RAW: The Tide Starts To Turn on Adelaide Oval

A remarkable reappraisal of the real public perception of the proposed Adelaide Oval redevelopment is now taking hold in the aftermath of the SANFL/SACA/SA Government’s hoopla three weeks ago that announced again it was full steam ahead and the SACA members would vote on the issue ‘in early May’.

Adelaide lawyer, Greg Howe, and his small team have been able to hit the media outlining elements of their ‘No’ case and the recalcitrance of the SACA to do the same for their members and that message has hit its mark. This has left proponents flat footed and made many previous supporters deeply sceptical at least.

Perhaps no greater barometer of this is the approach of our venerable daily, The Advertiser. Yesterday (Saturday, 19th March 2011), for the first time this year The Advertiser printed letters to the editor on the topic, opening up with salvos against the proposal from Mr Howe and Tony Fuller. The only letter in favour was a somewhat meagre shot made at Mr Howe.

On Friday, it gave a mere one third page on p5 to Minister Pat Conlon’s $1billion plan for the revitalisation of the riverbank precinct. Previous announcements like this have usually drawn fawning multi-page reviews and commentary starting on the cover.

There are good reasons for this. Comments posted on News Limited’s Adelaide Now site to these types of articles have been running massively and venomously against such grand plans in times of adversity (consider the issue of $300,000 worth of funding for the Keith Hospital.) For example, the article on the Conlon precinct plan late the night before it was printed had comments running 15:1 against, with one of its two supporters confessing to living in another State!

Similar disquiet has followed recent Michelangelo Rucci’s pieces culminating in the brazen hypocrisy of trumpeting AFL CEO Andrew Demetriou’s endorsement of the project as ‘good for South Australia’ without mentioning that less than a year ago, Mr Rucci was quick to reveal (also on the front page) that Mr Demetriou received a $1m bonus for getting AFL football back to Adelaide Oval. You would have hoped that salivating and grovelling before ‘wise men from the east’ was a distinctly Adelaide habit we could do away with.

Elsewhere, confidential sources have told Kryztoff that the SANFL are now deeply concerned about where the debate is going especially with the SACA members who are meant to vote on it all in about seven weeks. Their wheeling in of former Liberal leader John Olsen to soothe the nerves is increasingly looking like too little, too late, having left the matter in the SACA’s hands until now. The presentation by them and the Government of ever grander plans this week seems to have made people focus even more on the detail that simply is not there.

Further, separate confidential sources have advised Kryztoff that enthusiasm within the Government seems to be limited to about three members of caucus only, the usual suspects of Rann, Conlon and Foley. This is despite much being made in the mainstream media of one or two dissidents in the Liberal Party on their opposition to the plans on the grounds the party needs to be seen to be visionaries.

Much now hinges on the SACA’s information book to go its members in mid April in advance of its May meeting. Unless issues like ticketing for members for AFL games, drop in pitches and why the SACA is selling itself out for less than the cost of its just completed new stand (see separate article) are addressed adequately, it is hard to see how general unease about this project by taxpayers and members alike is going to be assuaged in the four weeks only it will have following til voting day.

Let it not be forgot that SACA members need to approve this project by a 75% majority. If comments to Adelaide Now are a reflection of SACA members’ views at this time, support presently sits at around a mere 6%! The NSW Labor Government has far better odds of winning next week than this.

RAW: WOMAD – Friday Night Review

By Nicki Bullock

Many said this is the best weather and best line-up they have seen at Womadelaide for years.  Under lightly clouded blue skys, flags flying colourful in the breeze the 2011 festival took off in a splendour of music and smiles.

