2012 Sydney Festival (music)

• Mountain Mocha Kilimanjaro
• Julianna Barwick
• 41 Strings by Nick Zinner
• Amiina
  

Image source: Hot Source

Mountain Mocha Kilimanjaro supported by Electric Empire
8 January (Keystone Festival Bar)

Blurb: Mountain Mocha Kilimanjaro combine the rawest soulful grooves that would spark up anyone's dancing shoes and the furious energy of rock and roll, laying it all down in the classiest of funk manners.

Firstly, it poured like crazy. I'm talking about constant rain alternating between buckets and steady drenching. Secondly, the Festival Bar is not the best place to be when it's wet. The red gravel outside gets stuck to your shoes/feet and the inside of the tent smells like mildewy sweaty people.

When I finally made it to the venue—wet despite my raincoat *and* umbrella—I headed straight for the bar and had a cider, then settled in a safe little corner in front of the mixing desk for Electric Empire's final three songs. The mood was jovial and people were bopping energetically. I wrung out my dress in a small puddle.

MMK alighted the stage to wild screams and applause. I'd seen these guys before, a couple of years ago at Festival First Night, and they were deserving of the over-the-top welcome. The gig hit all the right notes: amusing banter in stilted English from the frontman, some really tight jazz-inspired solo instrumentals from each of the musicians, and an infectious rhythm that got the house jumping early on.

I spent the better part of the night in the air, surprised at my own stamina as much as MMK's. The musicians played with vigour and verve, with a love for the music and the crowd that was clearly visible even from halfway down the tent. There wasn't anything to fault in the set, but correspondingly there wasn't anything extra special here, just a solid night of funk. Which, it must be said, is never a bad thing. 

Gig rating: 8/10 – top marks for making a miserable night worth coming out for
Enjoyment rating: 7/10 – it's hard to dance in a wet dress

*** *** ***

Image source: Sydney Festival

Julianna Barwick

15 January (The Famous Spiegeltent)

Blurb: Julianna Barwick's atmospheric world is one of ghostly echoes, galactic lullabies and traditional chants. By means of loops and pedals, and occasional piano and percussion, she builds layer upon layer of abstract vocals to create a delicate sound of lush ambient folk.

I'll start by saying that Barwick sings as if she's doing the theme music that might accompany a flight of angels. There are equal parts longing and wonder in her voice, a beauty so ethereal that it hurts the good hurt.

Coupled with the magnificent interior of The Famous Spiegeltent, my favourite festival venue, Barwick's songs capture that which most singers find elusive: a certain enigma in the aural aesthetic. Lush and ambient, indeed.

Unfortunately the performance didn't amount to much more than Barwick and her loop pedal and a couple of instruments. I spent a large part of the set squandering my second-row seat and gazing up at the chandelier (for Meow Meow's show) or closing my eyes and letting the notes sink in. There have been more interesting things done with loop pedals (I'm thinking of Mr Percival or Holly from Fergus Brown), so the method is a means of creating a choral effect rather than a novelty. Barwick also didn't bother to invest in a rapport with the audience, despite the reach of her music.

So, although I was glad for this introduction to Miss Barwick—and believe me, I spent a large part of the gig transfixed—I wouldn't rush to buy a ticket to another live performance of hers when the money and time would be better spent just acquiring her albums and getting to know them.

Gig rating: 7/10 – not so much a performance as a recital
Enjoyment rating: 7/10 – aurally spectacular, but no meaningful connections

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Image source: Sydney Festival

41 Strings by Nick Zinner featuring the Australian Youth Orchestra

5.20pm, 22 January (Sydney Opera House)

Blurb: The piece is part concerto in the classical tradition, but with the modern rock ‘n' roll feel one would expect from Zinner. Zinner conducts and plays an in-the-round experience with an impressive line-up of acoustic and electric strings, ranging from violins to electric bass (with some drums and synths thrown in for good measure).

I don't know Nick Zinner from Adam. Oh yes, I've heard of the Yeah Yeah Yeahs but have no idea who's in the band and would not be able to hum a bar of any of their songs if my life depended on it. So let's just establish that I came to the concert on the promise that this would be a dynamic and interesting orchestral experience more akin to an epic instrumental with rock sensibilities than an alternative version of Vivaldi's The Four Seasons. I'm happy to say it was all that and more.

The support act was IIII, a piece also inspired by The Four Seasons, performed by a drum circle. The start was wayward, more noise than music, but once a more conventional rhythm kicked in, all was well. While the piece provided a good kickstart to proceedings and foreshadowed what was to come, I felt it outstayed its welcome. I love me a good drum (I'm a taiko enthusiast after all and a big fan of TaikOz and Synergy Percussion) but I felt the repetition drag on the ears after 10 minutes. The audience were also restless and eager to hear the main performance.

After the interval we were rewarded with the appearance of Zinner surrounded by members of the Australian Youth Orchestra, a handful of drummers from the first set and a few guitarists. To say the piece exuded big themes would not be an understatement. There was a palpable sense that music—and the musicians—knew what it was like to be alive, which complemented a feeling of human insignificance in a bigger picture.

It was great to hear guitar licks alongside the heightened emotions of the strings and I highly recommend that anyone who enjoyed this check out deepblue orchestra, which I would nominate as the only other group that could pull off something this ambitious on roughly the same scale. One petty gripe, one that affected the gig for me, was that the violins were far too shrill at the afternoon performance—more a fault of sound engineering than performance.

Gig rating: 9/10 – epic
Enjoyment rating: 8/10 – inspired some dynamic dreaming 

*** *** ***

Image source: Sydney Festival

Amiina

25 January (The Famous Spiegeltent)

Blurb: Beginning life as the string section for Sigur Rós, Amiina have a unique electronically-infused and ethereal sound. The band's original line-up has since been augmented by the percussive sounds of glockenspiels and bells, as well as saws and other instruments. Live, Amiina deliver an aural treat, creating a dreamy, enigmatic and precisely organised chaos. A must for fans of the beauty and subtlety of contemporary Icelandic music.

What exactly is 'contemporary Icelandic music'? Does anyone actually have a solid definition of this term? Is it sparse ambient music, the kind you'd expect whales to make talking to icebergs? Or is it an icy whisper, like snow falling on a leaf?

