A Serene Soundscape: Noonan & Schaupps Southern Skies Volume 2

Songs Of The Southern Skies

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On the traditional lands of the Dharug people, The Parramatta Riverside Theatre played host to a celestial journey through the works of Australia’s brightest female songwriters and singers. Katie Noonan and Karin Schaupp’s “Southern Skies Volume 2” reimagines the timelessness of Australian music including industry royalty such as Aunty Ruby Hunter, Kate Ceberano, Missy Higgins, and Sia.

Amidst the pulsing, frenetic energy of Parramatta’s Eats.Beats.Art Festival, Noonan and Schaupp’s performance provided a serene oasis, a pocket of tranquillity in a world that seems to never stop. The crowd, a mix of ages and backgrounds, was visibly captivated by their heartfelt interpretations and innovative arrangements. These carefully curated selections showcased the enduring appeal, depth and diversity of Aussie music, reaching as far back as the 70’s. It was an intimate experience showcasing the talent of two extraordinary artists.

Noonan’s ethereal vocals, paired with Schaupp’s masterful guitar work, breathed new life into iconic and some lesser known gems. Their performance was a stunning tribute to the extraordinary talent of Australian female singer-songwriters, culminating in a meditative and memorable evening.

With less-is-more magic, they paid homage to the original songwriters and singers. This stripped-back approach highlighted the strength of the songwriting itself, revealing unexpected soul in familiar tracks. Who would have thought that Olivia Newton-John’s “Xanadu” or Kylie Minogue carried such spiritual messages and connections?

Noonan’s voice is truly something special. Her incredible range effortlessly bridges the spectrum of human experience. She wields a unique ability to transform a song, cradling the soft moments while reverently holding space for the lyrics, before ascending to operatic heights. Every note is infused with a sage sense of love and authenticity as we witness the music flow through her. Her respect for her craft and why she does it is inspiring and evident in every note.

 

Noonan is also a natural storyteller. She is so warm, inviting and humorous, introducing each song and their creators with quips, memories or anecdotes – like she’s welcoming you into her living room.

Classical guitarist Karin Schaupp, an internationally sought-after recitalist and soloist, is the perfect musical foil for Noonan. Her technical brilliance and intuitive playing style provided subtle support, intricate harmonies, and emotional depth. A new found appreciation for this instrument and its artists was discovered.

While this performance was a minimalist masterpiece, featuring only Noonan’s vocals, Schaupp’s intricate guitar work, and some sparse percussion, the album itself features guest singers. Make sure you check out Kate Ceberano’s fabulous new version of “Brave” that reveals the raw power of her incredible ability and emotional expressiveness. ‘I Thought You Were God’ with the brilliant Clare Bowditch is a lesson in harmonising and the magic that happens when two great voices come together.

Noonan and Schaupp are a dual talent that sustain, fiercely advocate for, and shape the Aussie music industry scene. There’s a reason these ARIA-winning powerhouses are celebrated. Deceptively simple but deeply profound, “Southern Skies Volume 2” is music that calms the heart, ignites the imagination, and offers enlightenment.

A soundtrack for creative expression or quiet contemplation, Noonan and Schupps are a symbiotic testament to the universal beauty of words and music and the way they can move and inspire.

Don’t just listen to it, experience it.

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Brolga: A Queer Koori Wonderland

Brolga: A Queer Koori Wonderland

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Saturday, 26 October, saw Bay 17 at Carriageworks Redfern transformed into a psychedelic spectacle, the latest incarnation of multidisciplinary artist and Wiradjuri man Joel Bray’s Brolga: A Queer Koori Wonderland. The interactive dance party, running as part of the 2024 Liveworks Festival, promised to fill every nook and cranny of the space with ‘light, colour, projected image and ecstatic dancing bodies, inspired by First Nations stories of the dancing Brolga’.

The brolga, known as the ‘dancing bird’ holds a lot of cultural significance for Indigenous Australians. Bray stated before the event that many Indigenous stories about the brolga describe its ability to shape, shift, and transform. He sees this as particularly symbolic for queer, gender fluid Indigenous people. Traditionally, corroborees were events where community members had the opportunity to share songs and dance in a ritualised setting. Brolga: A Queer Koori Wonderland can be seen as a contemporary incarnation of those corroborees performed for millennia.

Kicking off at 9pm, our self described ‘Aunty for the evening’ (and clad in an amazing silver outfit) gave the Welcome to Country, reminding us that we were on Gadigal land – land that had never been ceded. We were also reminded of Redfern’s importance in the history of Blak culture and resistance and so it was very symbolic that this night was able to take place there.

 

Set up around the cavernous space was a floor-to-ceiling screen displaying rainbow images reminiscent of an acid trip. Next to this, a crafting table filled with glitter, masks, glue, and tape encouraged partygoers to adorn themselves for the night ahead—a nice touch for those who might have overlooked wearing a costume out. It also provided an opportunity for early arrivals to chat and perhaps make new friends.