Opening with a moving welcome from the Kuarna people of greeting and dance; the first dance given by the young females, ethereal, purple and flowing, followed by the young men presenting stories of the land.  Fittingly, the first band I viewed following the welcome was ‘The Yabu Band’ from Kalgoorlie, Western Austalia, because although it is a wonderful experience tasting so many musical flavours from across the planet, it is also wonderful to appreciate Australia’s unique culture amongst the world of music, arts and dance.  ‘The Yabu Band’ are very Australian rock, the deep, rich vocals of Delson Stokes are complemented by the singing guitar of his brother Boyd, presenting a tight musical connection.  The group also features didgeridoo player and native dancer Dennis Simmons and the strong rhythms of tribal feel by bass player Ray Martinez and percussionist Dave Masters.  An extermely gorgeous rendition of ‘I Am Australian’ in their native tongue particularly impressed me, though the whole show was a beautiful while rockin’ experience with many of the songs delivering strong social messages, vocalised with such heart and power by Delson.

Taking to the mainstage as ‘The Yabu Band’ played, ‘Rango’ gave an impressive and colourful show, in brilliant African costume, creating vibrant beats and rhythms in a mystical, soulful performance.  Catching the end of their show they held the audience trancelike with a wonderful array of sounds from instruments such as the rango xylophone, simsimiyya and tanbura lyres, shakers – some made from recycled aerosol cans, such a delightful sound – and the mangor belts made of goats horns worn by the dancers, overlaid with beautiful, spiritual singing.

On my way to the ‘Afro Mandiko’ workshop in West African dance, I am captivated by the sound of ‘Hanggai’, a fusion of traditional Mongolian music with modern elements that it is not quite punk, with flavours of metal, is almost rock, the result something beyond all these elements.  Vocalist Yililata called to us with his powerful stage presence, the lutes and horse-head fiddle, bass and percussion conjuring vast grasslands and nomadic wanderings, I found myself taken away… It was with great difficulty I pulled myself away to experience some of the dance workshop.

Though I had missed much of it, the essence I took from it is that West African dance is uninhibited, letting go of limbs and self as you surrender your being to the music, the strong drumming sounds pulsing through you.  The traditional African instruments, brightly coloured, smiling and wondrously energetic dancers and vocalists left all who attended dancing and laughing joyously.  This group will also be conducting a drumming workshop on Sunday as well as other performances throughout the festival.

Deciding to get food, I find Ethiopian flavoured saxaphones enchanting  my ears.  ‘Dereb the Ambassador’ is a stylish concert band of polished brass combined with ethnic rhythms; a wildly heated performance.  ‘Angus and Julia Stone’ attracted a very large audience but after the exuberant African beats flowing through me, the mood is too mellow though it is a magical, tripped out, aural wonderland.  ‘Dhaka Bhakra’ give a workshop in Speakers Corner on Ukranian culture and their music, answering audience questions and telling stories through the help of a translator.  Applying influences from what they consider the greatest music from all over the planet to traditional Ukranian folk, the result is diverse and unable to be categorised.  From deep, throaty open-mouthed singing and strong rhythms incorporating a vast variety of instruments to unearthly archipello vocals enlightening as if their souls are bursting out in sound, they explore a great number of musical styles.  Their boundless experimentation creates an atmospheric, theatrical soundscape.

As I make my way to the Moreton Bay stage for ‘The Woohoo Revue’, the last few songs of ‘Angus and Julia Stone’ fill the air, as beautiful and talented as to be expected, strands of cosmically influenced atmosphere, Julia’s unique voice carrying through the night like starshine.  ‘The Woohoo Revue’ are as energetic and exuberant as ever, some of my favourite gypsies, their shows are never a disappointment.  Blending Balkan Gypsy and swinging twenties sounds into a delight to dance to, they capture audiences hearts and limbs with their dapper and sexy dress, wild, free melodies, huge smiles and ceaseless energy.  We cannot stop dancing and scream for more.

The final show featured on the main stage is ‘Horace and Dub Asante’, a groovy, mellow and loving assortment of dub and reggae.  This is a perfect end to a wondrous evening as the audience sways as one in flowing movement and sings along to his encouragement.  Sharing his inner light, spreading a message of love and peace,  Horace is one of the greatest vocalists I have ever seen.  Meanwhile on the zoo stage, ‘Omar Souleyman’ has a very large audience clapping, laughing and dancing to Arabica electronica, he is also a terrific showman, booming his lyrics into the darkness.