Amiina's music embodies the essence of nature in an eloquent, electronic form. There is much that is folksy about the band members' performance but the sound goes beyond a cabin in the woods to bring listeners a flavour of the outdoors. It's like one of those films where the protagonist goes off to 'find himself' and discovers that the world is so much bigger than he imagined. A lot of Amiina's work stands on the precipice where there's an overwhelming tightness in the realisation of the enormity of it all followed swiftly by an acceptance, a love of one's place in the big wide, beautiful world.

The performance, while at times shambolic, was comforting gig with enough humour and grace to make the wait in the pouring rain a worthwhile one. I was particularly impressed with the instrumental handsaw. I mean, where do you get that kind of thing? How do you learn to play it? How do you make sound that blossoms with such a tool?

As a whole there was a lot of love in the room. The lush interior of the spiegeltent fit well with the music, and even the rain outside contributed to the cosiness of it all. Amiina were talented and endearing, and I hope when I see them again it will be in a venue as intimate as this.

Gig rating: 8/10 – sweet but not exceptional
Enjoyment rating: 8/10 – too much drifting can make one impatient

Leonard Cohen (gigs)

Leonard Cohen
Sydney Entertainment Centre, Sydney (28th, 29th January, 2009)

Australian troubadour Paul Kelly accompanied by his nephew Dan Kelly (formerly of Dan Kelly and The Alpha Males) opened the show for the bard, and while Kelly's songs don't quite have the guile of Cohen's, it's easy to see how their folk roots have parallels. Kelly delivered an engaging set, one that creates modern history as he sings, which was a suitable introduction to the Leonard Cohen mood.

The last time Leonard Cohen toured Australia I didn't even know my alphabet, let alone the mark of a great poem, so it was with great pleasure that I attended both of his Sydney shows - and with some luck I hope to attend more on subsequent tours.

Leonard has an unfair reputation for producing dark music with suicidal overtones, but I actually find that a lot of what he does has an element of fantasy to it, which holds a mirror up to some really big issues in society. Creating mirrors is what great art does, so it's no wonder that all he had to do was appear on stage to receive a standing ovation from the crowd.

Cohen and his performing band, Unified Heart, are a sophisticated lot. They have the slickness of professionals with the warmth of a cabaret band that belied the vast Sydney Entertainment Centre auditorium. And let's not forget they were all decked out in dark suits. The bard himself spent the first three songs alternately kneeling on the large red decorated rug and honouring his virtuoso guitarist Javier Mas and standing with his eyes closed, facing the audience.

There was a particularly brand of humility and sincerity that I was interested in. The spotlight seemed to anoint him, the songs were killer hits and yet he seemed genuinely touched that the audience applauded them so, in thunderous cascades. He removed his hat after each number, nodding his acknowledgement to the crowd and to the support Unified Heart afforded him.

I was a little disappointed with 'Everybody Knows', one of my favourite Cohen songs, as it was performed rather haltingly in spoken word style over a marching rhythm rather than echoing the recorded version - the vocals expressing deadpan resignation over a futuristic synth beat - but 'Who by Fire' was a surprise highlight of the first set. I've never really cared much for the song, but it began with a riveting guitar introduction by Javier Mas and then transcended into something akin to a gypsy-infused performance-long question.

Despite a few laughs, such as in 'Chelsea Hotel No. 2' - "you told me again you preferred handsome men, but for me you would make an exception" - Cohen didn't address the audience until after 'Hey, that's no way to say goodbye'. It went something like: "It's been 15 years since I've been on the road. Back then at 60, I was just a kid with a crazy dream..." The first half ended with a striking, extended 'Anthem', introducing each member of Unified Heart, my second pick of the first set.

The man sitting next to me on the first night described Leonard as looking like "a Galapagos tortoise" and I could see his point. The ancient bard with his weathered face and saddened eyes peered into the spotlight imploring and wise, later undercut by an anecdote he shared to head the second half: "One day I was drinking with my [Buddhist] teacher. He was about 95 at the time. He leaned over and said 'excuse me for not dying' - I know what he means."

With that he launched into 'Tower of Song' playing a dinky keyboard with one hand and with plenty of irony for his "golden voice". 'Boogie Street' was performed by prime collaborator Sharon Robinson in cabaret style while 'Hallelujiah' was suitably reverent, built like it was meant to be built, stanza by stanza until the emotion spilled out in crescendo on the later choruses. But there was no stopping him, popular song and thunderous song or not, he launched straight into 'I'm your man', another song I never cared too much for - but which blew me away with what? Sincerity?

I tell you, it was like he was writing the song there and then, giving birth to it fully formed with all the bones, the emotion and inspiration for it, audible for all to hear. This was followed closely by another naked rendition, this time 'A thousand kisses deep' performed, heartbreakingly, in spoken word.

The encore was more upbeat, with more vigorous vocal stylings, particularly as it began with 'So long Marianne' and 'First we take Manhattan', both songs which could be construed as calls to action. He then contrasted these with a sombre 'Famous Blue Raincoat' which eased the animation of the first two songs.

He was barely gone before skipping back for a second encore, opening the way for 'If it be your will' with a spoken word introduction, which was then exquisitely sung by the Webb sisters, part of Unified Heart. He then rounded off with a knees-up - 'Democracy' (first night) / 'Closing time' (second night).

Ovations were abundant so it was with tongue firmly in cheek that the last encore began with 'I tried to leave you' and a touching all-company send off to the tune of 'Wither thou goest'.

============
Set list:
Dance me to the end of love
The Future
Ain't no cure for love
Bird on a wire
Everybody knows
In my secret life
Who by fire
Death of a ladies man *
Chelsea Hotel No. 2
Hey, that's no way to say goodbye
Sisters of mercy **
Anthem
~~~
Tower of song
Suzanne
Gypsy wife
The partisan
Boogie street
Hallelujiah
I'm your man
A thousand kisses deep
This waltz
~~~
So long Marianne
First we take Manhattan
Famous blue raincoat
~~~
If it be your will
Democracy *
Closing time **
~~~
I tried to leave you
Wither thou goest *

* First show only
** Second show only

A few points to note:
* 'careless sex' replaced 'anal sex' in the lyrics for The Future
* 'mighty heart' replaced 'sacred heart' in the lyrics for Everybody Knows
* 'you' replaced every 'ya' in the lyrics for Hallelujiah
* 'I didn't come all the way to Sydney to fool you' - Hallelujiah

============

It's hard to top a standing ovation before a note has been played but Leonard Cohen and Unified Heart did it with a very classy show and some really deep performances that drew out the essence of the songs and launched them over the 12,000-strong audience.

