacca

Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as
 Residential Systems and Sound & Vision. Follow him on Twitter at

@SciaccaTweets and at

Taylor Swift Reputation Stadium Tour

Taylor Swift Reputation Stadium Tour

I’m not embarrassed to admit it: I like Taylor Swift. I mean, I really like Taylor Swift. There, I said it.


I think she’s not only fantastically talented but I actually enjoy most of her music. And I really respect that in this day and age, the term “singer/songwriter” actually applies to her, as she’s literally involved in all aspects of creating her music. And as a father of a pre-teen daughter, I also really appreciate the lengths she goes to in order to protect her reputation, having risen to the top of the music industry (mostly) scandal free, and presenting a (mostly) wholesome image that young girls can be proud to look up to.


Lauryn (said pre-teen) graduated elementary school this past year, having received all A’s on every report card during her elementary career. And as a reward, I told her she could either have a pair of diamond earrings or I’d take her to see Taylor Swift in concert.


The choice for Lauryn was pretty simple.


I share this because I think it puts me in somewhat of a unique position to review the new Taylor Swift Reputation Stadium Tour that launched on Netflix New Year’s Eve since I actually experienced that concert live this past summer in Atlanta, Georgia. (That’s Lauryn and me in the photo below.)

I’ve seen my share of concerts, but Reputation was my first stadium tour so I wasn’t sure what to expect. From the moment we entered the arena, it was clear that the size of the sets, stage, and video screens was massive and that this was going to be a big show. While not shown in the concert video, Charli XCX and Camilla Cabello both opened the show, making for an evening that lasted almost four hours. Taylor played for a solid two hours, leaving everything up on the stage, and I left hoping the show would eventually come out on disc.


In a way, the spectacle of the Reputation Stadium Tour reminded me of the first time I saw a modern, large-scale play—Phantom of the Opera. I pictured plays as small events, with static backdrops and a couple of changing sets, but Phantom blew me away in terms of what a major production could bring to the stage and live effects. Reputation was the same way, with sets, pyrotechnics, choreography, and production that were far and away above what I’d ever experienced before.


Reputation broke the record for the highest-grossing US tour ever, selling more than two million tickets and grossing $266.1 million. That bested the Rolling Stones’ 2005-2007 A Bigger Bang tour, which took 70 shows to rake in $245 million. Taylor did it in almost half the number of shows (38).


When I saw that Reputation was coming out on Netflix in 4K HDR video with a Dolby Atmos mix, I was beyond excited to be able to relive it in the comfort of my media room (and not shell out any more money for the privilege!). For us, experiencing Reputation meant buying a pair of tickets costing north of $700, a six-hour drive to Atlanta, fighting nearly 60,000 people to use the bathroom and exit the Mercedes-Benz stadium, and a weekend in a hotel. For you, a similar experience can now be had by simply turning on your home theater, navigating to Netflix, and pressing Play.


Most of the show includes songs from Swift’s most recent album, Reputation, but she works in other fan favorites, creatively blending everything together and playing all or parts of 24 songs.


I first watched the concert on my Apple 4K TV, and it delivered audio that was shockingly compressed to utter lifelessness. No matter how loud I cranked the volume knob, the bass was anemic and had no impact, and the show never rose above a moderate volume level—which was completely different from the concert experience, where the Reputation PA system sounded absolutely fantastic.


With my preamp at 0 dB, I measured SPLs of around 72 to 75, with some parts dropping to the low 60s . . . totally unacceptable! I checked every setting in my system—both on the Apple TV and my Marantz AV8805—looking for some compression button or setting that had somehow been turned on, but no luck. I watched the entire show angry and disappointed that the home audio experience was so lackluster, to the point where Lauryn finally said, “Dad, just stop complaining and watch the show!”


Before writing the mix off completely, I watched it again on my Xbox One S and . .  night and day difference! Not only did the concert now deliver bass you could actually feel with the volume at the same 0 dB position, but I was getting SPL peaks up near 100 dB (far more typical), making it feel more like a live concert experience and restoring life to the audio mix. I can’t explain what’s up with the Netflix/Apple implementation of this mix, but it was definitely wrong in my system. 

Taylor Swift Reputation Stadium Tour

This concert gives you the chance to see someone who is a master of their craft at the top of their game. You can see how much work went into all of the choreography, set designs, the way Taylor moves around the stage and auditorium, how she transitions/blends from one song to the next, and the way she tries to engage with every section of the audience. She shows off all of her talents, singing, dancing, playing acoustic guitar, piano, and working the crowd.


One of the coolest things about the show was that when you entered the arena, everyone was given a white wristband. During the performance, these bands would light up, pulse, and sync to the music and where you were in the crowd. Taylor mentions the bands in the show—right before performing “Delicate”—but during the concert, notice them flashing and syncing when it cuts back to wide views showing the crowd. This really made you feel like a small part of the performance.


Production values in the film are top-notch, with terrific-looking video, and a film crew that mostly stays out of the way. The 4K HDR images let you clearly see every detail, and keep dark images nice and black, while still delivering bright highlights and lots of color pop, especially reds and golds.


On the audio front, the Atmos mix is a little reserved, with most of the audio spread across the front three channels and the surrounds primarily used for crowd noise and some reverb. This keeps the music and vocals clear and in front of you, but I would have liked a bigger, more stadium-vibe mix. The exception where the audio mixers get a little playful is the very beginning, where tabloid snippets about Taylor are read aloud, swirling across the surround and height speakers, creating a nice effect.


This was filmed in Dallas on the last night of the tour, and the film does a terrific job of capturing the energy and excitement of the evening. If you’re looking for something to enjoy with a daughter or granddaughter, this is a terrific option that might even convert a few new fans. Are you ready for it?

John Sciacca

Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as
 Residential Systems and Sound & Vision. Follow him on Twitter at

@SciaccaTweets and at