The first night ends with Islamic devotional song of ‘Faiz Ali Faiz’ and for those of who are not ready to stop grooving, dj ‘Norman Jay MBE’ of Notting Hill.  The ‘Psycus’ tent is surrounded by those exploring their new circusy playthings; a celebration of colour and skill. In ‘The Squeaking Tribe’ tent next door I am taught how to operate a marionette with a disturbing physical resemblance. This years Womadelaide presents seven stages of aural delights, fantastique roving performers, abundant tents selling delights edible, drinkable, wearable, healing, revitalising, playful and awe-inspiring.  Though the dj spins some wonderful vibes after the peaceful, loving songs of Horace I am sated and satiated, filled with such an abundance of flavours of music, my feet carry me into the night imbued with sounds of a wondrous world. A splendorous beginning to a great festival celebrating, embracing and showcase the diversity of the world’s cultures.

Do I need to give this a rating? Obviously 5K!

See also Emil Fogg’s images from Friday night at Emily Fogg\’s WOMAD Friday Evening Images

RAW: Adelaide Photographer makes national photography competition shortlist

By Socratos

Legendary rock photographer Bob King is the guest curator for the launch of ‘Jim Beam Rockography’, a live music photography exhibition showcasing the best of photographic works taken at festivals and venues throughout 2010 by up and coming talent. The shots have been chosen from over 3000 submissions to Jim Beam’s music website ‘The Label Behind Live Music’.

Adelaide based Craig Beaumont is one of the shortlisted photographers chosen for the exhibition for his exceptional live camerawork from amongst thousands of submissions. A dedicated photographer operating from his Studio Crossbow (www.studiocrossbow.com.au) Bowie dedicates a lot of time to capturing the essence and energy of live bands on stage. Get onto him on facebook if you are interested in his services.

The exhibition will open tonight (Thursday 17th March) at the Oxford Arts Factory in Sydney.

RAW: WOMAD – Saturday Night Review

By Kosta Jaric

Féfé

Before hitting Adelaide, French-Nigerian hip hop artist Féfé said that he wanted to break the boundary of being on the stage with the audience at Womad and say ‘no – we’re all in this together’. Not only did he shatter this boundary with an electric set, he left the crowd buzzing for more.

Féfé and his band of Gallic merrymakers delivered a set of funked-up music that had the majority of the crowd dancing. Having switched from pure hip-hop to crooning and strumming a little, his music was a mix between urban beats, classic funk, afrobeat and soul. That songs like ‘Dans Ma Rue’ were nothing more than an excuse to get everyone singing along – when the lyrics go deep about the ghettos of Paris – show just how hypnotized this audience were (not that the majority understood a single word).

Asking the audience for their opinion on whether “the American way” to serenade women was superior to the French way proved interesting: he started with an acoustic rendition of Michael Jackson’s ‘The Way You Make Me Feel’ which proved a massive hit with the audience, before asking for the houselights to go up so he could step down and pick a female to sing to intimately in his dulcet French tones. Either  way, win-win for her.

Finishing by whipping the crowd into a frenzy with such continental hits as ‘VPC (Vilain Petit Canard)’, he then couldn’t resist the grandest way to thank the crowd – an encore performing Ray Charles’ classic ‘I Got  A Woman’ whilst being raced through the newly-adoring fans on the shoulders of one. If he ever crosses over again, he will have a full house waiting feverishly.

Norman Jay

Norman Jay – MBE no less – is the epitome of what Womad does: brings foreign household names to a curious local audience and makes them wonder what all the fuss is about. As a crowd initially built of younger people not captured by the charisma of afro-blues legends Amadou and Mariam, Jay slowly began to spin a mix as diversified as the festival itself.

A progressive blend of soul and funk that moved through the ages with disco, old-school rap and early house bridging the gap to dub step, drum and bass and smooth samba sounds made the curious audience grow to capacity at one of the tiny Speakers Corner stages.