It was a well-balanced show, a mix of old and new pieces, the bass-baritone of the bard against the angelic harmonies of Sharon and the Webb sisters, the stark lyrics and proud musicality of the band and the humorous touches encased within the transcendental truths of the songs. Loved it. Will be hard for anyone to top performances like these.

Gig rating: 9/10
Enjoyment rating: 10/10

SO EXCITED

Leonard Cohen coming to Sydney in January!

Rufus Wainwright (gig)

Rufus Wainwright
State Theatre, Sydney (29th January, 2008)

Supported by Leena

The State Theatre is a vast auditorium, and for the meek singer-songwriter, the expanse must be intimidating. I feel that was the case for poor Leena, whose set felt overwhelmed. While she showed plenty of promise with glimpses of talent (particularly 'After the Rain' on the keys), there was nothing striking about her voice or instrumental prowess. Instead, it was very clear that the theatre was grander than her presence and abilities. I do hope that she will grow into performance and come back more relaxed and able to start a rapport with future audiences.

Conversely, it seems Rufus Wainwright is a born performer. Gregarious, cheeky and brimming with campness, the droll musician is one of the few people who can walk the tightrope between class and trash and not take a fall, especially in the type of clothes he chooses to wear to performances.

Wainwright has plenty of sparkle, literally and metaphorically, which he shared with his eight piece band, making the live experience richer for it. As this gig followed the issue of his recent album 'Release the Stars', most of the set revolved around a mix of the album's content. Some songs on the album I found a bit flat, but in the live setting Wainwright does a superb job of making everything seem ten times more exciting than it probably is.

The picks of the night were the jaunty 'Matinee Idol', the thumping 'Between My Legs' (with the speaking part completed by competition winner Chantal) and a rather brash version of 'Do I Disappoint You'. And I'd probably follow that with his a cappella rendition of an Irish folk song (I forget the name), which was both touching and, well, showing off his vocal talents (why am I not surprised?) as well as the 'Rufus does Judy Garland' section (see above image) in the latter part of the gig. I wish my legs were like that!

Wainwright deserved all the accolades. His banter between songs was witty and self-deprecating (before 'Leaving for Paris' he mentioned that he wrote it for the film Moulin Rouge but it was eventually dropped in the final edit of the movie, "and that was a flop so let that be a lesson") and by the end of the night he had the audience eating from his hand.

A top class performer, a must-see live even if you only have a passing interest in his music.

Gig rating: 8/10
Enjoyment rating: 10/10

Red business

Rufus Wainwright is coming to town and I'm going to see him tomorrow night at the State Theatre. What a pity, then, that I missed this competition, which was posted on his website:
"Going to a Town to see Rufus? Want to perform the spoken word part of 'Between My Legs' live on stage with Rufus? Rufus will select a special guest for all of his shows in Australia..."

The blurb goes on to read that you have to do a YouTube audition but it has to be submitted five days before the show - d'oh! missed it!

But there's a river going underground under the town... Oh bugger, I'm terrible at remembering lyrics. How does it go?
"Because there's a river
Running underground
Underneath the town towards the sea
That only I know all about
On which from this city we can flee
On which from this city we can flee"

Did I mention I'm also going to see The Phantom of the Opera in May? My flatmate bought tickets for my birthday (also in May) to thank me for spending heaps of money on The Whitlams at the Opera House gig we went to for her birthday last year.

The interesting thing is that his shows haven't sold out in Australia. The two Sydney shows are still fair game with only one (of two) Melbourne shows sold out and Perth also devoid of tickets. I wonder whether it is because he's not well-known yet here or if it has to do with festival fatigue? We've just had the Sydney Festival and the Big Day Out and a whole bunch of minor festivals (e.g. the Spirit of Soul Festival) chug through this city and his show comes at the end of the season where people have just bled money from Christmas and dozens of parties. Hmm.

Now I'm listening to 'Complainte De La Butte' that he did for the 'Moulin Rouge' soundtrack - he seems to do a lot of soundtracks. I also had 'Across the Universe' (from the film 'I am Sam') playing earlier. But I must confess I like Fiona Apple's version (for 'Pleasantville') better, but can't seem to buy it as an individual track off iTunes. Rufus will do.

The Cat Empire - So Many Nights (gig/album)

The Cat Empire
Metro Theatre, Sydney (14th, 17th October, 2007)

So Many Nights (2007)
By The Cat Empire (EMI)

On first listening to the album So Many Nights, I had moments where I thought "I kinda like that", such as the string/scratch 'turn' on the title track and the rumble behind Harry's vocals on The Darkness but nothing stood out until the soaring emotional pull of The Ocean Takes Us All.

It's always the way, isn't it? You have a band you love and you know all their existing albums off by heart and they have a new collection that you know you should love - but you don't yet. Since I'm of the old school of listening, whereby I will play albums through, and repeat, instead of skipping songs that I don't like to begin with, then I get a thorough aural education when a new album comes out.

Eventually I added Radio Song and Voodoo Cowboy to my favoured list but it took about four listens to discover those. The thing with TCE is that you need to go to a live show to consolidate an album because then you really appreciate the nuances in the music through the energy that the boys inject into the lyrics and their musical relationship.

So my flatmate and I went to two very different gigs at The Metro, Sydney (part of their record-breaking series). The Sunday was the first night of this series so they were fresh, rolling out the new songs with aplomb and mixing it up with a few old favourites. Here I gained an appreciation of Fishies, previous to the gig a 'meh' kind of song but one that carried well to rhythmic movement. Harry nursed an excellent The Darkness that must have lasted about 10 minutes but which deserved to be showcased.

As with all their gigs I've see thus far, it was executed with the kind of enthusiasm and energy that you'd only expect from consuming chemical substances. The wonderful thing about TCE is the interplay between the different band members, and even their ring-ins, The Empire Horns, where no one on stage is left behind. The tangents that come from the songs are a delighful mix of raw and polished talent so rare in popular bands these days.

The second show we went to was on Wednesday, which was touted as 'fan night' featuring a set list voted on by the fans. Before the show, fans could submit questions to be answered sporadically throughout the show. Ross Irwin was in charge of reading out the questions and found most of them to be crap except one of mine, which was 'Which song would you never play live?' (I can't remember what my other question was but I think it was pretty cliche). It was the only question that was answered before the exercise got scrapped and the answer, according to Felix, was "I don't think we've ever played The Wine Song live".

I must beg to differ, Mr Riebel, as I fell in love with The Wine Song during the first TCE gig I ever went to, coincidentally at The Metro about five years ago. I distinctly remember a female singer and Harry acting out the 'run, run, run' part. Prior to that I'd never really noticed it on the album.

