Reviews of two events at this year's jazz extravaganza in the former City Of Culture
DANA MASTERS, MILLENNIUM FORUM, MAY 3 2015
When South Carolina-born, Lisburn-based songstress Dana Masters first emerged on stage, we already sense we're in for an evening as cheery, warm and welcoming as the smile on her face.
That is most definitely the case at Derry-Londonderry's Millennium Forum, briefly transformed into an electrically soulful and eclectically jazzy arena by Masters' spine-tingling, spirit-lifting vocals. Assisted by top notch NI trumpeter Linley Hamilton, a committed ensemble of keys, guitar, brass and rhythm, and a series of humorous interludes, this is a powerful and passionate display of musical virtuosity.
The evening is a positive vocal workout for the central performer, her early elegance paving the way for a confident thunderousness that, by concert's end, ensures that feet are stamping, hands are clapping and heads are nodding.
To pardon the pun, this Dana really is all kinds of everything.
JAMIE CULLUM, MILLENNIUM FORUM, MAY 4 2015
Jamie Cullum and Derry-Londonderry have a special relationship. Jamming with a school choir and filming a radio documentary in these parts had previously endeared the versatile jazz-pop musician to the locals. Now Cullum returns for his first ever live show in Derry-Londonderry.
It begins with one-time Cullum collaborators the St. Mary's College choir asserting themselves triumphantly with a literal cabaret of pop, opera and show tunes.
Then, the pint-sized Rochford dynamo delectably transcends the "piano man" image, his confidence spreading to both his backing band and the audience themselves. It is hard to imagine a performer more in sync with the City Of Derry Jazz And Big Band Festival in its recent history. Cullum's anecdotes, in-crowd solos and general charisma go down a treat, as do his seamless, nimble switching between tempos, genres, instruments and performing styles. He is equally at home as a pianist, drummer, singer or human beatbox.
This is a performance for the ages. Let's hope it's not too long before Cullum once again adorns this cultured city with his presence.
(The original versions of these reviews were published in the North West edition of the Belfast Telegraph on May 4-5, 2015.)Read more...
The Londonderry Musical Society push boundaries and thrill audiences in their latest production
It's the LMS, Jim, but not as we know them. For more than half a century, the Londonderry Musical Society have taken pride in both matching and exceeding the expectations of musical theatre lovers everywhere. But most recently, they’ve gone further and subverted them. Last year, the intimately theatrical, partially horrifying and dramatically moving Jekyll & Hyde cemented the LMS as a new kind of force: experimental and adaptable, without abandoning their usually high standards of entertainment. With The Best Little Whorehouse In Texas – a suggestively dubious title in itself – they've taken subversion all the way, yet remained true to their proud history. It's a remarkable production.
The Best Little Whorehouse In Texas is based on the true story of a legendary Texas brothel known as The Chicken Ranch, which thrived under the unofficial blessing of the local authorities until a Houston television commentator set out to expose it and shut it down. It's as close as the LMS has ever gotten to adult humour and downright raunchiness, with push-up bras, thrusting and swear words seen and heard. If director Deigh Reid's intention is to make you feel like you're in the titular “whorehouse”, he's done just that, with suggestive, knowing poses and a cascade of colourful costumes (and sometimes language) raining down on the audience throughout the entirety of the first act. Not everyone might know what to make of it, but it is guaranteed to linger long in the minds of the watchers.
As are more than a handful of the show tunes. 24 Hours Of Lovin' is performed with a decidedly Aretha Franklin-esque air by the calmly sassy Penny McGonagle, the brilliant Katie Patton gets her moment in the spotlight with the Doatsey Mae song (even if her character has not yet been fully established), The Aggie Song is hilariously choreographed, The Sidestep is delightfully catchy, and every single one of Mona's songs are performed confidently and soulfully by the leading lady and her girls. Mona herself, Muire McCallion, is the clear standout in a superb cast, her mannerisms and singing voice tying in perfectly with the character's nature. That's to be expected.
What's not so expected, without going into specifics, is the grim turn the show takes in the second act, unveiling humanity in characters that we wish we’d gotten to know better. A fun, risqué romp becomes darkly devastating (and eerily timely with arts cuts everywhere, every when), unveiling The Best Little Whorehouse In Texas to be about the pros and consequences of "letting your hair down" in a society and atmosphere that is more conservative than you'd like it to be.
The Best Little Whorehouse In Texas runs until Saturday March 28 at Derry-Londonderry's Millennium Forum. Book tickets here.Read more...
Si's Sights And Sounds wraps up 2014 with a look at this year's extravaganza at Ballymully Cottage Farm
It is written that Stendhal Syndrome is an illness, a psychosomatic state that causes rapid heartbeat, dizziness, fainting, confusion and even hallucinations when an individual is exposed to a particularly beautiful cornucopia of art in one place at any one time. Such is the advertised experience at the Stendhal Festival of Art, which brings Ballymully Cottage Farm, on the outskirts of Limavady, to life each summer in its own unique, all encompassing and above all artistic manner.
Being the home of Danny Boy, the pipes, the pipes are calling before we even arrive at the Main Stage, or at least the steady, folky, easy-going rock of Pitcher Of The Moon is. Becca Allen's determined, driven vocals counter the big back cloud that hovers over the tent and point to something sunnier in the distance and throughout the rest of the day. Meanwhile, Bobbie Harvey and her band gently ease the soul with a lilting, jazzy beat, matching the tone and feel if not the sound of a young Joni Mitchell.
Passionate, yet predictable, the Snow Patrol-esque In An Instant have a sound worthy of grabbing any crowd, but their set gains only a limited attendance. Some other time for them, perhaps? Elsewhere, the drifty, hangdog Malojian, highly praised by Gary Lightbody, Lauren Laverne and Stuart Bailie, doesn't yet stand out as anything special, but his sweet, homely and sometimes catchy melodies are definitely pleasant to the ears.
Time for two doses of reliability. It so appears that PØRTS' leading man, Steven McCool, misses the name Little Bear so much that he's brought along a t-shirt with a bear on it. And changed the lyrics of I'd Let You Win to "I'll let you in... my cardigan". It's that time of night, so let there be that type of humour. Back at the Main Stage, Bronagh Gallagher (above) and her smoothly soulful rock are a communal medicine for the night, entrancing in the midst of misty lights and a chanting crowd. If PØRTS feel experimental, Gallagher feels wholly at home, each artist unifying and heartwarming their watchers.
Then along come The Thundertones. At least that's what everyone's favourite Perfect Cousins and Teenage Kickers (even today) try to be, with their material retaining the same punky, powerful thrust it has always had. When one isn't watching Paul McLoone play with his microphone stand and jump, one is jumping to the beat. Alas, they can't maintain such a pace, and The Thundertones teeter dangerously close to Going Undertones. Fortunately the set ends before that happens.
There are no big black clouds on Stendhal's second day, just a lovely sunset and the dulcet, delicate tones of Lisa O'Neill. Draperstown's Gemma Bradley performs in the woods, her piercing vocals and steely gaze defy her slight, fragile frame and create a promising presence. It's quite a contrast to the friendly gospel folk of The Henry Girls, which spreads over the farm like a warm blanket.
By now, the rain is falling, but that doesn't prevent the atmosphere of a Jazz Festival and the light of Lumiere (well, something like that anyway) teeing up for a unique ambience at the Keady Corner. If only more were dancing to Duke Special's Gramophone Set, and his blend of Ritz and Andrews Sisters.
Never mind, for the highlight of the whole weekend is just around the corner - the cheery, chirpy warm up of the wondrous Wonder Villains. Packed with youthful punk pop and retro grunge, and a fine leading lady to boot, they stagger the eyes and delight the ears with their spirited, spunky synchronicity, sparking both young and old into life. They are, in a word, awesome here - one hopes they can maintain this standard. To quote a certain Yasmin Evans, the only way is up.
