Adelaide Symphony Orchestra. Adelaide Town Hall. 14 Feb 2025
What a cracker of an opening to the ASO’s 2025 season! Almost every seat was occupied in the expansive auditorium of the Adelaide Town Hall and the audience was brimming with excitement and anticipation. In the words of guest conductor Tito Muñoz (who was just terrific), the program featured some real ‘crowd pleasers’ and he wasn’t wrong! The audience reaction to the entire program was overwhelmingly joyful and positive, although some appreciated Russian pianist Pavel Kolesnikov’s interpretation of Beethoven’s much loved Piano Concerto No.4 less than others.
As has become traditional, and perhaps a tad wearying (musically speaking), the program begins with the musical Acknowledgement of Country, composed by Jack Buckskin and Jamie Goldsmith, and arranged by Mark Ferguson. Section principal percussionist Steven Peterka begins the piece by tapping two boomerangs together with a steady beat. He is de facto conductor. It is certainly an evocative piece but runs the risk of becoming ‘part of the furniture’, which, according to some is the ultimate distinction in some fields of human endeavour, but it is possible to have too much of a good thing regardless of its purpose. For this reviewer, having the conductor take the lead, as opposed to letting the orchestra get on with it, adds interest.
British composer Anna Clyne’s This Midnight Hour is a remarkable piece. It is a single movement composition lasting about twelve minutes, and in that time it takes the listener on an exciting musical journey with thrilling orchestrations and lush and changing melodies. It is almost cinematic in scope. It debuted in France in 2015, and although it takes its inspiration from specific poetry, Clyne has suggested that audience should create their own mental scaffolding to appreciate the piece, rather than assuming it is ‘programmatic’. What a liberating idea!
Tito Muñoz exacted exquisite precision from the orchestra, with meticulous shaping of pulsating phrases, especially in the strings. The lush romantic sections in the Clyne were never schmaltzy. Of course, we expect superb musicianship and technical mastery from a professional orchestra such as the ASO, but it’s always a joy to experience it, nonetheless.
Beethoven’s Piano Concerto No.4 in G, Op.58, is one of the monuments in piano literature. Surprisingly, it begins with the piano outlining its unassuming principal melodic theme, and Pavel Kolesnikov delivers it with clarity and simplicity, although there is little that is unassuming in his, at times, flamboyant style. In some ways he channels the legendary pianist Glenn Gould, with his propensity to express his deep connection with the music by giving the appearance of mouthing sounds or seemingly talking to himself (although nothing is audible) and by almost conducting himself with his left hand when the right is working alone on extended runs up and down the keyboard. Regardless of any such eccentricities, Kolesnikov’s music making is immensely appealing and musical. The ASO’s violinists, almost to a person, can be seen intensely watching Kolesnikov’s hands as he takes the complexity of the concerto’s cadenzas in his stride. There was spontaneous applause at the end of the first movement.
Many interpretations of the concerto might be described as ‘muscular’, but Kolesnikov delivers something that is more lyrical bordering on impressionistic. The strong pulsating strings in the second movement contrasted starkly with the almost dreamy piano. He elicits sweet bell like tones in the third movement that imbue the piece with a coloratura feel.
Kolesnikov’s interpretation was not loved by everyone in the audience, but the vast majority enthusiastically applauded and cheered, and there were even wolf whistles. They experienced an interpretation that was personal, and heart felt.
The second half of the program is a lesson in more can be better! The orchestrations of Tchaikovsky’s Romeo and Juliet Fantasy Overture and Respighi’s Pines of Rome both demand large orchestras, and the stage is full to overflowing. It is exhilarating to experience the might of a fully charged orchestra under the direction of a conductor who knows how to marshal such diverse musical forces.
Unlike the Clyne, the Tchaikovsky is programmatic, and the intensely romantic nature of the overture is not lost on the Valentine’s Day audience. Muñoz maintains the drama of the piece (particularly in the sumptuous romantic theme) and hints of what is essentially some melodic material from Tchaikovsky’s fifth and sixth symphonies come through clearly. Again, the orchestra plays with superb articulation and synchronisation, and the percussion and brass sections are especially at the top of their game.