Anyway, as the set list was nominated by fans it was of course dominated by older stuff, which was a pity as I quite liked listening to the new stuff in a live context. As I said, it's almost necessary to do so to consolidate an album in mine consciousness. Thus, Wednesday was most definitely Harry's night, with lots of 'Harry' songs and impro interludes, including a 15-minute The Car Song and starring a fan doing the trumpet intro to How to Explain. The night finished with two takes of the new single So Many Nights, filmed for the video clip.

The other thing I would like to mention is Felix's sustainability session, which I attended after the Saturday matinee (I didn't go to the show, I just went to the session). Sadly, it was a bit too beginner for me, though I did get to pose the question "If Felix from The Cat Empire can't get The Metro to stop using incandescent light bulbs, what can the rest of us do to change the habits of others?" The answer was a bit philosophical: "Set a good example and don't forget to tell people why you do what you do."

And the other other thing I'd like to mention is the support act, The Bamboos, were fantastic – worth both admissions prices alone. I will definitely try and see them again when they are next in town. Their too cool blend of funk with jazz sensibilities had my feet almost worn out even before TCE mounted the stage. So much rhythm, such a short set...

Gig rating: 9/10
Enjoyment rating: 10/10

Album rating: 7/10
Enjoyment rating: 8/10

The Whitlams & Sydney Symphony Orchestra (gig)

The Whitlams
Sydney Opera House (22nd September, 2007)

Well, hasn't Timmeh come of age? From the Sando in Newtown to the big white house at the end of East Circular Quay, the inner west anthemist took to the stage with good grace and a foul mouth. That's the way, lad...

Anyone familiar with the cheeky, jaunty, quasi-acoustic sound of The Whitlams will find it strange that the boys have made it to the Concert Hall of Sydney's most famous building backed by a full orchestra. After all, aren't they supposed to be bumming around the back of a kombi van or something? Well, frontman Tim Freedman swapped his keyboard for the Opera House's grand piano and gave the job of scoring his songs to no less than nine different composers, which made for a very interesting aural experience indeed.

First and foremost I'd always regarded Freedman as an adept lyricist who occasionally wrote cool jangly piano bits that were well-supported by guitar, bass and drums. This gig more than showcased the flexibility of musical talents that belied his pop/rock persona. Congrats on that front - Timmeh, you got to show off your musicality.

More than that, though, this concert forced me to listen to familiar songs with new ears. 'Keep the Light On' became a grand narrative complete with an earnest and poignant soundtrack while one of my favourite songs, 'You Sound Like Louis Burdett' retained its rollicking good time elements but built to a coda of almost explosive cheer "My friends really are fucked up but they're fun to have around".

Adjunct to that was Timmeh's mood, which was upbeat and jokey, as is his usual way. Sir and I were up in the box seats behind the piano so we saw a lot of the back of Timmeh's head but he was kind enough to acknowledge those of us in difficult seats both directly and with constant swivels, which satisfied Sir (who desperately wants to snog him because in her mind he's still 31 and she's now 27 so it's all good on the age front).

He also started to play 'Fur Elise' on the piano, much to the amusement of the conductor, for the sole reason that he wanted to tell his "non-existent grandchildren" that he "played Beethoven solo in the Concert Hall of the Opera House". It was during jokes like this that I started to wonder whether he'd played them all before, on previous nights. This gig was supposed to be the second show of two concerts (I bought the tickets about four months ago expressly for Sir's birthday) but due to popular demand they put on two extra shows before this one, so it ended up being the last of a four gig run.

I take away a point for Timmeh's rallying political call in Labor's favour (The Whitlams having been named after former Labor Prime Minister Gough Whitlam) because people came for the music, not the politics; even if the audience did agree with him the context didn't sit quite right. Maybe at a music festival but not in the Opera House backed by the Sydney Symphony Orchestra. Don't know why, just feels wrong.

Okay, I take another point away for the none-too-subtle prepared encore too. Encores should be spontaneous but it was clear that it was all expected (a problem caused by the audience as much as musicians). But all in all it was a fun night with good music that hit the heart in all the right places and made me proud to be Straylian.

"Sex is everywhere but nowhere round me" - 'You Sound Like Louis Burdett'

Gig rating: 8/10
Enjoyment rating: 8/10

Live Earth Sydney (gig)

Live Earth
Aussie Stadium, Moore Park (7th July, 2007)

People were already in throngs at the front gate to Aussie Stadium when I rocked up at 11am. I'd walked from Central Station, eschewing the complimentary bus because I needed the exercise, having guessed that sitting for hours needed some form of pre-emptive antidote. My ticket was for a seat in F row, fairly near the fence that divided the rear mosh from the grandstand. The front mosh was already packed with an audience who had embraced the unseasonably warm day (complete with clear blue sky), denying winter by dressing in skimpy tops and t-shirts and already spilling beer over the revellers in front in an attempt to dance to low level filler music pumping from the speakers.

Blue King Brown kicked things off not long afterwards with their perfect blend of groovy blues with an indigenous touch. This is a band that you really need to see live to appreciate. I saw them at the Newtown Festival last year, where they added some punch to a mellow afternoon in the park. The indigenous politic bookending the set was a little heavy-handed, though not wholly unwelcome. Still, I thought they could have been a bit more explicit about how recognising Aboriginal land rights complemented the 'saving the earth' philosophy behind the gig. (I knew but I doubt many others would have - but we'll get to that a little later).

Toni Collette and The Finish came up next but, I think, suffered a bit from lack of enthusiasm. Having not established themselves in the music scene, they could only muster half-hearted jostling. I, and many others, were content to observe the crowd and converse. My companion, who had managed to arrive in one piece, had finally appeared beside me. Toni possessed quite a distinctive voice but I didn't find it powerful enough to command the crowd, who were content to chatter over the alt-country songs offered by the set.

Sneaky Sound System were another story altogether. I knew this band had gained a footing in the public conscience over the past year or so (they were 'cult' about two years ago) but nothing prepared me for the energy that surged through the audience when their megawatt beats began to electrify the crowd. Everyone, it seemed, felt instantly compelled to get up and dance. Kudos to addictive hooks in the DJing and Connie Mason's big voice, reminiscent of the kind of reverence Shirley Bassey once received. On this set alone I went and purchased their album (I don't usually listen to dance) and floated the idea that they would have served the crowd better nearer to the top of the billing.