Pleasurably paced reliability is key for Paddy Casey. Like his namesake Paul, and the Jive Aces, his set goes down a treat. Particularly when he performs "I Wanna Be Like You"; how can you not win with that song? In closing, headliners Frightened Rabbit take to the Main Stage - they are, in essence, four guitars, two keyboards, a consistent drum beat and a succession of singable refrains and tantalising riffs.
The dry wit of Neil Hannon has been foregone this year for something more upliftingly Scottish - and, to be fair, who really wants to think at this moment? And though the sound isn't the kindest to them, these killer Rabbits are the ideal tonic for closing time, raising everyone's spirits and cementing Stendhal's status, at least in my mind, as Northern Ireland's Electric Picnic. More of the same next year, please.
With the Jingle Bells comes the Jingle Ball, and, if you're ready to swing with the mood, jingle all the way. Following the obligatory warm up of disco and Chrimbo tunes, Cool FM's third annual "hip pop" extravaganza bursts into life, dazzling the eyes and ears of the screaming thousands in the Belfast Odyssey.
It's not so much a Christmas gig than a Christmas present for the predominantly youthful audience. Selfies, photos and flashing lights are all encouraged above, around and below the star filled stage.
And it is Labrinth's "We Will Rock You" claps that set just the right mood for deafening sound and beats. His pluck and power combo, sonic booms mixed in with piano balladry, are the ideal prologue for the light and liveliness of the night.
The equally plucky yet much lower key acoustics of Elyar Fox aren't quite as winning, but they're more than enough for an audience wholly keen on losing themselves in the steadily enhancing party atmospherics. Better is local girl Leah McFall of The Voice fame: her strong, piercingly clear and determinedly fresh vocals ring true in this cauldron of noise. With each act having no more than a handful of songs, tonight is as much about having fun as making it count: and McFall takes this fully on board.
As does Fuse ODG. His chantable refrains and easily clappable rhythms, adorned in spotlights of many colours, cement already high spirits. It is like MTV Crashes all over again.
A succession of significantly quieter boyband anthems from Hometown pave the way for the biggest surprise of the evening following the interval. Humble as a speaker, ebullient as a singer, the refreshingly contradictory Paloma Faith is a breath of fresh air, with enough charisma, jazz and soulfulness to all too briefly capture local hearts. By contrast, the meek yet charming Alexa Goddard struts teasingly like a little songbird, daring watchers to be sucked in. Hardly a dominant presence, she nonetheless gers by on goodwill, gumption and a dash of jollity.
The stage is then set for Neon Jungle to bring back the booms before Sigma and McBusted's grand finale bring the curtain down excitably. Like a selection box of popular chocolates, you mostly know what you're going to get at the Jingle Ball, but the event is no less enjoyable for it.
(The original version of this review was published in the Belfast Telegraph on Tuesday December 9, 2014. It can be read here.)Read more...
Derry-Londonderry's Echo Echo Dance troupe present an educational and interactive feast of fun for adults and children
In the very centre of Derry-Londonderry on a cold, wet and windy November night, there's a brick building not far away, right on the city wall, where dancing girls will strut their stuff and edify us all.
With apologies to Cecil Frances Alexander, the second half of that sentence may well be the motto of the Echo Echo Dance Ensemble, a collection of nimble and expressive young ladies who are embarking on their second annual Festival Of Dance And Movement.
Opening night sees the first of two performances of Ludo Lusi Lusum, a composition for children and adults directed by Ayesha Mailey and performed by Esther Alleyne, Janie Doherty, Kelly Quigley, Zoe Ramsey and Tonya Sheina. The title of three Latin words translates as "play, imitate, deceive" or "sport, banter, delude", depending on your preference, and this is exactly what we're going to see: a play on words and pictorial expressions through deceptively simple imitation of other forms of life. In other words, impressionist animalistic charades.
The first two thirds of the piece are a panorama of choreography and mimicry, an interactive game of Pictionary for both cast and audience. Ramsey stands out as a part-feline, part-canine werewolf, her whines, pants and growls the response to disciplined, direct orders from two other cast members. She's also called upon to pose as fruits, including a grape and a banana, but takes the dragon fruit posture a little too literally. Cue rather raucous laughter, especially from the children watching.
Soon afterwards, Alleyne's dead bluebottle must somehow be "resurrected" by doctors, nurses and a defibrillator (!) before we are treated to Ramsey's runaway bride owl and her "tour around the world". Locations as varied as Paris, Egypt and Madagascar are all visited, but best remembered are the owl's encounter with a snake charmer in India (which all goes wrong), and, for pop cultural enthusiasts, an ice bucket challenge in Antarctica. It's lively, overactive and haphazard - but it's also quite immersive and extremely educational.
The final third of the piece is, in general, more subtle and graceful, the Echo Echo Ensemble presenting an African-themed slinkathon of venomous moves and viperish poses that transform into a karate cum ninja ballet and later a vibrant circus dance. It would be the ideal conclusion to this patchwork of fantasies, but there's still another visit from the bluebottle (and a fly swatter!) to come.
In a mere half an hour, Mailey and the five participants have produced the sort of show worthy of their continuously improving standing in their cultural city. Here's to more of the same, if not better.
The Echo Echo Festival Of Dance And Movement runs until November 15 2014. For more information, visit www.echoechodance.com.Read more...
Two events from this year's Belfast Festival are reviewed - a magical concoction of dance, music and poetry, and a bubbly merging of musical backgrounds
NEITHER EITHER, THE MAC THEATRE
Neither. Either. Words of similar sound yet opposite meaning, separated on one hand by a mere consonant, and on the other hand, by their interpretation. An interpretation rich in possibility for artistic expression is brought to life superbly by the inspiration of Seamus Heaney, the choreography of Liz Roche, the music of Neil Martin and four immensely talented dancers at Belfast's MAC Theatre.
The four dancers – Philip Connaughton, Katherine O'Malley, David Ogle and Vasiliki Stasinaki – communicate the beliefs, identities, aspirations and emotions of Roche's piece between themselves and to the watchers through perceptive poise, balletic grace and a compendium of physical and facial poses.
Neil Martin's piano score is efficient, eclectic and emblematic, reflecting and synchronising with the moodiness and movements of the on-stage quartet. The dancers presented theatrical alter egos divided by gender and the colour of their clothing, yet united by the need for connection and understanding. In doing so, they successfully and poignantly project the exploratory themes of Roche's work – of the self, of others, and of bonding.
Fluctuating on-stage emotionalism and intermittent off-stage narration mirror the similarities and differences between the titular words and the characters – subsumed by undeniable differences, yet united by means of expression. From two words and the inspiration of a legendary poet arises a kaleidoscopic spectrum of industrial light and human magic.
(The original version of this review appeared in the Belfast Telegraph on Thursday October 30, 2014. It can be read here.)
TAMIKREST, ELMWOOD HALL
A decidedly and deceptively old school setting greets the eyes of those who take their seats for the arrival of Malian musicians Tamikrest. A large curtain draped over the back of the hall, percussion and guitars of all kinds scattered around the stage, a keyboard and... a gramophone?
But this isn't vaudeville. Rather, it is a hint of the vibrant and virtuous on stage antics that have come from abroad to raise the spirits in Belfast's Elmwood Hall.
Fronted by Ousamane Ag Mossa, Tamikrest are men – and a woman – on a mission. Literally and figuratively, they are a blend, an alliance at a junction of harmonic and melodic messages, on a quest to provide chords of conviction that would delight, resonate with and enlighten onlookers of all persuasions. And, on their first ever visit to Ireland, they certainly achieve that.