Womad organizers have had a penchant for organizing reputable international DJs to play the all-important Saturday night closer, with Mercury Prize winner Talvin Singh, House of the Holy Afro creator Dino Moran and NYC river-party pioneer Nickodemus all having hit the decks with great success. With Jay, they struck another rich vein of form.

His shows in the UK and abroad have attracted notable attention – not least his signature Good Times set at the Notting Hill Carnival which attracts in excess of 40,000. For the much smaller crowd that varied significantly in age and musical taste, his set hit the right spot as Saturday night came to a close.

FRINGE: Future Music Festival Review

By Kosta Jaric

“Future Music – so many crimes against fashion.”

The easiest way to garner public opinion these days is to trawl through the most efficient soapbox of all – Facebook. Given the traffic, Future Music 2011 had a lot of points to reflect on, whether good, bad or definitely ugly.

The line-up for this year’s festival saw the organisers state their intent with their most ambitious and diversified group of artists yet. Big names The Chemical Brothers, MGMT, Dizzee Rascal, Mark Ronson and Steve Angello (of Swedish House Mafia fame) all headlined, whilst Ke$ha, Tame Impala and Gypsy & The Cat all came in from a different angle.

Festival-goers couldn’t have asked for a better day to tear the grass out of the Garden of Unearthly Delights and swallow the invading locusts and crickets, and the smiles on their faces showed it. The crowd grew strong well after midday, when the action onstage began to heat up.

Ke$ha was always a surpising and curious choice for Future. Appearing at the Entertainment Centre later in the week, given the overall crowd reaction to her set at the main FutureMusic stage it’s evident that the audience at that show would be 18 and under. Although a well choreographed set, her brand of trash-dance pop really didn’t inspire the majority of the crowd. Obvious hits “TiK ToK”, “We R Who We R” and “Take It Off” got some shuffling in the dustbowl, but whilst the girls on shoulders loved it, the guys underneath not so.

Speak to any sample of people and the response as to the best stage on the day is varied. The Likes of You stage was a techno haven, whereas Dim Mak – a stage that was literally a hole in a wall – had cult party-starters galore. Steve Aoki ruled Dim Mak with his partyboy ways, although his brand of electro house was quite fuzzed to begin with.

The Mazda 2 Flamingo Stage was laid out ridiculously. Whilst the large screens flanking the stage indicated that there was ample space to the right of stage, no-one could get through as the casual stage-swingers bottlenecked the only entry point. Nevertheless, it pulled some of the biggest crowds.

Mark Ronson & The Business Intl. did the business big time, so much so not even Ronson’s top-deck hair could do him wrong. The reception from the crowd throughout the set had them firming as massive favourites. The whole ensemble was on fire – MNDR slinked about (but shrunk a little for ‘Bang Bang Bang’ – no fault of her own), Rose Dougall surprisingly got hearts racing and MC Spank Rock lost more than his hat with his mic domination. Surprisingly, Andrew Wyatt from indie boys Miike Snow came out and featured for a few tracks, including their own hit ‘Animal’ and stepping in for Boy George on ‘Somebody to Love Me’. Ronson didn’t forget to honour his roots, with a 10 minute DJ segue lapped up by the kids on hand.

MGMT followed up, and the debate over whether they’d cover a fair amount of awkwardly-received sophomore album ‘Congratulations’ was soon solved when they descended into psychedelic and surf guitar sounds. It only bummed out a small section of the crowd, who in their wasted state wanted their uber hits more than anything, and got them in spades. ‘Electric Feel’ and ‘Time to Pretend’ brought mass delirium, but it was ‘Kids’ that brought the house down. Ronson’s crew came back out onstage whilst Kesha sat bemused in the wings, as the MGMT brains trust Ben Goldwasser and Andrew VanWyngarden ran up and down the barrier high-fiving everyone in sight.

Pendulum were timed perfectly – as the sun hit its low, the crowd deserted Dizzee Rascal in droves to see the Aussie boys make them go bananas with a blistering set of what they do best, heavy drum and bass mixed with electronic rock.