Ghostwriters is a band principally made up of Rob Hirst (ex Midnight Oil) and Rick Grossman (ex Hoodoo Gurus) with a pastiche of other musicians joining them over the years. They still fly under the radar considering their rock pedigree, which would account for most of the stadium bobbing mildly to songs that hit the mark environmentally but didn't quite inspire us as they had hoped. Nothing spectacular or notable sprang from their set so I'll leave them their rock dreams without my opinion.

Paul Kelly, stalwart of the folk rock scene, fared much better. More punters recognised his songs, some singing along to 'From little things big things grow' (one of my favourite Paul Kelly songs) with guest vocalists such as Missy Higgins and John Butler who were to appear later in the show. By this time most of us were getting into the swing of things. It was no longer a picnic in the park kind of festival but an event of global proportions - literally and environmentally.

Eskimo Joe have slipped on the billing recently, surprising considering their successful 2006 album 'Black Fingernails, Red Wine', but the Fremantle band still delivered a nicely composed set, vocalist Kavyen Temperly's voice seducing the stadium, who had built excitement to feverish levels. Whether this was brought on by the dusky light or music that the crowd was more familiar with (or perhaps a combination of the two) I do not know. The crowd were well and truly warm, even as the air became chilly, such that Eskimo Joe received the first truly rapturous acclamation of the day.

Missy Higgins is an artist who has grown into a performer over the years. No longer the shy, self-effacing singer-songwriter she once was, Missy has since embraced the idea that people love her and want to see her play live. Here, she was confident and playful yet still the down-to-earth artist she has always been. Although her new album 'On a Clear Night' has been received well since its release in April, it was the songs from her debut album 'The Sound of White' that roused the audience the most, inevitably spawning a singalong to the favourites. Missy took this all in good spirit, smiling and enjoying the set. As a high profile vegetarian and environmentalist, her reception was fitting for the event.

The John Butler Trio, a band that most love and admire, continued the good work that Missy Higgins inspired by concreting the environmental message with good music. John Butler has always been an advocate of the environmental movement and probably the closest political musician since Midnight Oil. His straightforward but charismatic approach to climate change (and acknowledgment of indigenous Australians) went over well with the crowd and it was because of the enthusiastic response to his words that I then believed Live Earth to be a worthwhile environmental statement. The crowd paid their respect to both him and the music as he conducted a stadium-wide Mexican wave, which pretty much symbolised how well he commanded the audience.

Wolfmother were another story altogether. I'm not familiar with Wolfmother or their music due to my music listening habits 'in absentia' so all I knew of them was that they are pretty big here and in the USA, they are a rock band and a friend of mine once went out with Myles (the drummer). They received a typical rock band response from the audience, lots of shouting and mosh-worthy moves but not quite up to the same pull as JBT. This was embarrassingly evident with frontman Andrew's posturing and throwbacks to the audience, which were met with little more than a lukewarm reaction. Sorry boys, you haven't yet embedded yourselves into the psyche of Australian culture to earn that kind of adulation. A competent set, though, and the right arena for the rock atmosphere.

Jack Johnson was the only truly international guest on the bill and lived up to expectations admirably, not expecting too much from the crowd but congenially greeting us and getting on with the music. His blend of laidback rootsy pop/rock mellowed a crowd who had spent the day drinking and dancing and was a pleasant way to spend the penultimate set of the festival. I particularly liked 'Gone Going' (which is a Black Eyed Peas song for which he provided guest vocals) and 'Fall Line', which put everyone in a feelgood mood. His contribution on an environmental level didn't seem tokenistic, either, given his well-publicised love of surfing and therefore vested interest in looking after the environment. He seems like a lovely bloke, that Jack.

Crowded House broke up more than a decade ago but in a very public reformation, returned to form at the top of the Live Earth bill. Neil and Tim Finn played as a duet at 2005's Wave Aid and brought tears to many audience members' eyes and here it was no different. Australasian cultural anthems aren't usually delivered more poignantly than this headline set, which saw all voices raised in chorus with Neil's and an accidental blackout near the end marking the moment more dramatically. The crowd listened to the lyrics as they sung, the global message hitting home with poetry like:

There is freedom within, there is freedom without
Trying to catch the deluge in a paper cup
There's a battle ahead, many battles are lost
But you'll never see the end of the road
While you're travelling with me
- 'Don't Dream it's Over'

Solidarity in emotion. Bands can't buy that kind of respect, they have to earn it and for a long time Crowded House have been our touchstone, the little band that could capture a nation. There were a few patient pauses as the band played some of their new material but they knew what would get us going, so the hits rolled out one by one, uniting the thousands who has stayed until the end. Beautifully done.

All right, so that was the music part of the review, which was all in all a pleasant experience, well worth the $99 ticket price (and free transport, mind). I was more than a little disappointed in the so-called environmental side, though, and I'm not sure whether it's to do with the fact that I'm ahead of the enviro game or my impatience in finding out that so many people are so far behind.

To explain - so much of the paraphenalia at the gig was related to the very basic tenets of conservation. I'm talking about CFL light bulbs, water-saving showerheads and reusable shopping bags. Which is all great and helpful and educative. Except that most people should have 'made the switch' about two years ago. What about the next step? Where was the info for those people who were already past stage one? Shame, Live Earth, shame.

To add to that, I heard that the event was supposed to be carbon neutral. Which is, theoretically, terrific. But I do hope it wasn't a tokenistic type of 'carbon neutral' like vowing to plant trees or something, because those in the know understand that that's not necessarily the most effective way to reduce carbon consumption. I wanted to see all sorts of initiatives - reusable cups, for example, less packaging, perhaps, and delicious vegetarian food. All absent. I just can't take an event seriously on an environmental level when these little things were ignored while the other basic things, which have been drilled into us ad nauseum, were peddled endlessly.

The three golden rules of conservation are reduce, reuse and recycle, in that order. At Live Earth, only recycle (in the form of coloured bins) had a presence. Organisers should have made a concerted effort to reduce the amount of waste generated with food packaging and pamphlets (though 'reduce' was partially addressed with the free public transport). 'Reuse' didn't even score a mention beyond reusable shopping bags (which, ironically, most people have too many of nowadays). Okay, rant over, here are the scores:

Gig rating: 7/10
Enjoyment rating: 7/10

Would have benefitted from The Cat Empire on the billing. After all, Felix is one of Al Gore's eco ambassadors. Sadly, the Melbourne band were on tour overseas at the time...

