As Andrew Bird told the just about sold out crowd that “it’s not every day you get to play in a venue that’s also an international icon” – I was reminded just how special a venue the Sydney Opera House is, and how lucky we are to not only have the venue in our vicinity, but that it showcases the likes of Mr. Bird. And as is almost always the case when we venture into the iconic venue – this was a very special night of music indeed.
First up was Martin Craft aka M. Craft – the London-based, Australian artist known for his work co-founding Sidewinder in the nineties. Armed with a 3 piece backing band, his music had the sound of pure beauty amongst the acoustics of the Opera House – a perfect prelude for Andrew Bird. Highlights of the set included “Mexico” off his new LP, and set closer “Dragonfly”, in which a sensu (you know… a Japanese folding fan… thing) was used to replicate the sound of dragonfly wings. Very cool.
I was excited to see the Sydney Opera House filled to the brim with enthusiastic fans by the time Andrew Bird hit the stage, having last played the city in the Spiegeltent as part of Sydney Festival back in 2008 (and what wonderful performances they were!).
Having injured his foot at a recent performance, Andrew Bird limped onto the stage with crutches – leaving many in the crowd to sigh “awwww” – but he managed to look just as classy as ever in spite of it. He opened the set solo, with a gorgeous, haunting instrumental number – which gave us a taste of just how good he was going to sound in the Opera House. He followed this up with the impeccable “Why?” – a common set opener by the illustrious Chicagan (is that what they’re called?) – and as much a performance piece as it is a standout track. Give it a YouTube search and you’ll see what I mean.
For the following track (I believe it was “Fiery Crash”? I was too enamored to write it down) he was joined on stage by his 3 piece backing band – made up of Martin Dosh (Drums/Percussion), Jeremy Ylvisaker (guitar) and Michael Lewis (bass), their sound exploding around the Concert Hall.
There really was no low point of the show – with each track so different from the next, and Andrew Bird so damn charismatic – a true talent on the stage – you couldn’t take your eyes off the stage, even for a moment. Except, perhaps, when you were closing them, allowing his violin to take you into a dreamlike state…
There are so many styles employed into his music, from classical to folk, from rock to jazz, that it’s
difficult to pin down his sound – except to say that this is the sound
of Andrew Bird, and there are few as unique and talented an artist as
he on the circuit today. And who else has a “Spinning Horn” (real name: The “Janus Horn”)? One of the coolest contraptions I’ve ever seen, and it was great to see they brought it down for his Sydney show. As he pointed it out, it wasn’t easy, but since they were playing the Opera House, they thought why not? And thankfully, they did, because the spinning acoustics it created were something that you have to hear to believe. Spellbinding.
Find out more about the “Spinning Horn” here
.
Another highlight of the set was “Sweet Matter” – a combination of Dark Matter and Sweet Bread. The former is of course the standout track from Armchair Apocrypha – the latter, how the song was originally intended – with “Dark Matter” replaced by “Sweet Bread” and references to Mad Cow Disease. He decided it wasn’t in the best taste to sing about such an illness on the album, but has reverted to the original in the live setting. Very entertaining, although the soul and energy of Dark Matter remains.
In similar fashion, Andrew delved into the back story of “Imitosis”, and how it was original going to be called “The Capital I”, in reference to the classic 1970s Sesame Street sketch. Unfortunately, the lawyers wouldn’t allow it, and the original became “Imitosis” – although the core message remained. While he’s been playing the original version shows recently, he decided tonight to play the ORIGINAL “Capital I” song, in celebration of the 40th anniversary of the series, and in advance of “Imitosis” as we know it today. You can see the original track below!
Other standouts included “Masterswarm”, “Opposite Day”, “Effigy”, “Armchairs”, “Scythian Empires” and “Table and Chairs”, which closed out the main set. He returned for a 3 song encore, which included a solo rendition of “Oh Sister” by Bob Dylan, with Andrew Bird’s signature whistling (an instrument for Andrew Bird in its own right, and no doubt what gave him the surname “Bird”) replacing Dylan’s harmonica – and a violin for a guitar. More a re-interpretation, as such, than anything else, and a true highlight of the evening.
What a special evening indeed. We can’t thank the Falls Festival and Opera House enough for bringing Andrew Bird back to Sydney. This was one of those goosebump-enducing evenings, in which the music washes over you, and you have to say to yourself: ah. So this is why I do what I do.
