The Cats Are Out To Play

Band: The Cat Empire and The Australian Youth Orchestra
Venue: The Iwaki Auditorium
Date: Friday 5th October 2007
Reviewed By: Heather






This is the gig I have been waiting for, and it certainly didn't disappoint. The second the tickets were released I snapped mine up, not knowing how quickly they would sell out the little theatre. There has even been news coverage for this one! Check out The Age's article.

Of course I'm talking about The Cat Empire with the Australian Youth Orchestra - a fantastic musical experiment that is the culmination of a week-long workshop. I was truly honoured to be a part of it.

I'm not even sure I can call this a gig. It was a concert in every sense of the word, with no dancing in sight, although at times my feet were itching to participate. Songs from the new album So Many Nights made up most of the setlist, with some musical interludes and a couple of older songs mixed in. The thing is, they weren't the same songs I heard two weeks ago at the Prince Bandroom. They were new, fresh, with an excitement and energy behind them that only a full orchestra can muster.

This will likely be the longest review in history, but bear with me because there are so many things that need to be said to even begin to do it justice.

Ollie, or as he was more aptly referred to in the program, Oliver McGill, began the evening with a beautiful piano overture that ended far too soon. Felix with his new haircut coupled with a suit looked suave as he took the microphone and breathed out the sexy All That Talking, after which they launched quickly into Fishies. The songs throughout the night were superbly arranged, the strings blending effortlessly with brass behind the band, and pushing each song forward as if on its own momentum.

Harry came to the fore to bring us Lonely Moon and Til the Ocean Takes Us All, with vocal gymnastics and a falsetto to rival the Gibb brothers. All was executed with perfect control and poise, perhaps testament to the conspicuous lack of beer that usually accompanies the Empire on stage.

Ollie - sorry, Oliver - was his usual musical genius self, a little more restrained than I have seen him before, perhaps also testament to the suit and lack of alcoholic beverage. However, he did seem to be straining at the leash a little, looking like he was holding himself back when he would like nothing better than to launch into a frenzied solo. Pure perfection still came from his keys, but we would expect nothing less.

Ryan, Will and Jumps seemed to take a step back, playing their parts well and with gusto, but leaving the stage clear for the orchestra to showcase itself.

Which brings me to said orchestra - The Australian Youth Orchestra, to be precise. A week with the Empire seemed to have taken its toll in a very good way. They were nothing short of spectacular. I am not a classical reviewer by any stretch of the imagination, so I can't really comment on the technical aspect of the music. However, each person on stage was a performer in their own right, and as much a part of the evening as Felix or Harry. Their music flowed through the small theatre, pulling the audience in with it.

The string section was absolutely superb as a whole, but the standout performance was by violinist Jonathan Ng in the interlude Poets and Concrete Lovers. Edwina Hookey was the star of the strings though - and she didn't even have a solo. She was shining, as her enjoyment of the music brought us with her through every note, which didn't just come from her instrument but was etched on her face as well. She played her violin as if she were making love to the the music that was exuding from her strings.

The brass section brought a rich depth to each song that is only possible to get from the beautiful mix of french horns, trumpets and trombones. They blended perfectly with Kieran of the Empire Horns.

I definitely can't overlook percussionist Holly Norman. Her relaxed demeanour and obvious skill fit perfectly with Felix and Will, and she looked like she belonged on the stage as she moved between instruments.

I have been racking my brain trying to find a low point to write about. It's a difficult task. If there is anything I could mention it's perhaps that the strings and sax during the solo saxophone interlude didn't quite mesh together. Guest saxophonist David Ades was fantastic though, and Ross Irwin kept things going with style.

Speaking of Ross - the night's greatest honours need to be bestowed on him. He conducted the performance, and together with Ollie wrote the arrangements. No longer simply one of the Empire Horns and frontman of the Ross Irwin Soul Special, he has brought himself into the limelight. His arrangements were gorgeous, he held everybody together flawlesslly and I humbly say that he has a thousand times more talent than I had ever given him credit for.

I sat through most of the evening in a combination of awe and excitement, and participated wholeheartedly in the very well-deserved standing ovations the performers received. That feeling came with me as I left the auditorium after what was very honestly the most amazing night of music I have ever experienced. Yes, it really was that good.

I can't discount any one of the members of the Australian Youth Orchestra, so I would love to name each one individually to finish off this review.

On violin were Imants Larsens, Louise Cottone, Edwina Hookey, Larrissa Weller, Liisa Pallandi, Hugh Middleton and Jonathan Ng.

On viola were Alice Buckingham, Nell Thompson, Michael Trauer and Aaron Wyatt.

Celloists were Dale Rickert, Alison Cook, Alistair Sung and Kim Worley.

Horns were played by Alexis Routley and Rosemary Savage, with Tristan Rebien on trumpet and Michael Ingle on trombone.

Rounding off the list is Holly Norman on percussion.

I can't say how glad I am to have had the pleasure of witnessing this performance. I noticed TV cameras around, so we can only hope that the ABC sees fit to air it, or at least release it on DVD.

Special thanks to Mark Geisel
for the photographs accommpanying this review.