The orchestra enlarges for Respighi’s Pines of Rome, with the use of more winds and horns, piano, pipe organ (yes, the ‘big’ one!), harp and celesta. Throughout this remarkable (programmatic) work, the trumpets, trombones and other brass unmistakeably draw the focus at key times, and they are grand and aurally imposing. The deep pedal notes emanating from the magnificent Walker & Sons pipe organ are as much felt as they are heard, and the frenetic bowing of the violins in the fourth and final section renders the whole experience majestic.
Again, what a cracker of an opening to the ASO’s 2025 season! The flagship Symphony Series has gotten off to a wonderful start – something for everyone!
Kym Clayton
When: 14 Feb
Where: Adelaide Town Hall
Bookings: Closed
Adelaide Symphony Orchestra. Adelaide Town Hall. 6 Dec 2024
The Adelaide Symphony Orchestra’s final concert for the year was GF Handel’s almighty Messiah. Of course, the ASO has performed it many times before, but this performance was one of the best.
In his excellent book An Insiders History of the Adelaide Symphony Orchestra, recently published by Wakefield Press and an excellent Christmas gift (available from the ASO’s headquarters on Hindley Street), Paul Blackman notes that “In April 1859, the first really ambitious musical project in South Australia took part in White’s Assembly Rooms [where the Commonwealth Bank on King William Street is now situated], a Handel Festival marking 100 years since the composer’s death. Linger conducted a performance of Messiah… There were 20 players in the orchestra and 70 choristers… Messiah proved so successful that a repeat performance took place the following week… Prior to the festival, a letter appeared in a local paper, from a person more used to the London music scene. He felt it his duty to point out to the colonial rabble that certain practices at sacred performances should be avoided. This included clapping between each aria or chorus, and calling out for encores; however, the audience should stand during the Hallelujah Chorus.” According to Blackman’s research in his highly entertaining and information book, the concert received a highly favourable review.
Tonight’s performance featured a much larger orchestra, a much smaller chorus, a conductor who knows the piece inside out, and four soloists at the top of their game.
Canadian born musician, conductor and teacher Ivars Taurins is the founder and director of the excellent Tafelmusik Chamber Choir, and he is in high demand throughout Canada as an expert conductor of choral works. He has a string of accomplishments to his name, and he has conducted Messiah more than 200 times! (He knows the piece).
In tonight’s performance with the ASO, Taurins was joined on stage by the outstanding Adelaide Chamber Singers, and four superb Australian singers, all with noteworthy international careers: soprano Samantha Clarke, mezzo soprano Fiona Campbell, tenor Andrew Goodwin, and bass-baritone Andrew O’Connor. Between them all, Handel’s Messiah was in very good hands, and the diverse audience, which included young children, Messiah (and art music) ‘newbies’, the curious, and seasoned concertgoers, were gripped by the majesty and theatre of humanity’s most loved and most performed choral masterpiece.
Messiah is a Christian oratorio in three parts: the first part focusses on Old Testament prophesies and the birth of Christ; the second part depicts Christ’s suffering, death and resurrection; the third on Christ’s eternal glory and the salvation of humanity. The sung text consists entirely of quotations from the Bible with some modifications for musical reasons, but it is much more than a medley of quotations. Regardless of one’s religious beliefs, it is hard not to be moved by the visual and aural spectacle that is Messiah. Whether it be the sight of a chorus being summoned to stand and sing, or trumpeters playing from the balcony at the command of the conductor, or additional musicians coming on stage to augment the orchestra at various times, or a trumpeter rising to his feet to accompany a soloist, or soloists striding to centre stage and commanding our attention with their luxurious voices, the Messiah oozes theatre, and Ivars Taurins knows it and uses it.
Andrew Goodwin has a glorious tenor voice: robust, pure of tone, excellent breath control and exquisite articulation. His voice miraculously emerges out of the instrumental accompaniment in the first aria and his rendition of Comfort ye my people borders on the sublime. Goodwin also clearly delights in Messiah: he’s a picture of studied concentration throughout, whether it be observing his fellow soloists with encouraging smiles, or closely observing and listening to the chorus when they sing in response to one of his arias, or mirroring maestro Taurins’ exhortations by discreetly tapping his knee.
Samantha Clarke’s soprano voice is also strong and pure, with the gentlest of vibrato when required. Adelaide audiences have heard fine soprano voices on our stages before, but Clarke’s voice is one of the best. She is equally at home in the lower register, as she is at the very top, with clean tonality and sweet potency across the range. Her Rejoice greatly, O daughter of Zion was an exuberant highlight. Throughout, Clarke sings almost effortlessly.