The Chemical Brothers were always going to be the biggest attraction at the traditionally dance-oriented event, and their lighting and visual display set the deep and dark mood early on. As soon as ‘Galvanize’ became recognizable to the large and invisible crowd, the party restarted. The only downside to their set was the fact that ‘Belgian beat bastards’ The Subs were only enjoyed by a tiny following back at Dim Mak, when these guys deserved far much more.

Rounding out highlights, you can’t go past Foamarama, a constant barrage of foam leaving those not too delicate to get their carefully selected outfits wet looking like Colonel Sanders in a snowstorm.

Having skimmed all opinion, this was by far the most polished and organized Future yet. Its place as a staple in the Australian festival scene has seen it firmly nestle in the top five national festivals. As the saying goes, big results require big ambition, and Future organizers are well on their way to bigger things.

To see our images of people at Future Music go to:

FMF People Part 1

FMF People Part 2

FMF – Foam Pit

To see our band images at Future Music go to:

FMF – Bands

RAW: WOMAD Review – Monday

By Socratos

The Woohoo Revue, Secret Gypsy Agents…

A core team of spacey female violin & bass fronted by the sonic assault force of a 3 piece brass section and acoustic guitar with drum fills and solos a plenty.

An impressively loud response and clap track was drawn from the crowd, especially for one of the first bands of the day.

When the announcer asked how many people were at Womad for their fourth day in a row, many were which is a marathon effort!

The Sound wizard did a masterful job of balancing the forces of sound into a clashless, danceable vibe which the audience locked into and grooved away with in time to the band.

The stage was called the Morton Bay stage owing to the fact that it was surrounded by the beautiful old fig trees which gave ambiance and shade to the event.

For one of the songs the violinist walked through the tree’s as she invoked Narnia-esque tunes before jumping on top of the speaker stack as the rest of the band helped her launch the tune into full forced gypsy grooves.

The haunting soliloquy wrought from the violin juxtaposed the thumping pulsations coming from surrounding stages in a way that you can only experience at giant multi-cultural festivals like Womad.

Complex to the uninitiated ear, roasting with flavor and utterly danceable. The Woohoo Revue invoked old-school European vibes which nicely offset the predominantly African flavors of the day.

It was good to see some grass-roots Melbourners rocking the stage at Womad with their unique & Energetic Gypsy styles. Definitely a band to check out for their visual appeal and get down Gypsy jigs.

Creole Choir of Cuba

For me music is all about the soul and one of the most expressive ways to convey the soul is through the voice.

Although the Creole Choir comes from Cuba all of the members are from Haiti. The Haitian culture invokes a good cross over of cultures and the band mixed the complex vocal harmonies of western music with the complex percussion rhythms of African culture.

For an act that that featured only voice and just a little sprinkling of percussion these guys’ sound was propelled out of the speaker by some unseen force which allowed them to compete with the surrounding noise and they were definitely as loud as any full force band of the day.

I think that when you surrender to the fact that you are never going to understand what somebody is singing and laughing about so convincingly in another language you surrender yourself to other avenues of understanding, which for me is what Womad is all about;

Breaking down cultural and language barriers to translate what is the same within us all and how the human soul is connected globally through music.

For me Soulful choirs always embody a voice that describes a passion for life and resilience to life’s hardships despite struggles and tragedies that have afflicted the members and their community. It is an ancient message and art form and is so applicable today to people all over the world who have recently become victims of various natural disasters.

If you have a hole in your soul I think this choir would help to heal it. We should send them up to Queensland and Japan…

Afro Cuban Allstars

Band leader Juan de Marcos González was born in Havana in the 50’s. He became a key member of the world famous Buena Vista Social Club before compiling a tribute band to the golden era greats of Cuban music, which is the Afro-Cuban All Stars.

González was a fan of American and British rock music before rediscovering his Cuban roots. González’s stated goal was to keep the torch of Cuban folk music alive for a younger generation. The Afro-Cuban All Stars spans 4 generations of musicians ranging from the age of 81 to 13, so really what you are seeing when they perform is an active display of a culture being kept alive and passed on from the masters to the younger generation of Cuba.