A trio of cultures descend upon the Elmwood Hall stage – the Middle Eastern, Western and West African garb will match the tone and feel of the vocals, guitars and percussion respectively throughout the entirety of the evening. Opening with a steady, funky beat that alternately echoes both Jimi Hendrix and Bob Marley, this soon ascends into a cocktail of passionate vocals, booming bass lines and very catchy drum beats that primes and powers up everyone in the hall.
It is a winning combination, tunes that reference the past and respect the traditions of the band while highlighting positivity, filling the performers and the crowd with unity and belief. Musical genres switch effortlessly and effervescently, calm contemplative vocals a welcome breather in the midst of up tempo makeovers for country and blues music, and thunderous drums in a sea of soul.
By set's end, the audience no longer need prompting to clap along and dance to this admirable, amiable and highly memorable merging of musical backgrounds.
(The original version of this review appeared in the Belfast Telegraph on Friday October 31, 2014. It can be read here.)Read more...
An eclectic, effervescent vocal tuneathon adorns the City Of Derry International Choral Festival
As the third gala concert of Derry-Londonderry's second annual international choral extravaganza begins, a formal, chatty atmosphere, with green and blue lights bathing the rear of the St. Columbs' Hall stage, gives way to welcoming applause for the BBC's Sarah Brett and the seven striking souls that will follow her introduction – basses Edward Randell and Kevin Fox, tenors Oliver Griffiths and Christopher Jay, alto Clare Wheeler and sopranos Sara Brimer and Joanna Goldsmith-Eteson.
They are the Swingle Singers (hereafter the Swingles), four men and three women of remarkable vocal agility and ability who are set to raise the roof of this historic theatrical and musical arena like never before.
We are promised a mixture of reworked classics and timeless old favourites to go with the Swingles' own material. And we begin auspiciously, with airily Celtic oohs, aahs, hums and whistles that tie neatly into a sweetly seductive mellow melody backed up by percussion. Except there are no instruments to speak of: all accompaniment comes from the singers themselves in a performance fully in line with the nature of the festival. Call it "cantata a cappella".
As the air fades away, the lights dim, briefly casting shadows before the spotlight bursts upon a high tempo power percussion with Brimer, Goldsmith-Eteson, Randell and Fox fully working out their voices. If the opening tune inspires claps, this one brings roars, paving the way for "Gemiler Gerisune" a Turkish love song about two young lovers destined to be separated forever. The shift in tone from frivolous to forlorn is not damaging at all: rather, one can only marvel at the clarity, pitch and versatility of the vocalists in this multi-levelled choral concoction.
It's apparent that the Swingles thrive on being playful with chords, back beats and chants, an approach that comes to fruition in a male vocal bebop swing duet that encourages, nay, demands, audience participation. Even if we can't repeat every line or beat, we are fully in the mood of this very Bobby McFerrin-esque turn. "Don't worry, be happy"? Almost certainly.
Their broad, booming and quite brilliant take on Elbow's "Weather To Fly", which implies that the Swingles are having “the time of (their) lives” (and most, if not all, of the audience appear to be too) precedes a high-tempo, multi-layered jazzy take on Bach's “Two Sisters” that transcends the classic for a contemporary crowd. Loop recording comes in very handy here as up to 21 vocal strands are heard from the performers' voices. Impressive though it is, it's merely an appetizer for the breathtakingly beautiful rendition of John Martyn's "Couldn't Love You More" (listen above), arguably the highlight of the evening.
"Inspiration can come from anywhere", the group will later say, and they are right: they have already proven, and they will continue to prove, to be bittersweet romantics, children's storytellers and melodious musicians all at once. Eclectic entertainers. A reputation solidified by the very Toto-esque rock that soon follows along with a more quietly gloomy, yet soothing, approach to Bach.
They will later handle Debussy with the care and craft he deserves, their delicate, delectable Claire De Lune sandwiched in between the irresistible choral flourish that is "Piper", the catchy, uplifting "Burden", the neatly choreographed "Reservoir Kids" and, most impressively, a perfectly pitched, melancholic rendition of Mumford & Sons' "After The Storm".
On the whole it is a rather breathtaking tuneathon, lyrically and musically, the perfect tonic for the stormy conditions outside. The Swingles are ultimately testament to the power of the voice, and the voice alone, to enrich, enlighten and entertain hearts, senses and minds: which they do, in the most effervescent, elucidating manner possible.Read more...
To be in the company of Snoop Dogg is to be in good company, usually: beyond the controversy and misogyny, the rapper, songwriter and, er, actor (everyone remember Starsky & Hutch?) has a rocking and rolling repertoire to go with a rather rocky reputation. Ideal for any musical city.
What better time is there, then, for this temperamental tuneaholic, less glamorously known as Calvin Broadus, to descend upon Derry-Londonderry with his first DJ Snoopadelic set in Ireland?
The flat and gravelly foundations where the giant tent named the Venue once stood are enveloped in cold winds, cloudy skies and damp drizzle. One could be forgiven for wishing the tent is still sheltering them as Type One, aka Christopher Ferry, does his utmost to warm the cockles with a steady set. The calm, concentrated Ferry lets his music, the screen lighting and occasional chants from a small but loyal band of air pumping punters do the talking.
Further uplift is provided by the literal zen of Zenemy: a clown faced DJ, mildly colourful language and cheeky chappy cheerleader rappers that cheer up, chant to and charge the growing crowd animatedly. The unanimously, unexpectedly booming atmosphere is now ready for the unifyingly bouncy beat of the main man; the rain and cold are now much less relevant.
Alarm bells and sirens are heard, and strobe lighting becomes prominent. Onto the stage steps Snoop Dogg, on a mission to deliver good time by playing every musical genre he likes for the people.
And he does a rather fine job too. A deliciously jazzy hip hop beat elevates the mood, preceding a funky techno rap that emanates from an aura of cool behind the turntable. With shades donned, dreadlocks in place and arms wide opened, Snoop relaxes as Derry roars, his king-like demeanour projecting a newly found confidence to those watching.
Techno and hip hop later merge with rap, rock and funk to create a suburban disco beat entirely in keeping with the surroundings. The on stage screen graphics, punctuated by shots of the clapping, singing crowd, are sometimes garish but never dull. Accompanied by tried, trusted and toneful tuneage, including Lady Gaga, Queen, James Brown and Los Lobos, it's a recipe for success.
If Snoop is not overly talkative, he doesn't need to be: his modus operandi isn't centred around friendly interactivity, but rather a close encounter of vibrant visual video and animated audio. One that sends the young Derry populace to happy homes.
(The original version of this review appeared in the Belfast Telegraph on Friday October 24, 2014.)Read more...
A successful celebration of the dedication and craft of eight Irish traditional musicians, the A Stór Mo Chroí collective's Musical Gathering is everything one can hope for an evening of folk music – inspiring, enriching, stirring, but, above all, heart-warming and genuine. The collective – four men and four women – come together to celebrate their love of story-telling with pipe, flute, string and vocal harmonies, and melodies of varying tone and tempo.
At times feeling like an Irish dance hall, at other times a reassuring living room fireside, the packed MAC alternately crackles and cools with electric energy and effortless ease in an atmosphere rich in folky familiarity and familial unity.
All four female vocalists shine alongside the entertaining and affable John Spillane and the skilled instrumentalism of Dónal O’Connor, Donagh Hennessy and John McSherry: in particular, Mary Dillon's determined, regretful but unmistakeably sweet vocals work superbly as a mellow counterpoint to the more dominant and booming, but no less impressive, vocals of Muireann Nic Amhlaoibh.
As the band play on and the singers change tunes, confidence rises on and off stage: jocular chat and random Irish cultural references intersperse with melodious compositions and varyingly interpretative lyrics. It is all so easily accessible; one does not need to be a folk buff to find their spirits lifted, heads bobbing and feet tapping throughout.