Mezzo soprano Fiona Campbell is perhaps the busiest of the soloists, and she sings O thou that tellest good tidings to Zion with joy and and deceptive lightness. Her He was despised and rejected of men was almost reverential in the upper register. Quite something.
Andrew O’Connor is an imposing man with an even more imposing voice. His smile is a picture of contentment and gentleness, and it almost fills the stage. His voice is an exquisite instrument: mellifluous honeyed tones easily emerge, and the expanse of the Adelaide Town Hall auditorium resonates with warmth. His For behold, darkness shall cover the earth and The people that walked in darkness have seen a great light were a revelation: strength and sweetness across the full range of his voice.
Trumpeter David Khafagi was excellent in The trumpet shall sound, and Andrew Penrose on timpani was delighted to keep beating his mallets for what felt like an exaggerated finale at Ivars Taurins’ direction.
The only sour note in the whole evening was a full forty-five second pause fifteen minutes into the performance at the end of the chorus And the glory of the lord and before Goodwin’s first aria Thus saith the Lord to allow a bevy of latecomers to enter the hall and take their seats. The performers patiently waited, but there is no ‘suitable break’ for such intrusions.
The ASO have had a marvellous season and now go on a deserved break before resuming in 2025 with the celebrated Mark Wigglesworth as new Chief Conductor.
Kym Clayton
When: 6 Dec
Where: Adelaide Town Hall
Bookings: Closed
Adelaide Symphony Orchestra. Adelaide Town Hall. 29 Nov 2024
The Adelaide Symphony Orchestra’s final Symphony Series concert was ….. titanic! The drawcard on the program was Mahler’s Symphony No. 1 in D, known as the “Titan”, but there was much other glorious music on offer as well.
As is now customary, the concert began with Pudnanthi Padninthi – a musical Acknowledgment of Country – and tonight it was performed without the conductor’s oversight. The mighty Adelaide Symphony Orchestra knows this contemporary piece backwards and inside out but continues to imbue it with a sense of freshness. The band doesn’t merely play the notes: the score means something to them, and they have license to exercise their own interpretation. It’s special.
Guest conductor Keitaro Harada then strode to the stage resplendent in black tails, crisp white evening shirt, highly polished black patent leather shoes, and bright red socks. According to his social media, Harada wears the red socks for a solemn reason – to honour of one of his family members who has passed away. Still, the visuals create a sense of expectation and excitement about what is to follow, andthe audience is not disappointed. Harada’s musical interpretations and consequential conducting style is vibrant, sometimes novel, and always exciting.
This reviewer adores Mahler and over the years has enjoyed listening to many recordings and live performances of all the Mahler symphonies and remembers Arvo Volmer’s full cycle with the ASO with much affection. But listening to Harada’s reading of the Titan is like hearing it for the first time, and this is exactly how it should be. In his excellent book “Why Mahler?”, well known music commentator Norman Lebrecht opines that “The first truth in Mahler interpretation is that there are no absolutes, no hard and fast rules”. Indeed, Mahler himself frequently revised his own scores and annotated them with descriptions of how they could/should be interpreted, but these changed. Arguably Harada is of the same mind as Lebrecht, and the result is quite astonishing. The overall duration is ‘about standard’ but one senses some sections are quicker, ‘punchier’ and have more ‘attitude’ than usual, while others are slower and more keenly articulated. For example, the enunciation at the start of the second movement was dramatic, and Harada’s gesture was blatant and as he punched and pushed the air. The string principals in particular confirmed Harada’s intentions, none more so than violist Justin Julian who urged his section with controlled passion and demonstrable attitude. The third movement saw Harada almost outline the steps on his podium to a march as the double basses introduced the thematic material, which is a nod to Frère Jacques. The final moments of the last movement see the full horn section standing with the bells of their instruments unmuted and firmly directed at the audience, with Harada almost defying them to blow down the walls of the packed Adelaide Town Hall. The final note saw the audience erupt into zealous, almost adoring applause which was sustained with foot stamping, wolf whistles and cheering. An art music mosh pit! Just wonderful, and the looks of sheer delight on the faces of the members of the orchestra was heart-warming. Harada was presented with the customary large bouquet of gorgeous flowers from Tynte Flowers, but he gave them to tutti violinist Ann Axelby who is about to retire from the ASO. A fitting and touching gesture. Thank you, Ann!
