Seven Songs To Leave Behind, 2010: (review)

Starring: Sinead O'Connor, John Cale, Me'Shell N'Degeocello, Rickie-Lee Jones, Dan Sultan and The Black Arm Band. 



Venue: The Myer Music Bowl 



 

Tonight the Sidney Myer Music Bowl hosted the finest example of a tribute show possibly ever offered. Several of the world's greatest performers came together for a single mission; to pay respects to some of the world's greatest songs and writers. Prince, Bob Dylan, Bob Marley, Paul Simon and eh, Coolio among others made the lists that the stars of this event hold in highest regard. Categorically, each artist chose seven songs that had impacted on their lives in different ways – plus one compulsory Leonard Cohen cover. The head-spinning mesh of legendary singers and some of music's all-time greatest songs was an overwhelming proposition bought to life by the Melbourne International Arts Festival organisers for an unbeatable finale to their 2010 festivities.

The embarrassment of international talent on display is barely even the beginning of what Seven Songs To Leave Behind had to offer. Most performances tonight are backed by Orchestra Victoria and propped up further by the Black Arm Band Indigenous vocal group, whose contributions to the songs cannot be understated. The inevitable all-in finale feels a long way off as the first performance of the night - Gurrumul Yunupingu absolutely slaying The Surfaris' Wipeout - greets the jam-packed arena. He opens the first bracket of the song categories – the tunes to share – which is continued by the deadly combination of Me'Shell N'Degeocello's voice, bass playing and a lost Prince classic (Pop Life). Providing extra value for her fans, N'Degeocello is rarely off stage tonight as she, quite wonderfully, plays along with many of her co-stars.

Certainly Sinead O'Connor is a huge drawcard here tonight as she's not prone to touring and when ever she does get on a stage, it's usually memorable for reason other than just her singing. The crowd weren't to be disappointed on either front. O'Connor is a woman of many contradictions, and as she bounds on stage in a slinky, sequined dress, tribal jewellery and with bare biker-tattooed arms, it feels like just about anything could happen. Still, I doubt anybody could've predicted L7's Shitlist as her 'song-to-share' or how easily how she blew the place apart with it. Truly great artists can always sing outside of their zones, but seeing Sinead perform this feisty grunge classic, it's clear her zone is almost boundless.

The rest of her covers set later tonight feels closest of all the acts to the artist's heart. Sinead's versions Bob Marley's Natty Ride and Bob Dylan's Serve Somebody are played with such conviction, they're akin to peeking into her private diary. The self-penned section of her catalogue was Catholic-baiting new song, Take Off Your Shoes, and in true Sinead style, was preceded by a speech in which "The Vatican" subtly became "The Vaticunt"! Much like Basil Fawlty, there's enough material there for an entire conference, but O'Connor had some serious rivals for moment-of-the-night, and Rickie-Lee Jones just may have shone the brightest overall.

Jones took the crowd on the wildest ride in respect to her song choices, starting with the gorgeous Sailor Song, before pulling out surprise number one. It was announced at the start of the night Archie Roach had to cancel after suffering a stroke, but Rickie had decided we deserved to hear our beloved Archie none-the-less. Thanks to the smart cookie who recorded all of tonight's rehearsal sessions, an especially moving Jones/Roach duet on Somewhere from West Side Story, was made possible. It was both pure magic, and a dose of 'ball's-in-your-court' to everyone else from Jones. But nothing drives a touching song home more than when it's followed up with some levity, and Jones knew a great what-the-fuck moment is exactly what we needed. Coolio's Gangsta's Paradise apparently serves as her 'song-to-covet' and, complete with orchestral backing and a black beanie, she absolutely pulls it off. Sorry, other legendary artists, but nothing beats a rapping granny.

Dan Sultan and the Black Arm Band bring some local flair back with Sultan generously performing Cohen's If It Be Your Will above the seated section especially for the thousands huddled on the hill. The John Cale set also bought a slew of musical thrills, as if anything else has dominated this jaw-dropping event. His band brought the first rush of rock to the proceedings, working through Cale gems Dirty Ass Rock N' Roll, Pablo Picasso (Never Got Called An Asshole) and Letter From Abroad. The lack of covers in his own set says a lot about the man's musical status as a 'coveted songwriter' in his own stead, yet it's his version of Leonard Cohen's Hallelujah - the only possible choice for the finale - that brings the house down. Cale is naturally joined by tonight's complete line-up following each acts final song to leave behind – the one that paved the road for them. Many had waited for this moment, so when Sinead O'Connor at last delivered Nothing Compares 2 U it was simply heart-stopping.

