Womadelaide Day 2 reviews: Saturday March 9, 2019
Day 2 of Adelaide’s world music festival was a vibrant cocktail of sounds and colours, and our reviewers saw nearly all of the shows. Here’s their verdict on the acts you shouldn’t miss for the rest of the festival.
Fringe
Don't miss out on the headlines from Fringe. Followed categories will be added to My News.
- Womadelaide Friday night reviews
- Fringe Adviser: 250+ shows reviewed
- All the other Mad March news
- Adelaide Festival news and reviews
Day 2 of Adelaide’s world music festival was a vibrant cocktail of sounds and colours, and our reviewers saw nearly all of the shows. Here’s their verdict on the acts so far and ones you shouldn’t miss for the rest of the festival.
***
Dona Onete
Brazil
Stage TTW, March 10, 3pm and Stage F, March 11, 5.15pm
This is music ideally listened to in a bar somewhere up the Amazon.
You’ve got a capairinha - or maybe straight cachaca - in your hand as you look out at the vast river where some piranhas are playfully splashing about, waiting for some drunk - probably you - to fall in.
In a corner of the bar an elderly lady sits in an armchair and sings.
A band plays the intoxicating rhythms of Amazonian music.
The singer is probably someone’s granny, but she doesn’t look like she spends her days knitting.
She full of life, which she lives to the full.
This Dona Onete, the seventy-something star of Amazonian music.
She was a late starter in the fame game but she’s making up for lost time, and then some. Definitely a gem, and probably the most danceable act at Womadelaide.
- Stephen Whittington
***
La Dame Blanche
Cuba
Stage Z, March 9, 10.50pm and Stage 3, March 11, 4pm
The flute really is a nuisance instrument for pop and rock. Even in the hands of Jethro Tull it was hard work.
La Dame Blanche, or Yaite Ramos Rodriguez, gets around the problem.
She just adds it to all her other sounds and it comes out OK in what is a big bash from three technically-minded musicians across club music and Cuban beats.
Classically trained in flute, it is no surprise that her flute work is deeply embedded in the Western classical frame and somehow rings clear of everything else.
The daughter of Aguaje, the leader of the Buenavista Social Club, she has certainly set her sights on difference by naming her self La Dame Blanche. That is a mythical figure of Normandy in France, where she has lived for many years.
In the myth, La Dame Blanche is generally well intentioned but can turn fearsome, and here, while puffing on her big fat Cuban cigar, she certainly turns on some awesome energy.
- Tim Lloyd
***
John Butler Trio
Australia
March 9, Stage F, 8pm
With a booming tribal beat and whirring lap slide guitar, supplemented by two additional musician/vocalists playing percussion in precision time, the John Butler Trio wasted no time created a gigantic sonic maelstrom from the get-go.
The crowd was instantly transported to what felt like the Appalachian Mountains by the roots music vibe of Wade in the Water, before the sharp keyboard stabs of Running Away built once again into a swirling hurricane of sound.
Butler swapped to banjo for the finger-picking good intro of the jaunty singalong Better Than, to a big cheer of recognition, then invoked the second coming of Elvis on Faith, asking “What happened to your blue suede shoes?”
Now switching to electric guitar, Butler soloed his way into the deep, earthy groove of Blame It On Me, then created a layered soundscape of echoes and feedback, building into a massive jam with the band.
Frenetic finger work and equally rapid-fire lyrics led into Pickapart, as the core trio showed just how hard and tight it can play.
Butler then tuned his acoustic guitar to a more eastern sound for an epic new instrumental, Ocean, creating waves of sound by banging out percussion on its body and using his effects pedals and sustain to full effect.
A string of hits and live favourites – Ragged Mile (Spirit Song), Just Call, We Want More and Funky Tonight – culminated in the band’s debut single Zebra to close out an unforgettable Womadelaide return.
- Patrick McDonald
***
Tara Tiba
Iran / Cuba
Stage 3, March 10, 4pm and Stage TTW, March 11, 3pm
Persian song is in good hands with Iranian vocalist Tara Tiba, though in Iran, as a woman, she would be absolutely prevented from singing in public as she does in Womadelaide.
That explains why her parents were here from Iran, to hear their daughter sing in public for the first time.
She left Iran, aged 28, and became a resident of Perth for this moment.
There was lively jazz, Alanis Morissette hits, classical Persian song and aching fado.
The surprise was that she was performing with a Cuban four-piece and they were a knock out. Ivan Melon Lewis on grand piano was an astonishing hot jazz accompanist. Don’t miss him, nor Roman Filiu on sax.
Somehow the play off between Persia and Cuba was out of this world classic jazz.