The band was all dressed up real sharp in suave yet casual white suits and sported sunglasses golf hats & goatees in a laid back, cruisey, Cuban sort of way. You can imagine that more than a few cigars have been shared between the members of this band  amidst rum mixers and a table full of playing cards on the hot streets of Havana.

During a performance the band represents the full spectrum of Cuban music Including bolero, chachachá, salsa, danzón, and rumba which they evoke through a big band consisting of piano, bass, timbale, bongos & cuban percussion, congas, trumpets, trombones and an array of singers.

Once again the sound was fantastic and the main stage is wonderful at night when it is illuminated against the backdrop of trees and stars. Truly a way to be transported to a different world if you let go and journey through the music which most of the people up the front of the sizeable crowd were doing as evidenced by the infectious dancing bug that was being shared throughout the audience. Good to see Cuban music is alive and kicking!

Don Letts

Is a very accomplished man. He is responsible for bringing together punk and reggae music through his presence on the scene in London in the 70’s. He is also a documentary film maker, which is part of his career ever since 1978 when he “just happened to have a camera there when I was doing all this amazing stuff!”

He has worked with The Clash, The Sex Pistols, Chrissie Hynde, Patti Smith, Deborah Harry and used to be Bob Marley’s weed dealer. He was also the original driving DJ force behind London’s legendary Roxy club and was intimately involved with its conception. Through DJ’ing at the Roxy Lett’s introduced the fledgling London punk scene to Dub and Reggae recordings from Jamaica which hugely inspired and shaped the movement, Especially the Clash.

When I saw Don speaking in support of one of his punk documentaries at the Palace cinema a few years ago he explained how he was deeply inspired by the music coming from his parents’ homeland Jamaica, in particular Bob Marley. After seeing one of Marley’s gigs in 1976 he was lead by an inner compulsion to sneak into Bob’s hotel room and spent the night talking to and befriending Marley which bloomed into a creative and useful relationship for both of them.

Don’s DJ set at Womad consisted of Dub remixes of tracks such as the Beatle’s Eleanor Rigby  & Tracy Chapman’s Fast Car with the most impressive visual display of the day which included laser beams, smoke and a back drop of colorful techno displays which brought visual life and vibrancy to the sonic force coming through the speakers.

All up Womad’s Sound quality, organisation and stage set up is pretty much at the top of the heap for this summer’s music festivals as far as I am concerned. It is inspiring and refreshing to see the amount of respect and care shown to the grounds by patrons and organisers. I saw minimal to no rubbish lying around all day and an excellent 3-tier trash disposal/recycling system was in place and fully operational. Full points to the runners of this show for melding a practical concern for the environment into the event and showing everyone how it can be done successfully and implemented on a large scale.

Once again Adelaide is leading the way. Hopefully the rest of the world was paying attention. A festival of the future.

RAW: Future Music Photo Tag Comp – Win Vale Ale 6 Packs

Kryztoff in conjunction with Vale Ale are pleased to annouce a competition for those featuring in our Future Music Festival images.

Simply tag yourself and any friends in one of FMF albums and join Kryztoff’s Facebook page and let us know who you are at win@kryztoff.com along with the names of those you have tagged.

We have six Vale Ale 6 Packs to givewaway.

The winner wil be chosen from amongst those tagged and contacted by Facebook – the more who you tag and get as fans of Kryztoff, the greater the chance you have to win.

Draw is this Friday, so scour all our photos which will all be up by 5pm today.

With thanks to Vale Ale

FRINGE: Low Level Panic – Arcade Lane

In the mid 80’s Clare McIntyre’s Low Level Panic took a very uncompromising look at pornography and the effect on the everyday woman.  Director Sahil Choujar explains that today we see a much more toned down version inspired by Naomi Wolf, author of the bestselling book “The Beauty Myth”.

It feels a lot less about pornography or feminism, rather giving the audience a view into the lives of three young woman and the concerns they face. The roommates examine body image, sexuality and fantasies, self esteem and exploitation. Interestingly this adaptation balances the exploration of sexual exploitation of women as well as the sexual exploitation by women.