For the next six hours, Bay 17 truly became a wonderland. Drag performer and Miss First Nation 2017 winner Josie Baker sizzled as she danced and sang for the first performance of the night. Highlights of the party included amazing performances from queer artists, including drag performer Felicia Foxx and the gender-ambiguous DANDROGYNY. Compelling music from DJ Jonny, BVT, SOVBLKPSSY, Basjia and Crescendoll kept everyone on the dancefloor well past midnight.

In a deliberately interactive experience, partygoers were encouraged to roam freely, watch video installations, and take time out from the dance floor in the chill-out room, replete with bean bags and lounges.

Brolga: A Queer Koori Wonderland proves that Indigenous culture in Australia continues to thrive and transcend boundaries. Hopefully, we will see the dance party back in Redfern next year for another night of vibrant queer celebration.

This show is part of the Liveworks Festival 2024, which will be hosted at The Carriageworks Performance Space from 23rd to 27th October.

Follow the link to book in for this or any other shows during the festival @ https://carriageworks.com.au/events/liveworks-festival-2024/

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The Butterfly Who Flew Into The Rave

The Butterfly Who Flew Into The Rave

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‘The Butterfly Who Flew Into The Rave’ is a dance and movement work that pulses with all the varied energy of an hours-long dance floor. Created in Auckland by queer, indigenous director Oli Mathieson, three dancer-choreographers in the cavernous Bay 21 at Carriageworks create such a concentrated swirl of storytelling movement that the audience cheers and hollers at the most striking moments.

Lucy Lynch, Sharvon Mortimer and Oli Mathieson move in mesmerising unison for the majority of the piece, making their moments of breaking out of it exhilarating. Stylistically, dance forms from the rave and techno worlds need personality, not just precision, and they bring it in spades. Their sneaker-clad feet hit the floor in such tight rhythm that the beat feels like it could be coming from their steps, not the booming sound system.

The lights hang low and blue as the trio begins in the far corner, moving even as we enter. People have their phones out filming and taking photos as we find places to watch from; the program encourages this. The Butterfly Who Flew Into The Rave doesn’t let up the pace once.

The soundtrack is the entirety of ‘Nocturbulous Sounds’ by Suburban Knight, an album with no breaks that flows through gritty beats from across the techno spectrum, harsh and pulsing in turn. The movements, as they take us through the experience of a 3-day rave over the course of an hour and a half, follow this same arc: elbows and limbs are thrown with both abandon and precision, sweat towels are lowered from the ceiling, and there’s crawling, rolling, grabbing each other’s hands like a life-raft. Their dancing makes you want to dance.

The sweat rolls off each performer, and the red cups they grab twice throughout the show to hydrate are thrown offstage to keep dancing. The minimal props feel mainly like tributes to different rave subcultures rather than specific features and are less important than the bodies manipulating them.

Of the Liveworks program in 2024, ‘The Butterfly Who Flew Into The Rave’ is one of the sexier, more high-octane offerings. There are strobe sequences, a brief and striking use of black light and transcendent performances from the three dancers. There is a wild commitment to every movement, and Lynch, Mortimer and Mathieson seem to have both the soundtrack and their choreography in their bones rather than brains. The delivery of the show is slick, despite relishing in the essence of the dirty dance floors it was inspired by, and absolutely transporting.

This show is part of the Liveworks Festival 2024, which will be hosted at The Carriageworks Performance Space from 23rd to 27th October.

Follow the link to book in for this or any other shows during the festival @ https://carriageworks.com.au/events/liveworks-festival-2024/

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Film Review: Weekend In Taipei

Weekend in Taipei

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From the visionary creator of The Fifth Element, Luc Besson comes the exhilarating action film Weekend in Taipei.

You don’t have to wait for long before the first action scene begins, 5 minutes in fact, where a brand new Ferrari takes you on a high-speed joyride through Taiwan’s capital, Taipei. 

The film centers around a DEA agent, portrayed by Luke Evans, who is on a relentless mission to dismantle a formidable drug lord’s operation. Unbeknownst to him, this notorious criminal is married to his former love interest, adding an emotional layer to the narrative.

The plot takes viewers on a journey from the United States to Taiwan, where the reunion between the long-lost lovers sparks unresolved feelings and secrets. This rekindling of romance unveils a love triangle that complicates the agent’s mission, leading to a gripping confrontation between good and evil.

 

The combination of Luke Evans, known for his roles in Hollywood Blockbusters such as Clash of the Titans, a very likeable leading lady, played by Gwei Lun-mei, hailing from Taiwan, and ‘bad guy’, Sung Kang, who starred in the Fast & Furious franchise, makes for a strong cast. 

Where the film lacks a strong story, it definitely overachieves in superbly choreographed fight scenes, with lots of humour thrown in. With the addition of a killer soundtrack, some gorgeous cinematography, and good duration, this film is perfect for an entertaining cinematic experience without the need for deep contemplation.

Weekend In Taipei will open in Australian cinemas in the coming weeks. Check your local cinemas for session details.

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