Blog — Page 228 of 275

The Hodgetwins

Factory Theatre

Marrickville, AU

April 25, 2017

The Hodgetwins, Virginia-bred identical siblings Kevin and Keith Hodge, are “social media personalities” and operate a variety of YouTube channels, where they mainly dish out solicited, unadulterated, improvised, on the cuff advice in comically altered voices on sex, love and life their massive fan base asks for via e-mail.

The shtick, which constantly makes themselves laugh, worked so well for them, that apart from promoting their supplement range and fitness channels, they decided to take the show on the road and bring it to Australia as part of the Sydney Comedy Festival.

Their No Filter tour is their attempt at establishing themselves as stand-up comedians and thereby change the perception of them.

The show is narrative driven, spiked with personal observations and detailed depictions of their relationships, their experiences in the professional world and growing up in under poor circumstances.

Despite relying heavily on scurrilous jokes and their bodybuilding aesthetics, their stand-up set does show promise, with nuances shining through that indicate that the deployment of anecdote and recountment of common experience in the vein of Bill Burr or the trenchant observations and storytelling of chief Richard Pryor have had a massive impact on how they tackle and structure their live incarnations.

The siblings have quickly earned a cult following online and the reception Australian audiences greeted them shows that they have an appeal that is not confined to North American territory.

It will be interesting to see if they have the tenacity to refine and evolve their stand-up shows and unique interaction, which is currently heavily based on what has become their comedic catchphrases, low hanging fruit, i.e. employing colourful vulgarities, and their edgy sense of humor.

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Photo sourced from performer website

Sex Object

Depot Theatre

Marrickville

April 23, 3017

As per its mission statement, Depot Theatre, nestled in the vibrant Addison Road Centre and the arts scene of Sydney suburb Marrickville, aims to entertain, challenge and inspire audiences with performances that are accessible, affordable and – most importantly – a fun night out.

They collaborate with and host an eclectic range of emerging and established independent theatre makers and cultural organisations to stage a wide range of though-provoking Australian and international works and thereby support hundreds of independent arts practitioners in the areas of performance, directing and production design and management.

Presented by JackRabbit Theatre, character driven play Sex Object is, as the title suggests, up-and-coming writer Charlie Falkner’s take on sex – the sex of self-absorbed Millennials in the era vulgaris of social media, where everyone can be famous for 15 people.

JackRabbit Theatre is not unknown for its faible for loud, fast, pacey dialogue and a tongue firmly placed in cheek – a red thread that continues with Sex Object and its cringingly familiar stereotypical characters, be it the beautiful blonde, the new age artist or the overly confident, flamboyant narcissist.

The ensemble works well together, which is testament to the team director Michael Abercrombie and Charlie Falkner have become with their second collaboration after Dirty People.

Overall, Sex Object is an enjoyable play yet could have used a bit of editing as it takes its time to get into gear and connect the dots, which can leave an audience wondering through its lagged midway section where it is all headed instead of focusing on the fast and fun play in the moment.

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Photo by T

Tash Sultana

Ivy Courtyard

Sydney, AU

April 16, 2017

Courtyard’s annual Easter party at Sydney’s Ivy stepped it up this year with easily one of the biggest lineups in the history of the event.

Leading the charge is one of the hottest artists in Australia right now:

Tash Sultana.

Following a breakthrough in 2016, Sultana has continuously sold out her national shows and continues to do so internationally.

Tash Sultana is a DIY one-woman live show, singer / songwriter, who defies categorization.

Yes, there is reggae, hip hop, indie pop, not quite alternative rock – all rolled up and served as a well-calibrated, seemingly improvised multi-layered mélange with her intricate vocal arrangements and sophisticated pronunciation and intonation as the cherries on top. 

Loose, mellow psychedelic harmonizing with unlikely instrumentals weaves through her songs, yet there is an underlying structure and her radiating presence make the songs come alive and serve as the red thread to the narrative of her very own world.

We are talking vibes.

As in – once you let loose, commit to tumbling down the rabbit hole, do not be afraid to be faced with manic and darker shades and it will be fine.

An ultimately empowering experience.

