The earth moved for the mainly baby boomer audience at Carole King's Leeuwin concert, a predictably mellow affair that kicked up several notches when she launched into I Feel the Earth Move, that famous first track from Tapestry.
Indeed, the earth really did move for one curvy blonde who was so swept up by the moment, and who'd imbibed so much of Leeuwin's fine product, she lost her footing and came a tumbling down right into my lap.
Who would have thought that a performer who was a key figure in the California soft rock movement of the early 1970s with the likes of James Taylor and Jackson Browne would be able to get a crowd on its feet, waving their arms and singing along?
But the Leeuwin audience were clearly appreciative that King is no clapped-out legacy act. Rather, she is an astonishingly youthful and vivacious performer who, revved up by an appreciative audience, breathed fresh life into songs she'd sung a thousand times before.
With her trim figure, mop of curly hair poking out above her piano and a smile that lit up the lovely Leeuwin setting, King was a natural fit for the winery's longstanding concert series.
It was a case of an icon of the laid-back West Coast sound meeting the laid-back South West setting.
The comfortable meets the cruisey.
What was surprising is the quality of the 71-year-old King's voice.
Some complained that it was strained and raspy. Indeed, her power was starting to wane towards the end of the concert and after giving full voice to the run of classics from the early 1970s such as So Far Away, (You Make Me Feel Like) a Natural Woman and You've Got a Friend.
But while she doesn't have the delicacy and fluidity of her early years, King's voice has a maturity and a richness that adds new depths to those songs of love, loss and lament for which she's best known.
It is also worth remembering that King is best known not as a singer. Artists such as Aretha Franklin and Roberta Flack have covered her songs and taken them to a new level.
She will be remembered for that vast back catalogue of original work and Saturday's pleasingly unadorned show - King at the piano, small but very tight band and a couple of backing singers - was a reminder of why she is considered the greatest female composer during rock's classic era.
What really came through during the concert is that the break between King's years creating the "Brill Building sound" working with Aldon Music, the New York hit factory where she toiled alongside Neil Sedaka, Neil Diamond and her husband and writing partner, Gerry Goffin, and her success in the 1970s is not nearly as radical as you'd think.
There's a great continuity from songs like Up On the Roof, which became a hit for the Drifters, and many of the songs on the great run of early 1970s albums (Music, Tapestry, Fantasy), revealing that the key to her enduring popularity is her ability to write a great pop song.
Not surprisingly, King went down much better with the ladies in the audience than the men.
I could hear a few grouchy codgers were wining and whining, a reminder of her status as an early feminist icon who broke through the male-dominated world of songwriting and made way for the likes of Alanis Morissette and Alicia Keys.
Married at 17, a mother of four and a prominent political activist, King is the living embodiment of what was good about the 1960s and 70s and a slap in the face to Julie Bishop who on the same day as the Leeuwin concert was declaring women can't have it all.
No wonder (You Make Me Feel Like) a Natural Woman went down a treat with the crowd of female high-achievers, even if you have to laugh at the sight of a sea of extreme makeovers singing along to this rousing feminist anthem - and a few guys.But, hey, that's the Leeuwin experience.
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