And to hear Lewis riff to a traditional Persian improvised song was to see a rare shiver of pure excitement run through the audience.
- Tim Lloyd
Baloji
DR Congo / Belgium
March 11, Stage 2, 4pm
With a repertoire that spans soukous to soul and samples a smorgasbord of other styles in between, Congo-born, Belgium-raised Baloji instantly calls to mind the great frontmen of funk, from James Brown to Prince.
Emerging in a brown suit that matched the attire of his four-man band, teamed with a wide-brimmed hat and outrageous rainbow-coloured scarf, Baloji launched straight into his sassy rap over an uplifting, Calypso-style rhythm.
Using the mic stand like a maypole, he danced wildly round and round it, limbs flailing as he jumped, as the bassline grew louder and funkier beneath his call-and-response interaction with the crowd.
Like the aforementioned singers, Baloji is also a great bandleader, calling the shots as his L’Orchestre de la Ketubah – consisting of guitar, drums, bass and keyboards – watches for cues.
By the third number, its sound has moved into fusion of Afrobeat and George Clinton’s P-Funk. By the fourth, it has morphed into heavy disco, awash with 1970s keyboard effects.
Baloji, meanwhile, has re-emerged in an amazing orange, turban-like headdress, clapping drumsticks overhead and channelling Brown even more closely.
As the music transforms again into more breezy, island grooves, the singer chants his own name over and over in a rapidly building crescendo.
While more vibrant, chiming Calypso notes ring out from the guitar, he swing his hips then drops to his knees, urging the audience in Swahili to “run for cover – protect yourselves” before calling out the names of African nations.
Now kitted out in bright yellow headwear with matching military epaulets, Baloji performs high kicks as his band moves into drum’n’bass territory for his rousing finale, Spotlight – the subject of which he has just proved beyond doubt that he can command.
Baloji plays again Monday on Stage 2 at 4pm.
- Patrick McDonald
Sona Jobarteh
The Gambia
Stage 3, March 10, 2pm and Stage TTW, March 11, 7.15pm
Mention The Gambia in South Australia and people are most likely think you are talking about the place with the Blue Lake.
In fact this small country in West Africa has a rich musical tradition of which Sona Jobarteh is a notable representative, albeit a rebel to the extent that its griot minstrel tradition has hitherto been the preserve of males.
She is a fine player of the 21-stringed kora, which I would like to have heard more of in this performance.
Understandably there was a good deal of time devoted to pumping out the kind of rhythms that would get the crowd jumping.
Musically the best moments came when the kora led the way with its intricate tracery of notes.
- Stephen Whittington
***
DuOuD
France / Tunisia / Algeria
Stage P, March 11, 9.30pm
The oud, normally associated with quiet and contemplative music at Womad has been turned into a monster here.
DuOud, two exquisite oud players from Tunisia and Algeria have tied themselves into electronics, put two big Marshall amplifiers out there and let loose with a powerhouse performance.
The music is sometimes doof, sometimes disco, and at one stage nothing short of spaghetti western.
But it is a lot of fun and Jean-Pierre Smadja and Mehdi Haddab can create spectacular illustrations of oud in there frenetic playing between equally frenetic work on their laptops.
Close to the big sound it was a matter of dancing for your life.
Hundreds of metres away, some of that contemplative sound was still in the mix.
- Tim Lloyd
Liz Phair
US
Stage 3, March 9, 7pm
“Is there room at WOMAD for some rock?” asked 1990s indie darling Liz Phair, before launching into the “giant friction blast” of Supernova.
Truth be told, her stripped-down, dual electric guitar set with Connor Sullivan – who added some exquisitely subtle lead soloing – had a bluesy, folk-rock feel that was right at home with the world music festival.
While Phair is ostensibly touring to mark last year’s 25th anniversary of her landmark debut album Exile in Guyville – a rallying call and still an inspiration for new generations of female singer-songwriters – the set was peppered with treats from throughout her career.
Fans of 1998’s whitechocolatespaceegg took delight in the delicious pop of Johnny Feelgood and, later, the twin choruses of its chirpy Polyester Bride (despite Phair starting the wrong song, which she quickly laughed off).
From Guyville came Never Said, Explain it to Me, 6’1” (with its lyrics too explicit for the US, where “violence is fine but sex is banned,” Phair said) and Help Me Mary in quick succession.
The recently re-released early recording Ant in Alaska started off like a gentle lullaby, but got rockier, raunchier and angrier in its message to one of those inconsiderate guys.
Stratford-On-Guy’s proto-grunge led into Phair’s more commercial pop phase with Extraordinary in which she declares, “I am just your ordinary, average, everyday, sane, psycho, supergoddess”. Who were we to disagree?