To this reviewer’s ear, Lebrecht’s “truth” doesn’t apply to the Mendelssohn Violin Concerto in E minor, Op.64, which was the main work in the first half of the program, but Harada initially insisted on a ‘big sound’ in the first movement prior to the sublime cadenza from the soloist Kate Suthers (who is usually the ASO’s concertmaster). Suthers was at risk of being overpowered but it somehow worked. Her performance of the first movement cadenza was just exquisite: beautiful, sweet tones with almost no vibrato to speak of; well thought-out dynamics in the context of the progression of the entire work; almost ethereal pianissimos, and unpretentious fortissimos. The understanding between Harada and Suthers was on show. On occasions they looked intently at each other, a smile here, a quick laugh (almost!) there. At the end of the concerto, they hugged with affection, and the audience lapped it up. Adelaide audiences love it when one of their own is a featured artist, and Suthers was almost drowned in enthusiastic applause. The audience was invited to do so by Harada who, with a clear hand gesture, encouraged them to ‘give it up’ again and again, and he was obliged. Suthers was humbled by the attention – she needn’t be – and simply said ‘thanks’ as she led the principal string players (except the bass) in a sweet lullaby encore.
Early in the concert the audience was treated to an Australian première performance of British composer Ruth Gipps’ Death on the Pale Horse, Op. 25. It was written in 1943, and is a joy to hear, even though it has taken eighty years to be performed by an Australian orchestra. Knowing that the piece was inspired by a famous painting depicting an horrific battle scene, many of its musical phrases – especial on horn and oboe – force one to become contemplative about the waste that is war. The piece should be heard more often.
This reviewer has made much mention of the conductor, and for good reason. Keitaro Harada is young (he’s only forty next February), he’s accomplished and recognised internationally, and he’s exciting. His musical interpretations are distinctive, and although he gives the music primacy, as he should, he’s also an entertainer at heart and is unafraid of being so on the podium. He’s one to watch, and one that the next generation of musicians and conductors can and should learn from.
The ASO’s management and programmers have come up trumps with this concert, and it can be enjoyed again on Friday 14 December on ABC Classic radio. This reviewer will certainly be tuning in.
Kym Clayton
When: 29 Nov
Where: Adelaide Town Hall
Bookings: Closed
Baroque Hall. 18 Nov 2024
The Firm comprises concert producers and composers Raymond Chapman Smith and Quentin Grant, and their concert on 18 November was the 140th since their first in 1996. Over their 28-year history, The Firm has been a vital element of Adelaide’s musical life, staging a concert series every year featuring new compositions and works by some of the great composers of the past, and providing valuable opportunities for emerging composers and performers.
Ukrainian-born, Adelaide-raised and now Switzerland-based pianist Marianna Grynchuk is much loved by Adelaide audiences and her return was warmly welcomed.
She opened this concert for solo piano with Franz Schubert’s Ungarische Melodie in B minor D.817 (1824), a delightful piece based on a Magyar dance. It opens with a teasing offbeat rhythm and, as it winds its way through a series of seductive modulations, it seems to take on the character of an inwardly reflective song rather than an energetic gypsy dance, ending quietly with just a hint of despondency.
Next we heard Raymond Chapman Smith’s Mondseeklavier (undated). Mondsee, which translates as ‘moon lake’, is a small town in Austria on the shores of the similarly named lake, and perhaps Chapman Smith’s work is inspired by it. It comprises 14 short pieces that could be described as miniatures or preludes, the kind of pieces that one might compose while on holiday in a quiet, moonlit lakeside resort.
Each piece, though concise, is complete in itself. They have the character of Romanticism, with their quietly intense emotional expressiveness, though some diverge from typical cadence and thus seem unfinished, adding to their intrigue. Each is identified only by its tempo indication. The third, Lento Moderato suggests a lullaby, while the eighth, Adagio, is deliciously poignant. These delightful pieces have, overall, a somewhat melancholy feel, and collectively form a quite hypnotic companion to the Schubert. Grynchuk is an experienced performer of Chapman Smith’s music and knows just how to bring out the gorgeous musicality and charm of his work.
Quentin Grant’s Birds in the Café Braunerhof (2024) is a set of 10 short piano pieces inspired by the popular Viennese café of that name, which is evidently frequented by literary figures. These bright, engaging pieces obliquely reference Viennese Romanticism but are more contemporary, and many of the pieces evoke the sound of birdsong — in the first, Braunerhof, dolce, the tinkling of the piano in the upper registers mimics the sounds of agitatedly chirping birds.