(The original version of this review appeared in the Belfast Telegraph on Tuesday October 21, 2014. It can be read here.)Read more...
You've heard the expression, "the morning after the night before".
Well, Saturday September 20 2014 is a case of the night after the night before, as thousands of weary but happy folk trudge into Derry-Londonderry's Ebrington Square for another dose of MTV.
This time, it is the Club DJs' turn, on a night which feels more summery than the preceding one. Cast in bright blue sky with a handful of clouds in sight, the Foyleside setting and whippy breeze promises an equally breezy and almost certainly boisterous evening in the company of tantalizing turntables and flashy flat screens. The face paint, headbands and overall attitudes of a largely teenage audience are as colourful as the stage lights themselves.
Fists pump and heads bob as Varski & R3wire excitedly set the scene, dusk settles and main opening act Daniel "DJ Fresh" Stein gears himself up. Not quite fresh faced, nor anything like the Fresh Prince, he instead freshens faces by striking the right beats at just the right times.
Positively Macklemorean in parts, with the colourful language of Messy MC to go with it, DJ Fresh's collection of recognisable samplings, sparky sonics and flashy computer graphics storms and steams off the stage, creating an outdoor techno disco. It's a fitting fusion of the fiery and familiar.
Less distinctive, but more interactive, and certainly much more hyperactive, are Sigma, aka Cameron Edwards and Joe Lenzie. Their presence suits the mood of the night: tempos escalate as quickly as temperatures drop, bar queues increase and voices raise amidst the now pitch black sky. Stage lights spiral everywhere alongside kaleidoscopic imagery and flickering lights.
The perfect time, then, for London-born electronic music duo Chase & Status to make their entrance; and their turbulent techno thumpathon is the icing on the cake for the shouts, selfies, snaps and claps in the audience below them. Club MTV crashes with flashes and bangs: a literal open air nightclub for its new found teenage fan club, and more, to remember.
(The original version of this review appeared in the Belfast Telegraph on Monday September 22, 2014. It can be read here.)Read more...
No matter what one's taste in music may be, it's hard to ignore MTV. When the 2011 European Music Awards were staged in Belfast, the commotion created by the likes of Bruno Mars, Lady Gaga and Justin Bieber was such that even those who weren't lucky to attend the event in the Odyssey had their memories, even if they weren't necessarily musical.
Now here we are, back in the open air, at Derry-Londonderry's Ebrington Square, for the 2014 MTV Crashes concerts. Considering the line up at hand on opening night, it genuinely feels less about meeting the mega stars and more about the music. And that is a very good thing. For music is what "Stroke City" is all about in 2014 - Northern Ireland's very own "Music City" is in need of an elevating, electrifying experience. The question surely everyone asks before MNEK takes the stage is, can this supposedly fabulous foursome create the required atmosphere?
MNEK, pronounced M-N-E-K, has the appearance and name of a Nigerian footballer, but tonally channels the drive of De La Soul and the chic of CHIC, with the female backing vocalists to go with it. Dressed like a Hawaiian, his loud facade contrasts sharply with a stylish and soulful 1980s hip hop beat, creating a friendly verve that spreads around the growing crowd. That he seems a little more lightweight than his apparent inspirations isn't a bad thing, as both the performer and his catchy choruses are the kind of familial tonic required for a communally warm atmosphere.
The photogenic female foursome Neon Jungle may lack the heartfelt harmonies of Katy B, but they've enough chemistry and excitement to keep the crowd going through the slightly uneasy middle ground of the set list on the night. They are a steady, sultry, solid substitute, a calm prelude to the raving rap of Professor Green.
The 6 ft 2 in tall "professor" is not Eminem, and is hardly in the sort of surroundings where everyone can fully appreciate his lyrics. It matters little. He has the character and invention to compensate, his clever samplings of INXS' "Need You Tonight" and the Beatmasters' "Dub Be Good To Me" bringing back memories. Tied in with MNEK's music, it feels like quite the night for nostalgists as well as the young crowd, who are clearly relishing the booming beats. The female vocalists reveal unexpected versatility in Green's ensemble, if not necessarily from the rapper himself.
By this stage, the night sky is out in full bloom, the on stage lighting (a mixture of reds and whites) is hugely prominent, and smart phones are turning the present-day sightings into future memories. It's the ideal stage for Dutch DJ Afrojack to sign off a solidly satisfying opening to a welcoming weekend of music as only he can, elevating already impressive beats to another level.
(The original version of this review appeared in the Belfast Telegraph on Saturday September 20, 2014.)Read more...
The Scottish Indie rockers look forward to their "home-away-from-home" coming gig
Stendhal Festival of Art returns to Ballymully Cottage Farm, Limavady, on August 8 and 9 for what promises to be the biggest and best instalment of the award winning Music and Arts Festival. And Scott Hutchinson, front man of Frightened Rabbit, says the band can't wait to get there for their headline slot.
A huge part of their excitement at headlining the festival is that The Scottish indie rockers consider Northern Irish crowds to be as fervent and passionate about their music as their fans in their native Scotland, which always makes for a fantastic live atmosphere any time they play in the province.
"We are really looking forward to Stendhal," Hutchinson says. "We love coming over to Northern Ireland as for me, the highest compliment I can pay our fans over there is that they are very similar to our fans in Scotland in terms of getting into a gig. Whenever we play there it feels like we are playing at home.
"We are also delighted to be given the opportunity to headline the festival. We love playing the larger festivals, like Reading and Leeds, but we would much rather headline smaller events such as Stendhal.
"At some of the bigger events you feel like you are just on a revolving door of bands, whereas at smaller events, you really get the impression that it matters much more to the guys involved in running the show. They take more time to make you feel valued, and as a band it's great to be a part of that.
"On top of that, by the time we get on stage, everyone will be full of the festival spirit, and if our previous gigs in Northern Ireland are anything to go by, that should make for an absolutely brilliant atmosphere.”
It has been a busy summer festival season for Hutchinson as he has not only been touring with Frightened Rabbit, but has been busy over in America making a mark with his solo project Owl John and has recently started writing new material for a fifth Frightened Rabbit album.
"I've really enjoyed the start of the solo stuff", says Hutchinson. "It's a really enjoyable contrast with playing with the band as it means that I have been able go back to much smaller venues and really get engaged with an audience on a much more personal level.
"We do that with Frightened Rabbit, but as we have progressed, and the venues got bigger, sometimes as a performer you can feel that more social side of being on stage drift away a little bit. But with the Owl John shows I get to be right back into the spontaneous and social side of performing."
As for the new Frightened Rabbit album, Hutchinson says that it is early days in the writing process but he has a clear idea of what he wants the new record to sound like.
"We have been in Wales writing for two weeks and while we are happy enough to go with the flow in terms of the direction of the songs that will be on the album, we do want to make the record sound a bit more raw than Pedestrian Verse, a bit more like it sounds when we play live.
"It will be a case of keeping the key elements of what makes us Frightened Rabbit and what our fans have come to know from us, but we will be looking to have a more stripped back feel to the record and make it a rawer affair."
Festivals have played a big part in the career of Frightened Rabbit and Hutchinson says that performances at events of such ilk are a great gauge of how a bands career is coming along.
"My favourite festival appearance as a punter or as a performer was at The End of The Road Festival in Dorset.
"It was the first festival we ever played back in 2007, in the smallest tent in front of 100 people.
"We went back there in 2013 and played on the main stage just before one of my favourite bands, Belle and Sebastian, and it was a really good representation of just how far we had come as a band. That gig was an amazing experience and my favourite festival experience to date. Hopefully once all is said and done at Stendhal, there will be contender for that spot."
