Blog — Page 165 of 278

Paul Capsis with Jethro Woodward and The Fitzroy Youth Orchestra

Spiegeltent

Sydney, Australia

January 18, 2019

Paul Capsis is a unicum and the versatility that has informed the myriad of his incarnations over the last nearly four decades make him a jack-of-all-trades.

No matter if it’s within the realm of cabaret, burlesque, acting or theatre, the man is one of those rare entertainers that shines no matter what scenario he performs in.

The current Sydney Festival saw him joining forces with Jethro Woodward and The Fitzroy Youth Orchestra and the fact that this collaboration is based on a mutual understanding of each other’s fortes pervaded through the evening, framed by the beautiful surroundings of the Spiegeltent, the annual emergence of which makes Hyde Park the epicenter of Sydney Festival.

The show was aimed at being an extravaganza of full tilt boogie rock with diverse material ranging from Led Zeppelin via Joan Baez, Patti Smith, Tom Waits, Janis Joplin, Lana Del Ray, The Suicide to even Childish Gambino.

The show was much more than a mere exercise in covering songs - Paul Capsis infused the originals with his own idiosyncratic camp approach and wardrobe, and it was a delight to see his very own interpretations, which were often interestingly dark, twisted and always emotional with a tinge of cabaret added for good measure.

Needless to say that the eclectic show was peppered with anecdotes, musings on the need to be and a bit of social and political commentary on both local and global issues, which substantiated the performance with personal connections.

The Fitzroy Youth Orchestra added a nice counterpoint to the maestro, whose eighty-minute tour de force performance and range were testament to his legacy and longevity.

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photo supplied by www.sydneyfestival.org.au

Mumford and Sons

Enmore Theatre

Sydney, Australia

January 19, 2019

Mumford & Sons has risen from a niche band to one that commands stadium crowds.

Following a show at the local Qudos Bank Arena, the London folk-rock quartet decided to use a day off to incarnate in more intimate surroundings for a special show that was instantly sold out.

Mainstream success has certainly not dimmed the enthusiasm and gusto with which Marcus Mumford with his immense vocal range and his worthy constituents navigate through their catalogue with the audience at all times firmly in the palm of their hands – so much so that scene applause is readily given for mere tempo transitions within songs, let alone the sing-alongs of their older, grand folk hits.

I am not overly familiar with their more recent, rockier material but the common denominator of their set was a sonically dense fabric that conveyed an array of vibes, valiance and warm-heartedness that made it easy for the enthused faithfuls to connect.

A passionate and soulful performance that is testament to the fact that no matter if you are a hardcore aficionado or just enjoy good songwriting no matter the genre, it is fun to listen and see them perform live.

While self-proclaimed music experts recently seem to have a field day critiquing their recent musical derivation from their tried and tested formula, i.e. their Delta album, tonight was an impressive set in front of an eager and adoring crowd, which with an engaged band created a perpetuum mobile of energy and a celebrative spirit.

Water of Life – Chivas Mizunara and XV

Inspired by the attendance of Chivas’ recent Sydney incarnation of The Blend, my curiosity was sparked to explore Chivas’ expressions that so far have not come across my palate. As mentioned before, Chivas has been a reliable and accessible companion even in the more remote regions of this earthround and their trademark authentically Scottish art of blending whisky has yet to produce an emission that I would not enjoy a dram of.

When it comes to Whiskey countries outside Scotland, Japan has always ranked high among my favourite. Naturally, Chivas’ exploration of how they could channel their alchemy and marry it with a Japanese twist instantly caught my attention, i.e. Chivas’ efforts of sourcing fine and rich single malts and grain whiskies and letting their emissions mature in hand-selected Mizunara oak casks.

What makes Mizunara oak special apart from the beautiful name is that it is crafted from trees that are indigenous to Japan’s Hokkaido region and renowned for its distinctive porous nature, which necessitates expert calibration and blending capabilities.

The result is a smooth, light amber special edition 12-year old premium whisky from the Speyside clocking in at 40% ABV with a unique and subtle flavour, the sweet (think pears, stewed apples and honey) meet gingery spicy cinnamon notes, framed by a nuttiness, nuances which are partly derived from the rare porous Japanese casks and add a bit of sandalwood.

A bit of research yields the result that the genesis of this beauty was apparently inspired by Master Distiller Colin Scott’s trip to Japan and the fact that it was initially meant to be an expression aimed at the Japanese market only, before global demand had Chivas make it widely available.