Monsieur Camembert (gig)

Monsieur Camembert: A Tribute to Leonard Cohen
The Vanguard, Newtown (13th April, 2007)

Since Cohen himself does not tour and, to my knowledge, has never been to Australia since I've been a fan (one website says his last tour here was 1985 - when I was 4 years old - so there you go) my latest occupation with him has led me to attend any tribute concert that pops up in my vicinity. This was the case with the Came So Far for Beauty concert at the Sydney Opera House in 2005 (subject of the doco I'm Your Man) and the more recent Monsieur Camembert gigs at The Vanguard, which were to be recorded for a live album.

I've long wanted to see Monsieur Camembert because they seem like the kind of band I'd enjoy so this was the perfect opportunity to combine my Cohen fetish with a novel MC experience. MC began with a cheeky 'I'm Your Man' then twisted the atmosphere completely with a rather forlorn version of 'The Gypsy's Wife'. The songs often followed a narrated Cohen anecdote, such as the time Janis Joplin mistook him for Kris Kristofferson preceding 'Chelsea Hotel #2'. Another bonus was the high calibre guests; Carla Werner, Abby Dobson (who I already love), Ngaiire and Elana Stone, all known for the character in their voices.

For the main part, MC played Cohen in a French jazz style, for which they are renown. This included the cabaret stylings of 'The Future', the accordion-heavy 'Take this Waltz' and the jangly, fast and furious 'Jazz Police' that expertly segued into a slow tango. Of the guests, Werner and Dobson were the standouts; Werner's plaintive voice suited the material well, while Dobson's fragile interpretation of 'Famous Blue Raincoat' portrayed the poetry of the song in a late night blues setting that aptly brought the song to its knees. The ensemble sang 'Memories' in a do-wop style, which worked really well, and Dobson's vocals on 'Hallelujiah', breaking emotion against the spare strings, sounded a lot like Rufus Wainwright's very fine version from Came So Far For Beauty.

Unfortunately there were very specific things that I didn't enjoy from the night, namely the restrained performance of MC, a restraint absent in their guests. For the most part MC seemed as if they were engaging with the CD-to-be audience rather than the live audience, which meant that there was a bit of stiltedness about their playing (I won't judge them for this - I'm still willing to see a show containing their original songs).

Another detraction was the guest vocalist Ngaiire who had a beautiful, strong and powerful voice - totally unsuitable for a Leonard Cohen tribute. She didn't do too badly with the slow folk jazz version of 'Bird on a Wire' but I often found her interpretations excessive rather than poignant.

Similarly, Elana Stone's renditions were mixed. The piano caberet slant on 'Suzanne' was a questionable interpretation but the big band sound on 'Who By Fire' worked to emphasise the oomph in the song.

All up, however, I enjoyed the mixture of late night moods and French street versions of Cohen's poetic songs and the sensual 'Dance Me to the End of Love' meant that the gig ended on the right note.

**** - Monsieur Camembert had their heart in the right place for this and their guests added the right flavour.

Set list:
I'm Your Man
The Gypsy's Wife
Field Commander Cohen
Chelsea Hotel #2
First We Take Manhattan
[not sure the name of the song here]
A Singer Must Die
Famous Blue Raincoat
Light as the Breeze
The Future
~ interval ~
Take this Waltz
Seems So Long Ago, Nancy
Jazz Police
Suzanne
Who by Fire
Bird on a Wire
Memories
Hallelujiah
Everybody Knows
Closing Time
Dance Me to the End of Love

Snow Patrol (gig)

Snow Patrol
Hordern Pavilion, Moore Park (19th February, 2007)

Snow Patrol pulled all the right moves; a fun lead singer in Gary Lightbody, a band that rocked out and a fantastic light display. My heart didn't feel in it, though. I'm not sure whether it was because it was a Monday (and a Monday following a weekend of events at that) or whether it was something to do with the venue or the crowd.

The venue was the Hordern Pavilion, which I'd never been to before. Firstly, it is a shit to get to cos you have to take a bus from the city or hike through Surry Hills for half an hour. Secondly, it is pretty much square with a big pit in the middle for the moshers and tiered seating around the perimeter. The side seats have quite an angle on them for stage viewing and the back seats seem too far away. It was unreserved so I chose a seat to the right of the stage that was close enough for my myopic eyes but far enough for the angle not to matter so much.

The crowd was about 50% screaming teenage girls, the rest were older or blokes. The funniest pair of teens was a girl wearing a pair of trannie shoes - the really high peep-toe ones in patent black leather - and her friend, who looked to be wearing a white shirt as a dress. Fortunately the lady next to me thought it was as hilarious as I did and we conducted a conversation about the ubiquitous display of empire line/baby doll dresses and tops and the use of shorts as eveningwear (I said shorts were fine for a concert but shouldn't be allowed in restaurants).

I want a stupid 'I was here first' moment. The first Snow Patrol album I bought was Songs for Polarbears in the UK a couple of years back. Sure, they weren't 'new' then, but they certainly hadn't gained much currency in Australia. Then 'Run' from Final Straw came out in Australia when I arrived home. Then The O fucking C put 'Chasing Cars' on their stupid show and suddenly that entire demographic claimed that Snow Patrol were their favourite band. I want to ask Mr Lightbody why they didn't play any old stuff (like 'Absolute Gravity', which is one of my favourite songs). All the new songs made it feel very much like a pop setting for what is essentially a rock band. Sigh. I'll get over myself one day.

So it was a competent concert without a Hell Yes moment. 'Set The Fire To The Third Bar' was nicely done (that song and 'Hands Open' are my faves from the new album) but it was lacking... something. If there is a next time for me, maybe next time they will have it and I will find it.

*** 1/2 - A Babel score = didn't reach its full potential.

P.S: A note about spiders. Gary had an anecdote about going to the park and looking for venomous spiders (because all tourists are aware of the Aussie reputation re: dangerous creatures). This I found to be a large coincidence because my friend Beq, who introduced me to Snow Patrol when I stayed with her in the UK, was recently bitten by a spider and was prescribed bedrest and antibiotics for three days. So there.

Abby Dobson (gig)

Abby Dobson supported by Melanie Horsnell
The Vanguard, Newtown (6th May, 2006)

The radiant Ms Dobson is always at the top of my list to see live, mostly because she only plays a handful of times a year and hasn't yet put out a solo album. However, word is that she's signed up with a label and is quite a way towards recording her songs, which accounts for this more dynamic set.