As for what fans of the band can expect from their set at Stendhal, Hutchinson can confirm that they will be covering tracks from all four of their albums and that the aim is to produce a high energy performance that will round off Stendhal in style.
"It's a bit early for any new stuff," he says, "so people who come along to see us will get a selection of songs that everyone will know from all four of our albums. We'll be looking to keep the energy up throughout so that the festival finishes on a really upbeat fashion." Frightened Rabbit headline the Stendhal Festival of Art on Saturday August 9. For more information, visit www.stendhalfestival.com.Read more...
Violinist Dmitry Sitkovetsky and pianist Cathal Breslin bring the curtain down on the Walled City Music Festival in "Euroclectic" fashion
A mixture of Beethoven, Kreisler, Prokofiev, Bartok and Ravel await everyone who attends this, the final night of Derry-Londonderry's Walled City Music Festival. Having been treated to a week's worth of strong chamber music and a few days of exceptionally hot weather, the chattering, comfortable, classically minded audience in the University Of Ulster at Magee's Great Hall eagerly anticipate the richest of icings on a well-baked orchestral cake.
The possibilities are mouthwatering. Our violinist for the evening is one of the world's leading violin soloists, Dmitry Sitkovetsky. The former principal conductor of the Ulster Orchestra, Sitkovetsky is joined by the equally world-renowned Cathal Breslin, a pianist who has performed for presidents and kings and sold out Carnegie Hall twice.
Sitkovetsky and Breslin begin with the first of Beethoven's Op. 30 Sonatas, cast in three movements. The first, Allegro, sees alternation between delicate strings and kinetic, variable piano-playing over a range of octaves, cumulating in an always active and sometimes striking sound. Attention to detail is strong and focus is paramount.
While Breslin maintains a professional pose, Sitkovetsky's eyes periodically widen and close. The violinist's lips pucker and quiver amidst a handful of fearful expressions in a triumphant battle with surging strings and cascading chords.
Well into the second movement, it becomes apparent that Sitkovetsky's face is always in tandem with the mood of the music. If a note or bar causes discomfort, it is obvious, though the power of his string-playing overcomes this, silencing performer and audience into simultaneous concentration and appreciation.
The tempo raises for the third movement, the first "foot tapper" of the evening, where Breslin marks his territory. The pianist's adaptability, reflexes, sharpness and pitch are significant. Memorably, Breslin's playing slows to a repetitive gallop, nearly dying out to silence before re-emerging as a steady background to a prominent violin. It's like a pre-emptive musical strike before the final, inter-lapping, string-based hit.
To Sitkovetsky, tonight is a "very different" recital with lots of smaller pieces in between the larger ones. A meal of not only main courses, but also middle courses, hors d'ouevres, and so on.
So it is with Kreisler's Rondino, Liebeslied and Liebesfreud. A pleasingly simple melodic overlap guides us down an unpredictable sonic stream on the way to an exhibitionist tango rhythm dominated by Sitkovetsky, who later lowers his tone, allowing the unselfish Breslin to fully impress. Both artists' breathing is extremely audible during a high powered refrain which ascends to deserved applause.
Lotus Land, co-composed by Kreisler and Cyril Scott, is intended to be the epitome of exotic transportation. Shut your eyes and you could imagine a beautiful sunset exploding into life before slowly going down, cataloguing the allure and alienation of foreign surroundings. The sweetly entrancing melancholia of the piece establishes this.
By contrast, Brahms' Hungarian Dances bring us back to earth in a way, establishing the aura of an Eastern European ballroom. It's reached the stage where the power of the music seems to have overtaken the power of the performance, but the mildly enraptured audience don't seem to mind.
Post-interval, Sitkovetsky and Breslin treat us to Prokofiev's Cinderella dances. By Sitkovetsky's own admission, these pieces are not made for violin and piano, but the orchestrations are no less determined. What our performers provide is something more delicate and relaxed, beginning with the crisp, medieval and sometimes dingy Valse waltz. Winter Fairy delivers a series of flowing scales on a bed of strings backed up by Breslin's gentle rummaging of the keys: a gently complimentary lead into the initially thunderous Mazurka, which sees Sitkovetsky and Breslin interlock like two equally concentrated ballet dancers jostling for command.
Themes of patriarchy, jollity, grim romance and reflective sentiment from a trapped viewpoint surface in Bartok's Romanian Folk Dances. These collide into an Eastern European polka that tests how quickly the musicians can play. The answer is, very quickly indeed.
The concert finishes as it begins, with a Sonata: this time the composer is Maurice Ravel. Allegretto invites a sweet, quietly enlightening piano harmony from Breslin, restrainedly backed up by a soundly rhythmic Sitkovetsky.
Less soothing, but more interesting, is the experimental Blues, an attempt to make the violin and piano sound like the saxophone and guitar. It's more casual jazz than traditionally upbeat jazz, but with their instruments, Sitkovetsky and Breslin create hitherto unforeseen, hyper-stylised richness. The application trumps the tune itself: American inspiration, but European Eclecticism. Euroclecticism, perhaps.
As the players approach their final, criss-crossing, complex movement, clouds visibly multiply on the other side of the Great Hall's windows, foreshadowing the stormy gloom embodied in the darkest recesses of their collection of pieces. But one is also stirred by elements inside and outside, the return to traditional "Derry weather" neatly tying in with the comforting normalcy that follows a refreshingly unorthodox journey, musical or otherwise. A journey made thoroughly worthwhile by the enlightening, eclectic - or should that be "euroclectic"? - endeavour of Sitkovetsky, Breslin and every other artist at this year's Walled City Music Festival.Read more...
The Playhouse Theatre in Derry-Londonderry hosts two nights' worth of local musical talent
Derry-Londonderry's Jammboree festival, the brainchild of John Ross, is one of the high watermarks of Music City 2014. Inspired by the success of the North By Northwest Festival the year before, Ross has set out to bring "the best of the North West" together in intimate, amiable surroundings for a lively, lyrical, laughter-filled weekend.
For two nights, an eclectic buzz surrounds the Playhouse Theatre as Ross's project comes to fruition is a sometimes calm, sometimes charged but always positive atmosphere.
Strabane quartet Those Ghosts, in their words, set about like most "garage bands", attempting to "string together some ideas and parts into coherent songs". They've since earned sufficient praise and a loyal following, although neither translate into a large Gallery Stage audience so early on Friday evening. What they do offer is solid "warm up" music, defined by good on stage chemistry, sound vocal enunciation, clear drum beats, and, almost unsurprisingly for up-and-comers, a clear 1980s influence. It's a promising start but the best is yet to come.
A grim looking Eoghan O'Hagan, otherwise known as His New Atlas, takes a leaf from the book of Radiohead for his set. Visibly slightly teary, his emotional input and sonic variations are a quietly entrancing combination.
Next door, on the Community Stage, Jessica Doherty brings delicate fragility and winning innocence to Ellie Goulding-esque compositions. Her intentionally strained soprano tone is rather moving.
Rhinos, a duo consisting of comedian Paul Currie and lady drummer Laura Totten, are a roaring, riotous rampage of raucous riffs and endless laughs. Expressions, impressions and explosions of unsubtle but unifying sound are key to their Gallery Stage appeal. They bring in a fairly good crowd too. Amidst this wild, hilarious hectoring, the lustful, longing and almost luxurious tones of Susie-Blue come across as a calm, cooling oasis on the Community Stage. One only wishes she could sing for longer.
The "classic" Alex Turner-esque "She's Got My Heart" announces the welcome return of 2013 success story The Clameens. Even with only the microphone to accompany him, lead singer Sean Breslin's vocals are as crisp as ever, if not crisper. Their on stage comfort, soulful synchronicity, singable, footstomping refrains and homely humour successfully earn this "comeback" set loud, deserved applause at the finish line.
