"Can I sing another song?" Mujiono pleads. "No."
Joel Spence, a 26-year-old from Hallam, is up next. Spence auditioned three years ago; Burness recalls that audition, though not particularly fondly.
Spence says he is studying music at Victoria University and playing guitar and piano. He strums his way through Noiseworks' Take Me Back, coming across like a less-polished Shannon Noll. He then offers to play his own song, What You Gonna Do, and the room breaks into spontaneous applause. He is through to the next round.
Tate says Spence is a great example of the talent the competition continues to unearth.
"The core of the format is supporting talent," he says. "When a family sits down to watch Idol, they are part of the process of uncovering talent and giving it a shot. They support them beyond the show. That, in its pure essence, is the success of the format."
Gunsberg, who appears to be in his element among the folk in Flemington, is perhaps the most strident advocate for Idol's ability to nurture musicians.
"The old way of making a demo, sending it to a record company, getting some money off them and so forth doesn't happen any more," he says.
"If you can get yourself and your story and what you do in front of that many people ... Record companies as we knew them 10 years ago don't exist any more. I mean, the numbers this year have been incredible.
"There's something about Wes Carr's victory and Jessica Mauboy's success that has solidified that this is a step in the right direction."
Asked for a musical trend in this year's audition, Gunsberg quickly names US singers Taylor Swift and Beyonce.
"We try to stress that we already have a Taylor Swift and Beyonce," he says. "While it's great people can sing a note-for-note rendition, all they're often doing is an impersonation."
Which is, surely, how Idol was conceived. One of Tate's proudest accomplishments as an Australian producer is the local franchise's ability to generate concepts that are replicated around the world.
For instance, Australian Idol was the first to allow contestants to play instruments and allow original songs to be performed. It's also the first to go with the single, stand-alone episode.
"All of the other markets will be watching keenly to see how it goes," Tate says.
Joel Spence, a 26-year-old from Hallam, is up next. Spence auditioned three years ago; Burness recalls that audition, though not particularly fondly.Spence says he is studying music at Victoria University and playing guitar and piano. He strums his way through Noiseworks' Take Me Back, coming across like a less-polished Shannon Noll. He then offers to play his own song, What You Gonna Do, and the room breaks into spontaneous applause. He is through to the next round.
Tate says Spence is a great example of the talent the competition continues to unearth.
"The core of the format is supporting talent," he says. "When a family sits down to watch Idol, they are part of the process of uncovering talent and giving it a shot. They support them beyond the show. That, in its pure essence, is the success of the format."
Gunsberg, who appears to be in his element among the folk in Flemington, is perhaps the most strident advocate for Idol's ability to nurture musicians.
"The old way of making a demo, sending it to a record company, getting some money off them and so forth doesn't happen any more," he says.
"If you can get yourself and your story and what you do in front of that many people ... Record companies as we knew them 10 years ago don't exist any more. I mean, the numbers this year have been incredible."There's something about Wes Carr's victory and Jessica Mauboy's success that has solidified that this is a step in the right direction."
Asked for a musical trend in this year's audition, Gunsberg quickly names US singers Taylor Swift and Beyonce.
"We try to stress that we already have a Taylor Swift and Beyonce," he says. "While it's great people can sing a note-for-note rendition, all they're often doing is an impersonation."
Which is, surely, how Idol was conceived. One of Tate's proudest accomplishments as an Australian producer is the local franchise's ability to generate concepts that are replicated around the world.
For instance, Australian Idol was the first to allow contestants to play instruments and allow original songs to be performed. It's also the first to go with the single, stand-alone episode.
"All of the other markets will be watching keenly to see how it goes," Tate says.
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