But I'm getting ahead of myself. Support act Melanie Horsnell has been around on Sydney's live scene for years now with her innocuous blend of folk rock balladry. It's easy to let your ears gloss over her sound but more rewarding if you pay attention to plaintive lyrics delivered with a tinge of melancholy, some of which were inspired by "listening to the Boyz II Men Best of album". She's a quirky one.

After coming up to the mezzanine to say hello to the folks sitting in front of Stuart and I, Abby brightened the stage with a swish of her angelic white dress. It's hard to say what was different. She's certainly had guests playing with her before, such as last year's Christmas shows when there was a mini Leonardo's Bride reunion, even Naomi from CODA is now a regular fixture. But a cello, a violin, a xylophone and Paul Mac on piano combined with Abby's earthy, dulcet tones and guitar made the songs more than what they've been before.

For starters, it was the usual set list shuffled a bit plus Paul Mac's 'Gonna Miss You' and 'Fall' from Angel Blood (one of my favourite tunes from that album) but there was an indescribable synergy that seemed to lift the performance beyond the usual, comfortable state. The effect, as I mentioned before, was dynamic.

Even with just piano accompaniment, the songs seemed richer and more focused, perhaps layered with something more than music. The strings suit her style and I do hope that she keeps favouring them over drum and bass. It's hard to label her style, just as it was always difficult to label Leonardo's Bride. Abby Dobson has turned a different corner, lyrically and emotionally, but she's still cut from the acoustic pop cloth. And that's far from a bad thing when she comes up with this type of gig.

P.S: I'm still annoyed about the timing - support comes on at 9pm, plays for 30 mins, followed by a 30 min interval before the main act. It's just so hard to get a decent seat on the mezzanine at 10pm so usually whoever I'm with and I have to eat first and then kill 90 mins (from 8:30pm) warming the seats with a decent view. No money, no drinks.

**** - more here than there has been before; a polished performance

Bic Runga - Birds (gig/album)

Bic Runga
State Theatre, Sydney (17th March, 2006)

Birds (2005)
By Bic Runga (Columbia/SonyBMG)

I'd just like to point out that rather than wait for Bic to release 'Birds' in Australia (March 2006), I ordered my copy online in December. Disgraceful - New Zealand got their release in November.

How to describe 'Birds'? If her debut album 'Drive' was part angst part hope and her 2002 release 'Beautiful Collision' a collection of folk/pop songs about love, life and resignation then 'Birds' is just melancholy. The music and vocals are spare and often ethereal without the churning guitars that marked anthems like 'Swim' from 'Drive' nor the happy melody that follows 'Get Some Sleep' from 'Beaultiful Collision'. Imagine the more mellow, sentimental tunes like 'Bursting Through', 'Drive' and 'The Be All and End All' and 'She Left on a Monday'. Now imagine an entire album of those songs and you have 'Birds'.

The new album is downtempo with only two tracks, 'Winning Arrow' and 'Blue Blue Heart', with any discernible pace. Also evident is a hint of country with the lullaby-like 'No Crying No More' and a shade of Western storytelling with the epic tale contained within 'Ruby Nights'. Bic's lyrics rarely stray from simple, effective words that wend into poetry with the right music and timing. She never tries to be too clever with metaphors or esoteric concepts, which makes her one of the most intelligent songwriters (that I can think of) never to employ word play into lyrics and never having to resort to rhyming 'fire' with 'desire'.

I suspect it was a lot harder to get the right sound on this album compared to the other two, largely because it seems like there's so much involved to pare back the compositions. Kind of like the key to makeup being to look like you haven't any on. The greatest triumph is that it works - the balance perfectly foregrounds Bic's voice, the timbre and mood of each word while also ensuring that the music remains important.

This is something she translated well at the concert. The first half was packed with songs from 'Drive' and 'Beautiful Collision' and a couple of covers/B-sides and so therefore pleased the crowd and mostly rocked out. (She began with 'Precious Things' on the keyboard and ended with mega-hit 'Sway' on the guitar, just to give you an indication). She even wore fiery red.

The second half brought her out in a long golden gown with three backing singers and Neil Finn on piano (who Bic has outsold in their native NZ). Surprisingly, this ensemble totalled twice as many musicians than the first half for songs that were half as loud. Performed with quiet dignity and a feminine touch, the second half was all 'Birds', every single track. Of particular note was 'Ruby Nights', played with necessary restraint and 'That's Alright', which "spoke to me".

Predictably she returned for an encore with Neil Finn, which consisted of 'The Be All and End All' and 'Something Good' then solo for 'Drive', which I thought was a good move. The audience loved her.

The venue was fittingly large and lush without losing intimacy but I do hanker for The Basement days, which suits her tranquil disposition. While she doesn't lack charisma, she doesn't tend to project it, radiate it, like other music personalities. That's partly why we love her; she exudes a certain kind of modesty about her well-received work but she'll never play to a stadium. The State Theatre was almost too much for her but she managed in the end.

gig: ***1/2 - an enjoyable night but nothing to rave about
album: **** - incredibly deceptive in its complexity and touch

FourPlay (gig)

FourPlay
The Vanguard, Newtown (10th March, 2006)

It has been a while since the last FourPlay album and seeing as the last release was a remix project in 2001, it was high time FourPlay started composing again. Well, prayers answered, the 'eclectic electric string quartet' is back with some new stuff, and strutted some of it at their recent Vanguard gig.

I've actually never seen them play as FourPlay - I did catch the Hollo brothers in concert with the Noonan siblings at The Studio a few years back but never witnessed a gig with the four of them playing their own stuff. Stuart, on the other hand, roadied for them at Woodford a couple of years back so was particularly keen to say hello.

Although their compositions vary from bohemian flavoured anthems to haunting epics, all pieces contain a deep, dark and vigorous energy that the quartet exploit with their heavy use of strings in the lower register (two violas, a cello and a violin as opposed to traditional model of two violins, a viola and a cello). While their debut release "Catgut ya tongue?" was peppered with other people's compositions and popular theme songs, this gig proved that they could hold their own as composers, many songs having ambitious story arcs, possible contenders for soundtracks in their own right.

Lara's vocals provide a good foil for the tenor laden music; although the lyrics weren't scintillating, I'll give it to her for wanting to front up to the mike seeing as she seems more comfortable playing. The obvious thing was that they trusted, and were comfortable with, each other as the banter flew between songs. Playing with particular urgency, Shenzo snapped a bowstring but it was the ensemble's collective effort that delivered a feisty performance.