Such an applause is sadly not forthcoming for the similar sounding Hurdles next door, but time is on their side and things will surely improve for them. Meanwhile, back on centre stage, rollicking country rockers Ard Ri are seeing out the night at a tempo worthy of the best dance halls in the Old West.
Saturday night's entertainment begins in literally Wyld (sic) fashion; the pulsating power of prancing, pouting, persistent leading lady Jilly St John and her Wyldling collective, featuring Glenn Rosborough, are performing under their name for the last time. Glad to be back on stage regularly again after an unnecessarily prolonged period, St John announces that the band will "step things up a gear". And step it up they do. Despite their oppressive appearance, they subsume the crowd in remarkably friendly fashion. St John's affected robotic movements are deceptive; she is anything but stiff, her loud vocals and range of expressions truly inspiring.
Gabriel Paschal Blake's eloquent, crisp vocals surround well timed drum beats, creating a steady, relaxing atmosphere worthy of this fresh faced performer's promising set. Blake sings as if he is traversing a torturous path along the road to maturity, hoping that emotional expression and fan appreciation will soften it for him. And, with a bit of luck, so it should. The strings of female accompanist Claire Cuffe give the performance greater breadth and depth, before it ends on a slightly surreal note; the blinds in the Playhouse room open slowly as the final number draws to a close. By the time they are fully open, Blake takes a bow and leaves the stage. It is as if someone said "Let there be light", and Blake and his band responded accordingly.
The best sound of the night up to this point comes from John Deery and the Heads. The band, who supported the Beach Boys during the Legenderry Maritime Festival, have a versatile, experimental nature and smoothness in their vocals that draws people together.
Meanwhile, at the Community Stage, easy-listening tunes from Connor Hutcheon, Darrell Coyle and Quentin Wylie are keeping punters happy, though best of all is probably the lovely indie folk of Karen Kelly & Simon McCafferty.
When Wyldling's Glenn Rosborough returns to the Gallery Stage, along with his band mates David Kirby and Jilly St John, they are a completely different beast, providing good humoured, well seasoned pop with a nifty beat and standout bass riffs. This paves the way for PORTS, The Artists Formerly Known As Little Bear, to dominate proceedings. Gloom, cast in downbeat blue lighting, floods the room throughout their second number, "In Summer", crowd favourite "Second In Line" brightens both room and mood, while "I'd Let You Win" providing the requisite emotional release. It's a mixture of temperaments that reaches a satisfying climax with the powerful refrain of "The Few And Far Between", proving that PORTS may have lost their old name, but not their charisma.
Last, but almost certainly not least, The Wood Burning Savages arrive ready to burn away the competition on a blaze of post-Glastonbury glory. Well, perhaps I am exaggerating for dramatic effect. But what's undeniable is that Paul Connolly and his band are the closest thing to a "natural festival band" we've seen this weekend. Their lyrics take a back seat to thunderous drums, roaring guitar solos, tenaciously overlapping harmonies and a fine stage presence. And they have achieved all this by simply defying convention and being themselves. It's not all high tempo either; when Connolly deliberately slows down the pace and asks everyone on the floor to "grab a slow dance partner", one can only watch on and think, this is what it's all about. The true essence of a festival captured in a pair of utterly rewarding nights in an intimately theatrical hub.Read more...
As the fastest selling gig of all time at Belfast's Cathedral Quarter Arts Festival gets underway, famed Long Island hip-hoppers De La Soul take centre stage with a calmness and charismatic confidence worthy of great leaders.
The message from rappers Posdnuos, aka Kelvin Mercer, and Trugoy, aka Dave Jolicoeur, appears to be: "This is what and how we're going to perform: if you don't like it, then that’s too bad."
And it is the sort of attitude that the Custom House Square crowd pick up on. Despite its truncated nature, the event justifies the hype and hoopla; Mercer, Jolicoeur and collaborator DJ Maseo deliver a beat-boxing, foot-stomping, chorus chanting funkathon packed with energy and excitement. The words of the songs can't really be made out in all the hubbub, but that matters little in an atmosphere generally more suited for dancing than singing.
Highlights include the classic "Magic Number", a mix featuring "Like A Virgin" and "Name and Number", and of course, "Me, Myself & I". Sadly, "Eye Know" doesn't get a look in, though to be fair, the band aren't here to pander to those expecting every song from breakthrough album "3 Feet High And Rising".
What is lacking is the time on stage De La Soul truly warrant; Mercer and Jolicoeur's back catalogue is worthy of a longer set than this. Still, their rapport and energy has made everyone happy. Let's hope it's not too long before we see De La Soul in these parts again.Read more...
Irish choreographer brings the tale of the HMS Titanic to life in a world dance premiere in Belfast and Derry-Londonderry
Raymond Sweeney has an extensive background in dance. Born in Drumkeen, Co. Donegal, he has been dancing since his first foray into the Terri Lafferty School Of Dancing at the age of nine. Titles and medals all over Ireland, Britain and the world followed before he became a professional at age 16 with Michael Flatley's own Lord Of The Dance.
Six and a half years in this prestigious production both included and preceded more worldwide touring for Sweeney and his proverbial feet of flames (also the title of his first ever professional dance performance, in London Hyde Park).
Today, Sweeney resides in Co. Donegal with girlfriend Louise Hayden. Both have their eyes on a new kind of dance: and it's about a certain ship.
Once upon a time, it was claimed, by film critic Tom Shone in particular, that James Cameron created a "magnificent romance" seventeen years ago - has it really been that long? - but the true "romance" was between Cameron and the infamous HMS Titanic. As if the amount of energy invested by the director into creating a brand new hunk of metal, letting it sail and then sinking it was much more significant to Cameron than any of the characters in it. (And in retrospect, it still seems so.)
When Titanic Dance makes its World Premiere at Belfast's Odyssey Arena this Saturday and at Derry-Londonderry's Millennium Forum this Sunday, the focus will be on a new kind of romance: merging dance and the story.
"I couldn't believe no one had thought of telling the story that way before", Sweeney says. "Maybe they just didn't know how to fit the numerous intricacies of the Titanic story - the shovelling of coal, the different classes, the sinking and so on - through dance."
It all began over a meeting with two Derry-Londonderry-based friends, Sean McAnaney and Kevin Toland. What, they wondered, was the best tourist attraction around? Especially in Belfast? Titanic, of course. The area on the east bank of the River Lagan formerly known as Queen's Island has enjoyed a surge in popularity since an already relatively iconic exhibition building opened there two years ago. And Titanic, in McAnaney's words, was also very popular in China.
Won over by Titanic's worldwide appeal, ideas turned to choreography in the hands of Sweeney, Hayden and an old friend from Lord Of The Dance, James Keegan. Words and expressions have become rhythm and movement. But it hasn't all been plain sailing.
"At the start, we thought we'd be better off with some basic chorus steps. But matching music with dance, and dance with music, and trying to choreograph at the same time felt problematic."
So Sweeney, Hayden, Keegan and company will be handling the Titanic story through a mixture of elements - projection, costumes and real facts will merge with both music and dance as the company set out to provide a learning curve for viewers. It will be a case of sticking with the gist of the James Cameron film - in Sweeney's words, it's hard to deny the appeal of first-class girl meeting third-class boy - while approaching certain things, particularly the ending, somewhat differently.
"We're telling our story in an easy-to-follow manner, differentiating classes through light, colour, costumes and music. There'll be a mixture of Irish dancing styles and four sung numbers on show."
Such an approach has already worked very well in recent workshop performances in Letterkenny, which have brought standing
ovations from audiences at the town's An Grainan Theatre.
Sweeney is rightfully optimistic about similar reactions in Northern Ireland's largest cities. "I don't think anyone has been more fascinated by Titanic since the
release (of the 1997 film)", he says. And I can personally vouch
for that, having begun to read illustrated histories of the ship and testimonies from survivors in the immediate aftermath of the film. But how does Sweeney feel, overall, about translating this fascination to the stage?