The seventh piece, entitled Walser, presumably refers to the Swiss writer Robert Walser (1878 – 1956), and Grant has previously composed works inspired by or referring to this enigmatic character; Grant’s Walser is itself suitably enigmatic. Two other pieces, Walk 1 and Walk 2, presumably also refer to this writer who was renowned for taking long walks in the country (as was Schubert). It is on such walks that birdsong is best heard — Grant’s Birds in the Café Braunerhof thus connects walking with writing, music and birds.
Emerging Adelaide composer Marcus Kha’s Fried is a short but quite complex and involving piano work which, the composer states, is intended to form the first element of a suite depicting eggs in their various forms, and it opens with a loud note evoking the cracking of an egg and its sizzling in a pan. Even if you are unaware of the culinary reference, it’s most enjoyable, and the full suite will be eagerly anticipated.
This engaging recital concluded with Schubert’s Four Impromptus D. 935 composed in 1827, the year before his death. Collectively, these impromptus constitute one of the great works for piano — with interlinking themes, the four seem to form a single work, taking the listener on a journey that ultimately suggests joyous wonder at life.
Marianna Grynchuk’s performance is entrancing, as she captures these pieces’ emotional character. The technically demanding final piece, the Allegretto scherzando in F minor is energetically jaunty and upbeat, bringing a suitably optimistic tone to conclude this memorable concert.
In this recital, the compositions complement each other, and their juxtapositioning emphasises their character, with each segueing into the next, making for a rich listening experience and educating the audience’s musical palate. Typically, each Firm concert features what they describe as a “posthumous composer in residence”, a past composer whose music is featured, and who acts as a reference point for the whole concert program; in this case, it was Schubert.
Over the years, composers Chapman Smith and Grant have each produced vast bodies of work which deserve to be heard more often, as exemplified by their fine contributions to this concert. Long may they continue.
Chris Reid
When: 18 Nov
Where: Baroque Hall, North Adelaide
Bookings: Closed
Croxton Bandroom, Thornbury, 26 October
This is how the fight will be remembered
And this is how the voice getting stronger and louder!
These lyrics are from the song (Not) Public Property by the unique and remarkable Indonesian band Voice of Baceprot. The song is a feminist anthem rejecting the treatment of women as public property, and they open their concerts with it. The song continues:
Our body is not public property
We have no place for the dirty mind
Our body is not public property
We have no place for the sexist mind!
VoB comprises three young women whose music is a sophisticated blend of hard rock and rap with funky rhythms and frequently changing time signatures, inflected with traditional Sundanese flavours including the pentatonic scale. While they are described as a ‘metal’ band, such a simple categorisation does not adequately convey the complexity of their finely honed oeuvre.
Most of all, their rousing songs address vitally important social justice issues — they call for women’s independence and empowerment and greater educational opportunities for girls, and they critique environmental degradation, war and discrimination.
VoB: Marsya (guitar and voice), Sitti (drums), and Widi (bass), photo Chris Reid
Comprising Firdda ‘Marsya’ Kurnia (voice and guitar), Widi Rahmawati (bass), and Euis Siti ‘Sitti’ Aisyah (drums), VoB have just completed their first Australian tour. Unfortunately, their Adelaide concert was cancelled, evidently due to ‘logistical issues’ (their schedule seemed way too tight), obliging your intrepid reporter to travel to Melbourne for their gig there.
And what a gig it was! Attending a VoB concert is much more than a fascinating musical experience. The audience is urged to sing with them and join in their calls for social justice. Their high-energy delivery combines with their warm, approachable stage presence and relatable social justice concerns to create an emotionally charged experience — fans can be seen with tears in their eyes after attending a concert.
In 2014, while in their very early teens, Marsya, Widi and Sitti got together when attending an Islamic junior high school (a Madrasah Tsanawiyah) in Singajaya, a small farming village in the mountains of West Java where they grew up. The word baceprot (pronounced ba-che-prot) is Sundanese for annoyingly noisy.
They needed a creative outlet and their school guidance counsellor, Cep Ersa Ekasusila Satia (known as Abah Erza or Father Erza), introduced them to guitar and drums and helped them write their early songs. Their discovery of ‘metal’ music proved a lightbulb moment and they began playing covers of music by prominent metal groups, but they faced strong opposition from their school and from their parents as such music was considered ‘the devil’s music’ and haram (forbidden).