Their ability to alternate between something resembling vaudeville show tunes to Apocalyptica-style underground mutterings illustrates a certain versatility in their style though I think it somewhat confuses the signature of the band. Then again, I suppose if you call yourself eclectic you have to bowl a few doosras. Still, there was no single piece that etched itself in my head and I think to propel the identity of the band they need to release something significant and powerful that will always be remembered.

P.S: Pet peeve - if only punctuality were the norm! If only the intermission wasn't so long! (Some of us are poor and can't afford drinks, let alone a table on the ground floor).

***1/2 - synergetic performance but lacked a certain 'je ne sais quoi'

Amici Forever (gig)

Amici Forever, supported by Cello Diva
Sydney Opera House Concert Hall (22nd Feb, 2006)

The tickets were a Christmas present to my mum. I expected my dad to go with her but recently he's been incapable of sitting still for more than 10 minutes at a time so I ended up taking his place.

The support act began promptly at 8pm. Cello Diva consisted of a female cellist and a male pianist who bantered amusingly throughout their set (even stopping to take a picture with the crowd for the grand 'playing at the Opera House' occasion). The playlist consisted of recognisable classical, folk and easy listening tunes, which pleased most of the crowd, though the duo were probably better suited to a more intimate venue as the instrument + accompaniment sounded a bit thin from U row (in the dress circle), where we were sitting. Unfortunately there was a 30 minute break between the support and Amici Forever. After mum and I had trudged up so far, so deep into the rafters it seemed a waste to try and battle our way out again (plus we didn't know how long the intermission was) and we had no reason to leave our seats.

I wasn't sure what to expect. Amici is one band that seems to have jumped on the popera bandwagon started by young Charlotte Church and populated by the likes of Il Divo, Patrizio ('The Italian'), Anthony Callea and even Katie Noonan. I liked their debut album 'The Opera Band' but not being classically trained, wasn't sure where it stood in the credibility stakes. That said, they all sung beautifully and, most importantly, with passion so I'm happy to say that my $90 per ticket was well spent.

The set list was a mix of all their albums; opera, musicals, anthems and mainstream ballads, which sounds rather predictable, but they mixed it up with fantastic ensemble work, taking turns to lead and providing interesting backing vocals and harmonies when not. It is also important to note that they can't dance to their vocals, largely because the songs don't have the right tempo, but also because of the lung work needed to hit the high notes. Instead the visual element is cleverly choreographed by fluid movement between the four of them, almost in a walking dance. It also helps that the two sopranos are stunning, highlighted by their glamorous wardrobe and the boys aren't bad-looking either.

My favourite part was when they sat on stools and each sung a personal song not on any of their albums, which we were told is a regular part of their live performances. It was great to hear each of their voices solo but, much more than that, it reinforced my view of their passion in an appropriately vocal manner. Most touching was Geoff's rendition of 'My Way' after he explained that he was going to spend some time with his recently diagnosed autistic daughter but also recounted a story about an incident eight years ago when, as an investment banker, everyone laughed at him when he claimed he was one day going to sing at the Opera House.

All in all a positive opera experience - rich but without the decadence that can often make opera boring. Not too much pandering to plebs but not too high falutin either.

*** 1/2 - a balanced performance brimming with confidence and dedication

CODA (gig)

CODA with Abby Dobson, supported by Inga Liljestrom
Becks Festival Bar, Hyde Park Barracks (22nd Jan, 2006)

I like the Becks Bar. It's laidback, it's funky, it can groove, it can pump. But you would think that the house beer would be cheaper than the $6.50/bottle the bar was charging. The five of us bought our drinks ($3.50 for a small plastic cup of soft drink - the beer was probably better value) and then perched ourselves on the pavement outside the marquee, having a chat while waiting for the band/s to start. That was cool. Nothing like a summer dusk in Sydney.

Inga Liljestrom fronted up first. I'd read reports that her style was a cross between Bjork, Portishead and Marianne Faithfull. Not far from the truth, though unfortunately I'm not a great fan of any of those reputed artists. But she sung with passion and I admired rather than liked her set, which was accompanied by beautiful images of life's minutiae, a seahorse unfurling, a hula hoop spinning. She has the kind of voice that always seems at breaking point, without the delicate ethereality of a Katie Noonan but somehow yearning. It was a pity that a lot of her songs sounded the same - I don't think I could listen to an entire album without checking if my stereo was on repeat. 'A' for effort but I just didn't 'get' it; it's not you Inga, it's me.

Resplendent in fetching hats and debonair outfits (namely Nick and Naomi, viola and violin respectively), CODA took to the stage, starting with an old favourite, 'Latin Quarter' from their 'There is a Way to Fly' album. I have a fond memory of them playing this song to end their set at the 2002 Surry Hills Festival (when it was still held along Crown Street) and making Ross dance it with me. They mixed it up a bit, which was good - some pieces from their album, some from their EP and some new songs which are to be released on their forthcoming album. Abby Dobson came in to say 'hi' and sung two songs, 'Rise Up', which I'd heard at her Christmas Eve gig and 'Circus Bizarre' from the 'For Our Animal Friends' EP, although the EP version doesn't have lyrics (?!).

I love CODA because their style is so resonant, it has a certain depth and reality to it that somehow flies on the fantasy of their instruments. They have a bohemian flair without exploiting the genre and they know what works, they know how to build a piece and present music at its greatest splendour. When musical arrangements are as ornate and quirky as CODA's, you have to admit that they're true originals. Love the strings and Bree on the vibraphone, which is not to detract from drum and bass but that's what I like.

Neither Nick nor Naomi, the frontpeople for CODA, are all that great with talking to the audience. I kind of knew this before from their previous gigs but it seemed more apparent at this venue for some reason - less intimacy, perhaps? I think the set would work better if the music segued from piece to piece, though I know this is almost impossible seeing as they'd have to stop for applause. But less talk, more music!

Speaking of which, I don't mean to be rude but there's no point to the CODApendant showgirls. I'm sure they started off as some kind of tribute to bohemian burlesque or Pigalle or something but seriously, their choreography is rather amateur and their costumes try too hard to be provocative but just pose questions marks. Perhaps they used to enhance the CODA experience, but I think they tend to detract from the music. Assumpta and I both emitted groans when they were introduced and none of their routines did anything to assuage the feeling that they were ruining an otherwise good show. Sorry. I hope they serve some other purpose, like as muses or something 'cos they don't do anything for me.

**** for CODA and Abby; **1/2 for Inga; 0 for the CODApendants