Set in a cleverly designed bathroom, with running water, the audience can be excused for feeling like a voyeur.  The play starts of very strong with Jo (Maryann Boettcher) exploring the sexual power she could cast over men if she were just a few inches taller, while taking a bath. Later Jo explores a repetitive sexual fantasy which never reaches a conclusion. Mary (Kate Englefield), a victim of sexual assault is faced with the exploitation of the female body at every turn. Celia (Alicia Case) a controlling clean freak appears to be quite successful in her way with the boys.

The play starts of strong and contains two powerful solo acts by Englefield. Even though it seems to disengage the audience in times it is a great Fringe production.

Kryztoff Rating   3.5K

See all Kryztoff’s previews at www.kryztoff.com and all our reviews here at www.kryztoff.com/RAW and remember also to subscribe for Adelaide’s most up to date reviews. To win free tix, join us also on Facebook and Twitter.

To see reviews of shows not covered by Kryztoff go to BankSA Talkfringe at www.talkfringe.com.au

FRINGE: Swing To My Lulu – Nexus – 3.5K

By Kosta Jaric

Everyone knows a little Lulu, and at Nexus Cabaret a large bunch of musicians are waiting to help introduce you better to a rather interesting pop artists body of work.

Lulu was of course the quintessential 60’s pop icon, who later became well known for her saucier side. The Collected Musicians, a twelve-piece band comprised mainly of Adelaide musos, sift through her catalogue of 60’s and early 70’s numbers.

Before each song, a little insight into Lulu, the song itself and the reason for its selection is given by each one of the two female singers. This gives the night a broader feel as opposed to a band playing well-known hits to any artists, and helps endear the performers to their audience that little bit more.

Ranging from soft ballads, to raunchier soulful numbers, they cover the full spectrum of Lulu’s personality and hits, including the well-known “To Sir With Love”, and her cover of “Shout”.

There’s a little bit for everyone in this show – from the classic jazz-club feel of the tables, to the switch from soul to blues to old school pop to the fine, fine sounds emanating from the talented musicians on stage, this is one show that can easily be enjoyed by a broader audience than seems.

Kryztoff Rating  3.5K

See all Kryztoff’s previews at www.kryztoff.com and all our reviews here at www.kryztoff.com/RAW and remember also to subscribe for Adelaide’s most up to date reviews. To win free tix, join us also on Facebook and Twitter.

To see reviews of shows not covered by Kryztoff go to BankSA Talkfringe at www.talkfringe.com.au.

FRINGE: Jason Byrne – Garden – 4K

By Kosta Jaric

Jason Byrne finally decided to bring himself down to Adelaide after numerous visits to the country, and it’s fair to say – judging from audience and artist – he will be back sooner rather than later.

Byrne’s comedy is Irish with panache. His show continues at a great level of energy throughout, thriving off of the audience. Rarely does it look like he’s following a script of any kind, freestyling greatly off of objects thrown at him onstage, or people he singles out in the crowd.

His subject matter varies greatly, but he took a lot of pride and time in making sure the people and city of Adelaide featured heavily, and even when hitting the usual suspects – the churches – he did so with great originality and self-deprecation. His opening routine involving pulling audience members up onstage to skip rope with was defining of the pure randomness and set up the feel perfectly.

Comparisons to Ross Noble are probably not unfair, with his energy, quickfire remarks and ability to make his show visually as funny as it sounds all big pluses. He loves to swear, but in that charming Irish accent you can’t help but laugh even harder. Byrne will definitely be hitting a bigger venue on his next visit through, and you would dare say he’s effortlessly hit that magical upper-echelon of Fringe comedians already.

Kryztoff Rating  4K

See all Kryztoff’s previews at www.kryztoff.com and all our reviews here at www.kryztoff.com/RAW and remember also to subscribe for Adelaide’s most up to date reviews. To win free tix, join us also on Facebook and Twitter.

To see reviews of shows not covered by Kryztoff go to BankSA Talkfringe at www.talkfringe.com.au.