Music in the Key of Yes. Adelaide Festival. Secret Chord. Festival Theatre. 15 Mar 2017
Fresh from its world premiere in the Sydney Festival earlier this year, 1967 Music in the Key of Yes is a 50th anniversary concert celebration of the socially nation-changing 1967 national referendum. With a 91% affirmative vote, Aborigines were given access to Federal laws and services designed to protect and help Australians, and were finally counted in the census! Only fifty years ago? Jeez.
There is a starry line-up of Aboriginal musicians and singers who run through a catalogue of songs thematically linked to Aboriginal issues of rights, of country and of concern - many of them are resolute hits bound to take you back and once again swell you with national pride, and reflect on those fleeting moments of unity.
Some songs are designed to take you all the way back to the '60s, and time travel is aided by two large screens showing newsreel footage of the protests and players of the referendum, and to a lesser extent, the outburst of civil right demonstrations around the world at that time.
After thoughtful respects were paid to the traditional land owners, the opening number, My Island Home, was a disappointment. Penned by Neil Murray of the Warumpi Band but popularised by Christine Anu - whose cover was APRA's 1995 Song of the Year - it became a trite truncated pop tune in the hands of musical director Jordan Murray and co-arrangers James Henry and Iain Grandage, having that lovely longing squeezed out of it. I didn't think that the arranging team improved or re-invented any of the originals and some of the more truncated versions left me unsatisfied.
Treaty was reduced to a theme with the energy carved out of it. Adalita did a stirring version of Solid Rock, originally sung by Goanna Band. Ursula Yovich, Alice Skye and Thelma Plum were all strong and emotional voices. Dan Sultan spent too much time trying to rev up the audience, although the audience did need some encouragement - it's always confusing how far to get carried away seated at the Festival Theatre. Yirrmal showed masterful control in native dance and song as well as in contemporary callings. He has that steely centred concentration similar to David Gulpilil that is at once mesmerising and frightening, and you can't take your eyes off of him.
A great idea, great music selection, great musicianship, but let down by the arrangements. No wonder Sultan had to make such an effort.
David Grybowski
When: 15 Mar
Where: Festival Theatre
Bookings: Closed