Their first original song, School Revolution, written early on, demands improved educational opportunities for girls, and in response to the discrimination, harassment and even violence they endured, they then wrote the song God Allow Me (Please) to Play Music.
Ignoring their critics and eschewing the arranged early marriages that are typical in their rural community, they committed themselves to their music, and they were performing on television and at important events such as the Ubud Writers and Readers Festival by the time they finished secondary school. Their journey over the last decade has been characterised by the utmost courage, dedication and resilience.
Marsya, photo Chris Reid
VoB’s power-laden music is music of defiance, and they see it not as ‘the devil’s music’ but as a force for positive change in society. The Other Side of Metalism is another song that challenges their critics.
Vocalist Marsya is a charismatic figure, engaging the audience directly — you cannot be a passive observer — and her emotionally charged voice has an almost visceral impact. In introducing their anti-war song, What’s the (Holy) Nobel Today?, she screams repeatedly, ‘The genocide is still happening, we can’t be silent!’, and the audience answers her call. Everyone sings:
Stop war, we hate war!
Stop war, we hate war!
Stop war, we hate war!
Stop war, we hate war!
PMS (Perempuan Merdeka Seutuhniya, or Completely Independent Women) is another feminist anthem, attacking sexism and the abuse of women. Shaking her fist, Marsya introduces PMS with a rhythmic chant of ‘Freedom … for … life! Freedom … for … life!’ and again the audience joins in. The chorus goes:
Though not as immaculate as Virgin Mary
I'm not a slave to your rotten brain
Though not as immaculate as Virgin Mary
I'm free, free completely
In a different vein, their cover of Queen’s We Will Rock You again gets the audience singing along.
Widi’s virtuosic bass playing and Sitti’s complex drumming patterns establish the foundation of VoB’s characteristic sound. There are frequent bass solos as well as guitar solos, and Sitti also performs an extended drum solo — VoB’s musical skills and ensemble playing are of the highest order.
Mighty Island, which addresses ongoing environmental degradation due to people’s selfishness, opens with an earth-shattering bass riff and later includes a Sundanese proverb about honesty and integrity which Marsya gently sings in the traditional nyinden style.
Their instrumental piece Kawani (Sundanese for courage) is an entrancing composite of many short, contrasting passages, each with its own time signature, rhythmic character and musical reference, and it includes a passage where Widi mimics the delicate sound of the Sundanese kecapi (a kind of zither) on her bass while Marsya’s guitar solo evokes the sound of the suling (flute).
In response to overwhelming audience demand, they gave an encore, The Enemy of Earth is You, which critiques the trashing of their home district by tourists.
Their album Retas was released last year, they toured Europe in 2021 and 2022 and the US in 2023, and they played at the Glastonbury music festival in June this year, the first Indonesian band ever to perform there.
They collaborate with organisations aligned with their concerns, for example Women of the World, a UK-based foundation established to support women and girls. They have performed for the Indonesian Ministry of Religion and for Amnesty International, and at events variously promoting modest fashion, AIDS awareness and research into cervical cancer.
VoB’s work extends beyond musical performances — they have recently established their ruang riung or creative space in the regional city of Garut where they are based. Ruang Riung Baceprot includes a music studio, a café, a library and a merchandise store, and one of its roles will be to support young musicians.
Though they still have their detractors, VoB have gained significant recognition within Indonesia and around the world. This year they won the Anugerah Perempuan Hebat, Indonesia’s Great Women’s Award, for inspirational leadership in promoting freedom of expression, and they were cited in Forbes Asia magazine’s 30 Under 30 Stars and Athletes category for breaking stereotypes and empowering their generation.
The Indonesian ambassador to the UK, who hosted them in London, has even described VoB as an arm of Indonesia’s soft diplomacy. VoB are proving to be significant role models for young women and for moderate, peaceful, culturally-inclusive Islam.
Let’s hope that VoB will perform in Adelaide soon.
Before VoB took the stage, rapper Mudrat warmed up the audience with an intense performance critiquing the dispossession of First Nations communities and the failure of government to address such important issues, nicely complementing VoB’s activism and making for a most thought-provoking evening.
Chris Reid
When: 26 Oct
Where: Croxton Bandroom, Thornbury, Victoria
Bookings: Closed