"Telling this story, a story with so many possibilities, in the form of dance is both exciting and unique. But it's not just about the dance - it's about projecting a whole spectrum of emotions through music too. We feel like we've created something that's not just your everyday Irish dance, but has a universal appeal."
Here's hoping that, unlike its historical inspiration, Titanic Dance stays afloat. The World Premiere of Titanic Dance takes place in the Odyssey Arena on Saturday May 10 and Derry-Londonderry's Millennium Forum on Sunday May 11. For more information, click here.Read more...
A Not-So-Dirty Harry makes our day and a crooner of corny ballads re-invents himself at the Derry-Londonderry musical showpiece
The more things change, the more things stay the same. Sort of. As one temporary tent was taken down in Derry-Londonderry’s Ebrington Barracks not so long ago, another smaller but arguably no less atmospheric tent of wood and canvas was on its way to the Guildhall Square. The world-famous "Spiegeltent", erected in the square for April's Pan Celtic Festival, has won admirers worldwide with its wide open "hall of mirrors" aesthetic and unique live musical experiences. Retaining its use for the city's annual jazz extravaganza was surely a given; and it is this venue which will host the two most high profile jazz musicians of another memorable weekend.
First on the "big names bill" is Kyle "son of Clint" Eastwood, who takes to the stage on Saturday evening. His musical talent leads compere Mark Patterson to intone that we'll "never watch the Dirty Harry movies the same way!" But first, we get to enjoy the winners of the recent Music City Talent contest: teen rockers The Kashmir Krows.
Lead guitarist Joseph Leighton, bassist Jonathan Black and guitarist Frank Duffy aren’t strictly jazz, either in hairstyle or music, but they are ideal for warming the cockles. On their menu is a steady, grungy jungle beat with shades of Black Grape, Guns 'N' Roses and Jamiroquai which often crackles with an early 1970s rhythm. It’s a truly appetizing smorgasbord which garners much applause in the Tardis-esque structure, especially when they sign off with a dash of Jimi Hendrix. With a little luck, these guys could go a long way.
Kyle Eastwood himself is a dominant presence. Like his father dearest, he lives and breathes his work, grimacing as his fingers visibly battle with guitar and cello strings. But this struggle only mirrors his concentration level, the standards he sets for himself and the quality of his music.
He hits a very high watermark early on with "Marrakesh". Aided by Andrew McCormack's tinkling keys, Graeme Blevins' saxophone, Chris Draper's drums and Quentin Collins' brass work, Eastwood creates an initially confusing but on the whole cinematic effect, the thunderous beats arguably reflecting the strife and culture of Africa itself. These beats then dissolve into a hypnotic rhythm with irresistible riffs from Blevins and Collins taking centre stage. The audience is entranced, and so, for a brief moment, is Eastwood.
Any jitters the star performer may have experienced to begin with are extinguished completely by the multi-layered "Big Noise", a typically loud, epic and kinetic instrumental concoction. Its slightly cluttered but thumping and euphonic groove is stylishly matched by the more polished but no less forceful "A Night In Senegal". Sandwiched in between comes the gratifyingly mild Herbie Hancock piece, "Dolphin Dance", in which McCormack's piano playing is at its very best.
The throbbing bass and escalating tempo of Horace Silver's "Blowing The Blues Away" leads into a classy finish and deserved encore for the remarkably expressive Eastwood. It has been a show where the performers and audience have felt wholly at one with the music; this Not-So-Dirty Harry and his ensemble have literally gone ahead and made our day.
"The flowing locks have gone, but the music remains, and the swoon-o-meter's pretty high". As Mark Patterson speaks those words, it is expected that early 1990s icon Curtis Stigers will set numerous
pulses racing on the Sunday. No longer defined by the crass, simplistic, dated but undeniably catchy balladry that initially made him famous - is there anyone who doesn't have "I Wonder Why" and "You're All That Matters To Me" burned into their memories? - he aims to establish himself as a confident, swinging lothario, complete with sometimes funny and sometimes not entirely appropriate references to love, sex, relationships and all that.
Backed by a very talented band, Stigers breezes by on a calm combination of his reputation, personality and undeniably impressive re-invention of himself as a "jazz man". He merges herky, jerky and oddly robotic swing movements with human beatboxing and funky calypsos, in an always interesting performance that justifies at least a portion of the acclaim that's gone his way throughout the past decade. The Guinness-drinking and Terry Wogan-impersonating interludes, to name but a couple, aren't fully convincing, but they don't need to be; Stigers has the requisite charisma to paper over the cracks. The audience's favourite songs are performed, and not quite as we know them. And love songs like Steve Earle's "Valentine's Day", "You Don't Know What Love Is" and "The Way You Look Tonight" are delivered with soulful melancholy. That he succeeds to this extent in a field you wouldn't have thought was his cup of tea is commendable.
And yet, is that enough? When you compare Stigers with the best this festival has had to offer in recent times, particularly the magnificent Pink Martini, he falls more than a little short. If this set is diverting and entertaining, it is rarely absorbing - it is not the sort of set that makes one want to rush out and buy the record afterwards. Polished though the music is, it is more admirable than likable. Perhaps it is his general approach; whereas Kyle Eastwood carefully caresses his guitars and cello, treating each string and note like it genuinely is all that matters to him, Stigers goes laid back and the end result teeters a very fine line between slick and irritatingly nonchalant. In my eyes, Stigers is less than the sum of his parts because he allows the personality to take over the artistry; a mistake that The Kashmir Krows, Kyle Eastwood and especially Neil Cowley do not make.
For this is one of those rare evenings where the support act outdoes the star. The rapport that City Of Culture 2013 Musician-In-Residence Neil Cowley and his Mission Impossible troupe strike up with the Derry-Londonderry crowd is far more homely. The boisterous, booming voice and powerful presence of singer Bernadette Powell is the pivot around which a short, simplistic but riotously rhythmic showcase emerges. It's a cheerful reminder of the endlessly enduring Motown effect; the sort that just makes you want to get up and dance, as Martha Reeves might put it. When they sign off, the Spielgeltent genuinely feels like the "Land Of A Thousand Dances": and with that, Mission Impossible have captured a spirit worthy of any jazz and big band festival.Read more...
The South Carolina born singer links up with Linley Hamilton for an electric and eclectic show of soul at the City Of Derry Jazz & Big Band Festival
"The more you drink, the better we sound", says top notch trumpeteer Linley Hamilton before he joins pianist Scott Flanagan, double bassist Ken Murphy and drummer Markus Strothman for this Playhouse showpiece in this year's City Of Derry Jazz & Big Band Festival Calendar. It's typical of one of Northern Ireland's best musicians, I suppose, to play himself down for fear of not playing up to his usual high standards, but his comment ties in neatly with his humorous humility. The power, versatility and adaptability in the Bangor man's performances has resonated long and loud over the years, and will continue to do so tonight in tandem with South Carolina-born, Lisburn-based soulstress Dana Masters.
What Masters, Hamilton and the ensemble offer on the night is a show defined by beats of the rhythm and the heart. Theirs is the expression of musical emotion not through sullen lyrics, but through electric and eclectic brass, keys, percussion and vocals. Masters masters the stage is a sometimes high-key, sometimes low-key but never off-key manner, filling her numbers not with self-pitying sentiment but elements of redemptive power that resurrect every single finger-clicking, foot-tapping, hand-clapping spirit in the packed Playhouse audience. Highlights include a poignant, intense and reflective rendition of Charlie Chaplin's "Smile", the heartfelt, personal "Georgia", and a strong and true performance of Etta James' "At Last" that has Hamilton, Strothman and surely the crowd nodding at each other in silent amazement.