After playing a new song, God Loves Baseball, Phair found herself short of time and raced through the remaining bracket: A blues boogie reworking of Mesmerizing, the jangly Why Can’t I? and the appropriate Guyville closer, F*** and Run.
- Patrick McDonald
***
The Correspondents
UK
Stage 3, March 9, 9.30pm
This jerky, wild guy called Mr Bruce is going off to his DJ mate’s tunes. They’re The Correspondents, they’re from the UK, and they’re having an indecent amount of fun.
Mr Bruce prances around the stage and flings his limbs out in wild abandon, all while stringing together nutty swing lyrics.
As his stupidly long arms undulate, he’s almost rapping the lyrics to Fear and Delight. His lanky knees cut the air while he worries about the reprobates of Soho.
The Correspondents are the most bizarre combination of quaint and techno. Mr Bruce is driven by electronic beats while he laments the changing world and sprinkles phrases like “derring-do”.
It’s eclectic, charming, and ridiculously danceable. I have learned that the way Mr Bruce sings is called scatting – but it is far from sh**.
- Tory Shepherd
***
O f Desert and Sea Indigenous Dance
Australia
March 9
A newish local company based at the Kurruru Arts and Culture Hub, Of Desert and Sea is a collective of young Aboriginal women from a variety of language groups, telling their stories through contemporary dance, though with a strong traditional underpinning.
Their workshop performance was great fun, both their stand-alone performances to well-chosen popular tracks by artists including Emily Warramurra (Ngardegujenama), Baker Boy (Marryuna) and Electric Fields (Pukulpa), and their fairly successful attempt to train the willing masses, deftly led by Lilla Berry.
If your correspondent’s moves were beyond words, his joy was evident for all to see!
- Peter Burdon
***
Monica Gagliano - Can Trees Talk, Think and Heal?
Australia
Host: Robyn Williams
Brian Pickles, Monica Gagliano and Alex Gaut
March 9
It sounds like Womad woo-woo, but there’s some serious science happening around plants’ capabilities.
Three scientists gathered in the Planet Talks tent to talk non-vegetative vegetation.
Gagliano is a “biological intelligence expert”, which is a fancy way of saying she’s working with plants to figure out whether they think, or feel anything.
She has elicited a Pavlovian response in pea plants - she blew on them with a fan before exposing them to blue light.
And they ended up turning towards the wind, expecting the light to come.
It’s still controversial with her scientific peers, but was gobbled up by the Womad crowd.
And don’t worry; she’s not saying we should all stop eating plants.
Just do it with gratitude and respect.
- Tory Shepherd
***
Maarja Nuut & Ruum
Estonia
Stage MB, March 10, 2pm and Stage Z, March 11, 5.15pm
Two creatives from Estonia with different yet complementary skills, Maarja Nuut (singer and violinist with an interest in folk music) and Hendrik Kaljujärv – Ruum (electronic music creator and producer) – are a fascinating duo.
Their music is in many ways typical of this genre, with clever use of technology like looping and natty drones and bleeps that make for an atmospheric soundscape, but it is Nuut’s sophisticated melodies, vocal and instrumental, that set them apart.
Some of the pieces seem more strictly devised than others – and would not be out of place in a John Adams work – while others chart new territory.
Their performance had the crowd furiously searching for their debut album Muunduja (Shifter), which is sure to find a place on many a playlist, and soon.
- Peter Burdon
Alina Bzhezhinska Quartet
Poland / UK
Stage MB, March 10, 4pm and Stage TTW, March 11, 5.15pm
Harps come in all kinds at Womadelaide, from Celtic to kora.
The Western concert harp though rarely features - I can’t remember hearing here.
Rarer still, Alina Bzhezhinska plays jazz harp.
Her program was a homage to a pioneer in this field, Alice Coltrane, whose career was largely overshadowed by her more famous husband John.
Bzhezhinska’s opening solo was an eloquent demonstration of what the harp can bring to jazz - gorgeous washes of colour, subtle textures, and surprisingly a distinctive percussive quality quite different to the piano.
With a band comprising soprano saxophone, acoustic bass (a relief from the omnipresent electric bass) and drums, Bzhezhinska’s performance was a refreshing oasis of cool on a warm afternoon, lyrical and reflective for the most part.
- Stephen Whittington
***
The Party Room Podcast - Live!
Fran Kelly, Patricia Karvelas, Simon Birmingham, Penny Wong
The day after International Women’s Day, everyone is tingling with anticipation to hear South Australian Senators Penny Wong and Simon Birmingham discuss all things politics.