No one act could claim absolute dominance over the night's unrelenting pleasures. This was more a celebration of those freakish songs that have power beyond even the greatest conduits. Every one of them was delivered with care and passion as though they were fragile artefacts being put on display. One by one the pinch-yourself moments piled up as we were privy to never-to-be-repeated collaborations, seasoned artists throwing caution out of the window and total setlist heaven. Monster tours will continue to come and go in Melbourne and the Arts Festival organisers probably have something equally impressive up their sleeves for next year, but Seven Songs is the one they'll still being talking about years from now.

lEIGh5





SIDNEY MYER MUSIC BOWL SETLISTS: 23/10/10



Wipeout – Gurrumul Yunupingu  

Djarrimirri – Gurrumul Yunupingu  

Pop Life – Meshell Ndegeocello  

Shitlist – Sinead O'Connor  

The Moon Is Made of Gold – Rickie Lee Jones  

Heartbreak Hotel – John Cale  



The Sloganeer – Meshell Ndegeocello  

Chelsea Hotel #2 – Meshell Ndegeocello  

Lola – Meshell Ndegeocello

Look Around – Meshell Ndegeocello  

Crying in Your Beer – Meshell Ndegeocello

 

If It Be Your Will – The Black Arm Band  

Old Fitzroy – Dan Sultan 

Boy In The Bubble – The Black Arm Band 

Bapa – Gurrumul Yunupingu  



Company – Rickie Lee Jones 

Sailor Song – Rickie Lee Jones

Somewhere – Rickie Lee Jones & Archie Roach 

Gangsta's Paradise – Rickie Lee Jones 

One of Us Cannot Be Wrong – Rickie Lee Jones 



Letter From Abroad – John Cale  

Dirty Ass Rock N Roll – John Cale  

Magritte – John Cale  

Fear Is A Man's Best Friend – John Cale 

Pablo Picasso – John Cale 



Fool For You – Sinead O'Connor  

Psalm 33 – Sinead O'Connor 

Natty Ride – Sinead O'Connor  

Serve Somebody – Sinead O'Connor  

Tower of Song – Sinead O'Connor 

Take Off Your Shoes – Sinead O'Connor  



War – Meshell Ndegeocello  

Bayani – Gurrumul Yunupingu  

Swept Away – Shellie Morris  

Last Chance Texaco – Rickie Lee Jones  

Nothing Compares 2 U – Sinead O'Connor  

Hallelujah – John Cale with the full line-up





 

 Sinead O'Connor Shitlist live from Seven Songs

photos by me.

 

Rickie Lee Jones live in Melbourne 2010 (review)

Venue: The Forum

"It's too quiet in here". Nervous laughter. "I guess I'd better play some music then." Rickie Lee Jones is gently pacing the stage at The Forum, seeming so small against the simple backdrop of fairy lights, her speaking voice so soft yet resonant in the room which although full to capacity, is also dead silent. She has just completed one of her signature tracks, Last Chance Texaco, and as the applause dies down only the air-con is audible. This factor is both awkward and mesmerising, and stems more from Jones' incredible tenderness as a performer than the audience's detachment. In fact all present seem to be enthralled to the point of transfixion as Jones works her way into our ears.



Although she has been largely missing from the lime-light for some time, Jones by all accounts is having a renaissance on new album Balm In Gilead. The jazz-pop tunes of her early career eventually gave way to experimental, electronic tracks which have sadly meant her fanbase have often not remained with her throughout. The gaps in consistent exposure have probably kept Jones' invigorated musically though, and has also meant that tonight's show is not a nostalgia trip, but one by an artist still creating and learning new tricks coupled with 30 years of experience.

I'm struck by the ease at which Jones moves between instrument and song choice as she sets up mood after mood, then just as we are hanging on each guitar chord or piano note, quickly shifts tact. The focus tonight seems to be on Rickie's most personal songs, or the songs that have come from key points in her life, as the set-ups between tracks contest. "This song was written by my father decades ago", she says speaking of The Moon Is Made Of Gold. "This next song was written about my family", (The Albatross) and so forth.

As she's performing tonight, Jones' voice noticeably alters on each song as if she's voicing characters, or perhaps even old selves revisited for the purpose of the songs alone. Her formerly tumultuous private life has naturally imbedded itself into her work, and it's only when she performs the ragged jazz number Easy Money, the memory of an intense relationship with Tom Waits in her past emerges for us to witness. Jones prowls the stage, growling and dropping the kinds of quirky names and situations Wait's career is built on. Jones freely displays an acute knack for reaching into her psyche and living out these songs rather than just playing them, and if - as I suspect - she is sharing stories about parts of her life, it's all channeled through with warmth rather than being grossly expunged.

The whole unrestrained feel of the show is further more down to there being no set list and also Rickie's swapping between guitar, piano and drums as she sees fit. At one point breaking from the flow of a track she says, "I'm sick of guitar, I think we need some piano now." On stage with her are a drummer/backing singer and a young bass/loops player, acting as both casual accompaniment and dominating force where needed. On His Jeweled Floor, the band comes together building up psychedelic noise patterns using live loops and splash cymbals as Rickie shuffles back and forth plucking her acoustic guitar. The outcome is a totally hypnotic, spine tingling finale and as it concludes, the audience, completely sullen by the track, suddenly come back to life to give a standing ovation.

Although her music has frequently been overlooked since early successes, Rickie was able to easily perform a set of relatable songs and stories and leave you feeling like she has bared her soul, but also that there's still so much more to her. Live in concert, Rickie Lee Jones was simply THE ultimate 'getting high on music' experience.

lEIGh5