Reviewed by Ray Smith, Thursday 15th January 2015
For one night only, Her Majesty's Theatre was host to
So Frenchy, So Chic, Live, an overarching title for a number of French groups and soloists, from both Australia and France, who regularly perform together. This concert focussed on two members of the collective.
First to appear was Emilie Simon, whose performance was a clear demonstration of the fact that the many accolades the Parisian composer and singer has enjoyed throughout her career were earned, not given.
The show was very disciplined and, indeed, had to be, in order to work around the many pre-programmed sequences employed by this innovative electro pop writer.
Extraordinarily dominant percussion played live, and as part of the sequenced undercurrent, was juxtaposed with thick, soaring strings and understated but melodic guitar work that seemed to leave no room for the gentle, tender, almost childlike voice of Simon. Yet the voice shone through with a clarity and insistence reminiscent of a young Kate Bush, as Simon led her captivated audience through sweet, innocent ballads and into darker pieces that had elements of progressive rock.
While not overtly theatrical in presentation, some delightful visual elements were added as the performance progressed.
After a brief exit from the stage, leaving her very accomplished percussionist and keyboard players to introduce a new piece, Simon returned wearing an intriguing "steam punk" attachment on her left arm that she manipulated with her right hand. The device is an effects controller that Simon used to change the sound of the percussion, the keyboards and her own voice in real time, in a similar fashion to Eno's use of "Kaos Pads" in his live work in the 1990s.
Some live sequencer programming added another element of theatre and allowed the audience a small insight into Simon's compositional technique and demystified, to a degree, her process.
This was an excellent performance of works from Emilie Simon's latest recording, "Mue".
Next up was the duo, The Dø, whose performance began with a relentless, dark introductory sequence to a stage empty of musicians, but packed with state-of-the-art equipment, that seemed to quiver with anticipation.
The moment the musicians entered the stage, the theatre began.
Keyboards, guitars, synthesiser pads, electronic and physical percussion instruments were shared by all members of the ensemble as they moved from station to station in a display of multi instrumental skill that seemed effortless.
Dan Levy's intensity and passion as he played was matched by that of his colleagues, as driving rhythms and sweeping beds of synthesiser washes were laid over intelligent computer sequences to form dark, but strangely delicate shifting soundscapes.
It was all but impossible to watch and appreciate this brilliantly rehearsed and choreographed musicianship, however, as all eyes were locked on Olivia Merilahti. Her extraordinarily clear voice rode above the waves of dense electronica, like a surfer, as she subtly highlighted elements of the music with her body. The effect was engaging and utterly delightful.
Tight and well-balanced harmonies supported and served Merilahti's lead vocal as we were taken on a wonderful journey through strange and mysterious lands to arrive, in a crescendo of tribal, high energy to a dark and dangerous place that was beyond our experience.
We were like children watching adults. This was Circus.
No grinning, coiffured Pop Diva, Merilahti exuded seriousness and concentration and demanded no less from her audience. Her ability to hold the audience's attention, fill the stage, and enunciate her complex and intelligent lyrics so well, reminded me strongly of
Laurie Anderson.
This was a marvellous performance from very highly skilled and totally professional performers.
............... of course, I bought the CDs.
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