Fran and PK - you can call them that, because this is the sort of relaxed vibe that prevails at the Planet Talks tent - are a proper comedic duo. Rhythm and panache.
They skip through climate change, the Nationals’ leadership speculation... oh, and women. Birmo and Wong make an excellent and engaging pair (they even admit they like each other); these are smart, eloquent, polished pollies who are good at dodging when needed and hitting when necessary.
The hosts set the scene, bring the guests in for some sparring, then send them on their way and dissect what just happened.
It’s a formidable format.
In these disrupted political times, it’s highly recommended that you absorb it with a healthy dose of sunshine and cider.
- Tory Shepherd
***
Dangerous Song & Bukhu
Australia / Mongolia
March 10, Stage Z, 9pm
When Linsey Pollak said he was going to use a Tasmanian devil as a percussion instrument visions of an animal being whacked with a drumstick leapt to mind.
In fact he is one half of Dangerous Song, and he triggers samples of the sounds of endangered animals while playing a digital wind instrument.
The other half is singer Lizzie O’Keefe, with a voice of melting sweetness that can soar like a lark.
They were joined by Bukhu, a master of the mysterious art of Mongolian throat singing and of the horse-head fiddle.
Together they made gentle, relaxing music ideal for meditating – or maybe for reflecting on the state – and fate – of the planet.
– Stephen Whittington
***
My Baby
Netherlands / New Zealand
Stage TTW, March 10, 5pm and Stage 3, March 11, 6.15pm
MY GOD, I’d hate to follow deadly Dutch-Kiwi three-piece My Baby on stage.
Like a smack in the face of pure funk, it becomes obvious pretty quickly the high energy act are on way too early for the arvo slot at 2pm.
They could easily close proceedings at the Foundation Stage.
Producing a delicious mix of ’70s rock and funk, it’s hard to know where to look with this mishmash of fashions and high-end musicianship.
Lead singer Cato van Dijck, in what looks like an oversized bathrobe, is a ball of sass who’s wail has to be heard to be believed.
She also pulls out a purple violin for a rare moment of introspection.
Daniel “Da Freez” Johnston with Azl Rose headband, is an absolute demon on the guitar, whose solos often form the centrepiece of the gig and stun the crowd.
Then there’s Cato’s bro Joost, the shirtless drummer in Ali G sunnies, who wouldn’t look out of place playing the skins for the Chili Peppers.
“I’m so happy to be here today,” a breathless Cato says at set’s end.
So are the delirious crowd; it’s been a feast for the eyes and ears.
– Ben Cameron
***
Taiwu Ancient Ballads Troupe
Taiwan
Stage TTW, March 9, 8pm and Stage W, March 10, 7pm and March 11, Stage F, 1pm
Since 2002, Taiwu Ancient Ballads Troupe have breathed new life into the traditional songs of Taiwan’s indigenous tribes, The Paiwan.
Feeling more like an ancient church service, and so culturally rich, it almost feels wrong some pieces are met by a half hearted “woo-hoo” or two from a smattering of seated fans up front.
A golf clap seems more fitting.
With little cover from the baking sun, most of the crowd are hidden away under trees, which perhaps sucks a bit of atmosphere from the show.
It’s the kind of act you’re either going to dig, or depart from after five minutes.
But if zoning out after a succession of upbeat gigs is your bag, then the troupe might be for you.
- Ben Cameron
***
The Seven Ups
Australia
March 11, Stage Z, 9.30pm
A muso mate tells me this music is “hectic jazz”, and that’s about right.
Hectic because there are these wild horns going off everywhere, and jazz because the essence is improvisation within a set of rules.
They are having fun.
As is the midafternoon crowd - there are not many performances this early in the day (they did a 3pm set on Saturday) where there’s a semi-mosh pit with an aurora of swaying dancers and a further semicircle of people who are just entranced.
This Melbourne mob are described as “blending influences from 1970s Nigerian Afrobeat with the deepest of street funk”.
That sounds like a load of wank; their actual charm is in the unbridled fun and tooting of it all.
The Seven Ups set feels like you stumbled on a bunch of mates walking out of a horn rehearsal who just magically got caught up and started jamming and made magic.
- Tory Shepherd
Fringe seeks cash injection to revive in 2021
Struggling artists need more help over the next year so they can put on the 2021 Fringe. Event director Heather Croall says that means a $1 million funding boost – a 50 per cent increase – from the State Government.
Look inside all-new Her Majesty’s as first show announced
Take a tour inside Her Majesty’s Theatre following its $66 million revamp – the first show at the new-look venue has been revealed and will start in less than two weeks.