Sultana began her career in Melbourne, Australia, “busking,” or performing on city streets, which informs her authentic, intense and immersive live performances where she shines and seems totally at ease and peace with herself, no matter if she is beat boxing, singing, playing flute, guitar, trumpet or what have you, all delicately orchestrated and looped together in real time.

She is fearless and it translates in the connection she strikes with the audience.

She self-released her debut Notion on her own label, Lonely Lands Records, which I recommend you to check out for yourself.

For more information, tour dates of her upcoming North American tour and samples of her songs, peep:

https://www.youtube.com/watch?v=Vn8phH0k5HI 

https://www.youtube.com/watch?v=zQN1piSqAmk

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Photos by KAVV

Peking Duk

Enmore Theatre

Sydney, AU

April 22, 2017

Formed in Australia’s capital Canberra, Peking Duk are an electronic music duo made up of disc jockeys and music producers Adam Hyde and Reuben Styles, formerly of Rubycon. 

Armed with a string of platinum-minted singles, such as 'High', 'Take Me Over', 'Say My Name', and the Elliphant featuring 'Stranger', the Clowntown tour saw Peking Duk’s epic audio-visual spectacular descend upon the sold out Enmore Theatre.

Having just returned from successfully headlining festivals overseas, a video message from Shane Warne opened the proceedings to herald their homecoming followed by Wu Tang’s “I like it raw”, before Peking Duk unleash their trademark mélange of house blended with bass-heavy down beats on a solid foundation of key live show ingredients, i.e. animated visuals, drops and an elaborate light show, which sees them appearing behind their DJ desks as silhouettes.

What makes Peking Duk in a live environment a more enjoyable experience is the combination of their showmanship, an absence of ego and the fact that the main protagonists are busy having fun themselves, which translates seamlessly to the audience, whose enthusiastic responses fuel their antics, thereby creating a party perpetuum mobile of sorts.

Peppering their set with extracts from well known, tested and tried mainstream hits and appearances of special guests Ian Ooze and Mallrat, the due works a broad field of diversity and experiments with different sounds while always keeping an eye on big hooks. Their Andrew Wk-esque crowd interaction in tandem with epic drops, textures and grooving melodies go a long way, which effortlessly elicits enthused reactions from the dazzled crowd and creates a frenzied atmosphere and rollicking good time that does not let up until the last confetti cannon and stream of smoke have been fired and the last strobe light has shut off.

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Photos by KAVV

The Tea Party

Star City

Sydney, AU

April 21, 2017

Since the Canadian three piece’s inception in the early-‘90s, the Tea Party has pursued a singular epic sound melding middle-eastern influences with cacophonous power for what has become widely dubbed as ‘Moroccan roll’.

Their eight album spanning catalogue defiant of categorizations, balanced psychedelic and a myriad of other influences as they evolved from a heavy and bluesy band taking pages from the books of Led Zeppelin and Jim Morrison to incorporating electronica, psychedelic tones and noises, thereby becoming a progressive boundary pushing band while not losing appeal for their core audience.

Their latest guise saw the Tea Party perform with Sydney’s Youth Orchestras at the Star Events Centre Sydney, an Orchestral Show that has not been performed outside of Canada since 2002.

The show has been updated from its Canadian origins to incorporate a broad range of their bombastic songs and fan favourites from across the band’s career.

Under the directorate of conductor Marc Quellette, and the incorporation of instruments such as Oud, Sitar, Qanoun, Hurdy Gurdy, Theremin, Rabob, Tabla and many unusual and rarely seen percussive instruments, the symphonic treatment re-examined the songs in a different light and shaped a new story for each song, making the two-hour set flow and embedding the trio’s velvety and at times dark and mystical sonic arrangements in different contexts for each song.

With Sydney Youth Orchestras having honed their craft as part of Vivid Sydney (Intel, Ignite Dance Anthems), Carols in the Domain and the BBC Proms Festival and with the SYO musicians thriving on music and arts collaborations, the symphonic treatment seamlessly fused with the Tea Party’s DNA and lent their performance a dramatic and epic proportion, that made the evening a sensual experience which was further enhanced by Star City’s integrated audio-visual, lighting, production and its bombastic state-of-the-art sound system, one that is revered as one of the best in Australia.

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Photos by KAVV