Masters channels not only Etta James but also Ella Fitzgerald and Billie Holiday, her powerful pitch seeping under your skin, her passion gently melting the heart. Each song, too, is selflessly structured so that every single one of the performers on stage shines. One need not overanalyze this music - one can gain so much more just by surrendering to its effect. By the time Masters, Hamilton and company sign out with the genuinely joyous encore of Irving Berlin's "Blue Skies", one cannot help but look forward to what this extremely gifted ensemble will do next. Personally, I'd love to see Masters take on Aretha Franklin.
The City Of Derry Jazz And Big Band Festival 2014 runs citywide until Monday May 5. For more information, visit the official website.Read more...
For the second consecutive year, the world-renowned Other Voices live
music television programme relocates from its traditional home of
Dingle, County Kerry to Derry-Londonderry, featuring a galaxy of
national and international musicians arriving to strut their stuff in
Music City 2014.
In the intimate Glassworks for the first of three nights, producer
cum compere Phil King seems sprightly, clearly rejuvenated by the fact
that Derry has established itself as a "second home" for Other Voices.
First on the bill is Public Service Broadcasting, the rather abstract
combination of London-based J Willgoose, Esq and drumming partner
Wrigglesworth. Like Woody Allen by way of the Coen Brothers, Willgoose's
bow-tied and bespectacled appearance complements his amusingly witty
material.
To read the full article at Culture Northern Ireland, click here. Read more...
The City Of Culture 2013 closes with Shaun Davey's Legenderry composition, which cooks up a storm both on and off the stage
"The occasion to repeat a concert not only brings a box of music back to life, it sometimes brings fresh opportunity... (It) also reunites performers and friends."
So speaks Belfast-born composer Shaun Davey, prior to the second major performance of his Relief Of Derry Symphony in 2013, the official closing concert of the City Of Culture year. And, with his composition and a cavalcade of staggering talent including, but not limited to, Dublin-born singer (and Mrs. Shaun Davey) Rita Connolly, percussionist Noel Eccles, pipist Liam O'Flynn, saxophonist Gerard McChrystal, the Ulster Orchestra and the internationally renowned Codetta choir, he has done just that.
The composer, the music, the ensemble, the audience and Derry-Londonderry's Venue 2013 really have provided a perfect example of how well one composition can lend itself to various interpretations in a short space of time. Mel Orriss's arrangement of The Relief Of Derry Symphony, performed in St. Columb's Cathedral in August, was an understatedly intimate delight; this ambitious and grand arrangement feels, and is, truly epic.
It unites the history of The Walled City, Stroke City, Derry, Londonderry or whatever you want to call it with the multitude of achievements in this momentous year to create a rich, lively and historical chronicle of sight and sound, the ideal watermark and perfect benchmark for the city, community and cultural landscape.
For the uninitiated, The Relief Of Derry Symphony was commissioned by Derry City Council in 1988 to mark the then forthcoming 300th anniversary of the Siege Of Derry in 1689. It was first performed by the Ulster Orchestra at the Guildhall in 1990, during an era of conflict.
This performance, as Davey indicates, is a reunion of the original conductor, Gearoid Grant, and the original soloists, including Pipe Major Iain MacDonald, his daughter Fiona, Noel Eccles, Liam O'Flynn and Rita Connolly. The difference here is that in the third movement, a special part has been written to incorporate the Codetta and Cantamus choirs, conducted by Donal Doherty, with a solo part for Gerard McChrystal in the fourth movement.
Bathed in jaw-dropping blue light, with a harp easily visible in the distance, the set-up on the Venue stage is instantaneously overwhelming at first sight. As expensive as the temporary tent-like structure has been, all rational thought drops to one side at the expense of clear sentiment; as David Tennant's Tenth Doctor might put it, you don't want it (the building) to go. But go it must, and the orchestra and choirs will see it goes down with a bang; providing the storm outside doesn't bring it down first.
Eight individual movements precede the symphony itself. And from the moment Liam O'Flynn's fingers touch the Uilleann Pipes in "Newfoundland", you are spellbound by the pitch, rhythm and variance of the arrangement. The strings and percussion of the Ulster Orchestra add extra depth to the sound without overwhelming O'Flynn himself.
There is a touch of sadness in "May We Never Have To Say Goodbye", where we hear Rita Connolly for the first time. Her clear, immersive vocals, representative of a wise, seasoned storyteller, movingly inspire the choirs behind her. Though the song itself is laden with melancholy overtones, it is ultimately triumphant, a reminder of everything achieved in Derry-Londonderry in 2013 and its sure legacy.
That's one of the best things about the first series of individual movements. Each movement is unique in its instrumental approach and in the story it tells, which, in turn, relates to a great City Of Culture memory. For example, the percussion and tone of "Arrival Of The Flag" recall the energy of Political Mother and the funk of CHIC, while "The Joys Of Mary", performed by Connolly, MacChrystal, the choirs and the orchestra, is very Fleadhesque, a Christmassy folk arrangement where the volume of the strings is toned down slightly to allow Connolly and the choirs to thrive. The concentration and emotion in Connolly's tones is even better defined in "Carol Of The Birds", which recalls the popular Christmas carol "I Saw Three Ships".
With O'Flynn, and later MacChrystal, at the forefront, "Arrival Of The Flame" and "Music For Fireworks" bring back the most magical moments of the Return Of Colmcille, with their Celtic, mystical overtones and prominent pipes. Like Mark-Anthony Turnage's At Sixes And Sevens, the piece looks backwards and forwards, inspiring memories and encouraging listeners to build on them. Vocals from Hothouse Flowers singer Liam O Maonlai on "Fill The Parting Glass" and Connolly's prayer for protection on "The Deer's Cry" round out the initial movements, by which point both the storm onstage and outside the Venue are causing the structure to literally rock. Fortunately fears of an Apollo-esque incident are unfounded, and the tent will stand strong and true throughout the main piece.
Contrasted alongside the endless variation of the first half of the concert, the first movement of the Relief Of Derry Symphony initially feels a tad underwhelming, but it remains impressive. The "Fanfare For The Common Man" inspired opening leads the way for a signified tale of triumph, doom and foreboding, in which Catholics rally to the cause of King James II and Protestants to William of Orange. The sound and march of the Colmcille Pipe Band, which symbolises the arrival of the beseiging army, is well attuned to the Venue's acoustics and "alleyway". This reaches an absolutely overwhelming crescendo in the second movement, where, following spotlighted drumming from Noel Eccles, the pipers surround the Ulster Orchestra like leaders in the battle, daring the orchestra - the opposition, you might argue - to raise their game. And raise it they do, marking an alternately triumphant and mournful tale of bombardment, defiance and the Battle For Windmill Hill.
Gloom envelops the third movement, O'Flynn's powerful pipes adding strong resonance to its reflective and funereal mood, recalling the lost lives in the Siege Of Derry. He later steps aside, leaving Connolly to return to centre stage with "The White Horse", a performance that offers hope through both vocal and visual projection - the image of a white horse on the underside of the Venue's roof throughout the song is proof of this.
The fourth and final movement, led by a momentous McChrystal, reflects on the dissolution of violent chaos into relief, culminating in a commanding coda of hope and peace. What follows is beyond words - "The Starlit Sky", a truly spectacular encore celebrating the "natural world" and "the beauty of life" with the prominence of Connolly's vocals, McChrystal's saxophone, the pipes and the choirs.
It is the ideal reminder that even as this cultural year dies out, and this building prepares to come down, Derry-Londonderry's cultural glow always has and always will hold strong no matter what storm.Read more...
Freelance journalist, writer and photographer currently based in Derry-Londonderry. Especially enjoys discussing, and writing about, culture and football.