Now, while the Mizunara expression is quite something, Chivas XV, i.e. a fifteen-year-old blend takes explorations and redefines in the best way possible what Chivas is usually known for.

Instead of Japanese oak, the Chivas XV has been selectively finished in Grande Champagne Cognac casks. Now, being a cognac aficionado, there was no doubt in my mind that this marriage would yield results, yet what materializes in the Glencairn knocks the velvety and rich notes that Chivas is usually known for out of the park.

This is one for celebrations as pouring it instantly adds a bit of luxury and gravitas to any moment: Sultanas, jam, sweet and fruity apple notes travel via fields of honey to butterscotch and caramel plateaus, which culminate in a vanilla high in the finish.

When at a bar in the depths of Northern Asia in the future, it will be difficult to order Chivas without at least inquiring if one of the two expressions might be hidden behind Chivas’ ole faithful twelve-year-old.

Both Mizunara and the XV are testament of Chivas being at the forefront when it comes to creating blended whiskies that do not have to hide behind their single malt peers.

Read more Water of Life entries here.

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Photo by T

Neneh Cherry

Carriageworks

Sydney, Australia

January 15, 2019

Since the beginnings of the 1980s, Neneh Cherry has incarnated in many forms: Be it hip hop, trippy hop, R&B, minimalist electronic, jazz or even more rocky and endeavours informed by punk rock – no matter how many breaks were taken in between, every time she emerged it was relevant and redefining her status and persona.

2018 sees Neneh Cherry incarnate in a laid-back ambience as part of a musical ensemble that helps to further enhance the spontaneous free flow approach that has become part of her DNA.

Agnostic when it comes to stylistic limitations and confinements and a consumed musician at her core, her performance was testament to her effortless ability to merge and sync styles and influences to channel her alchemy into her very own idiosyncratic brew.

The pleasantness of her more recent songs off the album “Broken Politics” prove to be a counterpoint to what is tackled thematically, e.g. the implications of the refugee crisis and other pressing issues like gun control, along with musings on the need to be.

Never heavy handed, Neneh’s Sydney performance was informed by a warmth and intimacy, resulting in an expansive set tinged with sadness, hope and cheerfulness in equal measures – in essence a melange that is hard to fabricate while the multi-layered fusion aspect never got neglected from a musical perspective.

Exposing fragility does not have to go at the expense of fierceness, for which Neneh’s both deeply personal, political and sonically cohesive set, which is not abstaining from touching thorny subjects, is an example par excellence.

Neneh Cherry remains a vital voice in popular culture – one that is here to stay and one that never ceases to reinvent itself.

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Photos by Victor Frankowski, provided by www.sydneyfestival.org.au

Masters of Modern Sound

Art Gallery of New South Wales

Sydney, Australia

January 10, 2019

The Art Gallery of New South Wales has a history of continually challenging the things are traditionally done via reinvention as well as the expansion of existing and new mediums.

The after-dark experience in art, space and sound extravaganza under the umbrella of Masters of Modern Sound is no exception in that regard as it is an extension of AGNSW’s pursuit to redefine and disrupt the way art is meant to be traditionally encountered by its recipients.

In essence, the enables visitors to gallivant through Sydney’s first and foremost gallery to encounter an eclectic melange of accomplished locals but also renowned talent from other necks of the global woods, not limited to any style but sourced from the realms of composing, music in all its variations, sound design, and performances from the multi-disciplinary boundary pushing local dance theatre company Force Majeure.

Sonic soundscapes were specifically created by luminaries of the calibre of David Lynch’s partner in crime and Asymmetrical Studio owner Dean Hurley, flanked by the ambience endeavours of William Basinski and Lawrence English, who in tandem created an exclusive live performance of what simmers down to “lives lived in transit”, i.e. Selva Oscura.

Freely roaming original movement and interventions were serenaded by experimental electronic music of Caterina Barbieri, who channelled her minimalism, counterpointed by maximalist Del Lumanta, which helped in creating a seamless transition to the meditation aiding sounds of Chris Abrahams.

An added bonus of MoMS is that it includes access to the formidable current exhibition “Masters of Modern Art from the Hermitage”, which was further enhanced by an exclusive live performance set in scene against the backdrop of paintings by Matisse, Kandinsky and other grandmasters of impressionism.

What AGNSW produced and contributed to this year’s incarnation of Sydney Festival is an example par excellence for a carefully calibrated and curated event, the total of which results in something much bigger than what the already fantastic individual components would have you think, i.e. the artworks at display that make the DNA of the AGNSW.

One can only hope that this will become an annual occurrence.