Dr Gemma Regan
A synergetic music smorgasbord for both rock and classical fans alike
The swaying “Lanterns” of mobile phones were blazing through the darkened QPAC Concert Hall like pinpricks of starlight, whilst the audience danced and sung along to the ARIA chart-topping single about connecting with the community. A very fitting end to a fantastic opening concert of three nights from one of Australia’s most successful rock bands, Birds of Tokyo teamed with the virtuosic Queensland Symphony Orchestra, as part of their symphonic tour. After the first two shows instantly sold out, a third concert was snapped up, due to the promise of an incredible showcase for two sets of disparate fans of Australian rock and classical music, and no-one was disappointed!
The symphonic tour showcases Australia’s best orchestras, featuring songs from Perth’s alternative rock band’s sixth album, Human Design. Lead singer Ian Kenny exclaimed to the audience that it was “one and a half years in the making”. Kenny wrote the emotional, therapeutic album to reflect on his recent marriage breakdown and his many regrets. A massive contingent of QSO musicians opened with the melodic undulations of the instrumental piece, Uno until the band took centre stage, when it morphed seamlessly into the ever-popular Broken Bones, both from the 2008 album Universes.
It was an incongruous ensemble with the brightly plumaged Birds of Tokyo in the centre of the stage in t-shirts and jeans, surrounded by a sea of black crow-like QSO musicians. The origins of the unusual band name was in reply to the absence of birds in Tokyo caused by pollution and high-density living. The band's juxtaposition in the middle of a sea of strings, behind plexiglass and the conductor, distanced them from their audience and unfortunately were difficult to see. However, the musical arrangement was not at odds creating a synergetic smorgasbord for both rock and classical fans alike. The leather-clad maestro Vanessa Scammell was the enzymatic catalyst between the two disparate substrates of rock and classical music. With a diverse conducting portfolio of ballet, opera, classical and musical theatre, she was the perfect fit, even blazing on the piano for This Fire.
The most popular of the seventeen songs were I’d Go With You Anywhere, Anchor, Two of Us and the double-platinum song Good Lord, which had the audience joining in and clapping in rhythm, reminiscent of old-time music halls. Some of the audience were taking advantage of the lessened social distancing rules, with arms clasped around one-another swaying to the beat. Many of the QSO musicians were beaming with delight as the strings demonstrated their rock skills using pizzicato (plucking) and spiccato (bouncing the bow).
The big band sounds of Brace particularly lent itself to the orchestral accompaniment with crashing cymbals and bold brass reminiscent of a James Bond theme. The closing song, Good Lord had the strings and concert hall reverberating with the repeating motif. Tumultuous applause and petulant foot-stamping precipitated the poignant encore of Lanterns, which had the full house on their feet, rock concert-style, waving lit phones like starlight in the darkness. With Birds of Tokyo winning APRA’s award for Rock Work of the Year five times, and already having two APRA nominations for awards this year, the ongoing run of records for Birds of Tokyo seems Unbreakable!
The successful synergetic collaboration of rock and classics is another feather in the QSO’s overladen cap! The QSO opens their Maestro concert with Arabian Nights on Saturday the 20th February. If you can’t wait a week, the listener’s popular picks are on ABC Classic radio for a special Valentine’s Day lunchtime concert on Sunday. Don’t miss it!