Francophiles were out in force for this double-bill featuring Emilie Simon and The Dø. Sadly, going by the amount of empty seats there were after interval, many of them didn’t know what they were in for.
This is not music for the faint-hearted. It is challenging, innovative and uber-contemporary. And quite loud, going by the comment of the older gentleman sitting next to me “it’s just a load of noise”!!
Simon is an exquisite, fragile-looking Frenchwoman, with a powerful stage presence and a strength which shone through her gold lame gown. A talented, and clearly prolific song-writer, she created the soundtrack for “The March of the Penguins”, although, interestingly, the US release of the film featured a soundtrack by another composer, because hers was considered too challenging for North American audiences.
Grounded in standard piano/guitar composition, Simon has developed a love for unusual electronica, which she incorporates into her work. Her Adelaide concert featured a range of songs, from some very Nick Cave sounding numbers, to innovative electronics, to simple guitar and vocal folk. Although unashamedly contemporary, her work is still rooted in the chanteuse tradition. Through her set she played guitar, keyboards and various electronics as well as singing like an angel. She happily kicked off her high-heels halfway, performing the rest of the set in bare feet, in the way that only a Frenchwoman could get away with. She is a delight to watch, as well as to listen to, and was superbly supported by percussion, guitar/bass and keyboards. I was unable to ascertain the names of her band-members, but they were all outstanding. The musicianship was tight and sharp.
The Dø, who played the second half, is a French/Finnish duo, consisting of Olivia Merilahti and Dan Levy, with two, supporting musicians. More avant-garde than Simon, their work is punchy and electronic, and their stage presence bordered on performance art. Lead singer Merilahti, never stopped covering the stage, combining judo and tai chi moves with her sweet, yet strong, vocals. All of their numbers were sung in English, and they are the first French band to top the French charts, solely with English vocals. They have also garnered regular airplay in Australia on Triple J, as has Simon.
The main fly in the ointment at this gig was being called in after interval and then having to watch 15 minutes of sound check. I hope they sort this problem out before the rest of the tour.
And as for the venue? I had to chuckle at the Festival Centre press release which declared that this gig “ will have everyone up and dancing in the aisles”. Well, yes, it might have, had it been somewhere other than Her Majesty’s. It’s a beautiful venue for theatre, opera or even cabaret artists such as Ute Lemper. But is not a venue for any sort of contemporary music, be it blues, like Joe Bonamassa, or electronics, such as this one. The artists, especially The Dø, looked uncomfortable and out-of-place, performing to a several hundred people all sitting, squashed in together, as though they are about to watch a reprise of The Mousetrap. Nobody got up and danced, because nobody could.
Reviewed by Tracey Korsten
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