A diverse avant-garde blend of live experimental music and performance art by Malaysian-born and now Sydney-based electronic hyperpop musician Dyan Tai
Presented by: Dyan Tai, OzAsia Festival and Adelaide Festival Centre
Reviewed: 8 November, 2024
A diverse avant-garde addition to this year’s Oz Asia lineup saw live experimental music and performance art by Malaysian-born and now Sydney-based electronic hyperpop musician, singer, and cabaret artist Dyan Tai.
Perimaisuri (Malay for “Queen”) may challenge some of the audience with its experimental music, but Dyan’s inclusion of cultural elements like Beijing opera and more traditional Southeast Asian soundscapes help to make for an interesting and diverse listening experience – an example being moments of the deep bass you’d normally find in House music overlayed with a live flute.
Some songs also bring more familiarity by sampling pop hits like Beyonce’s Lemonade and Eiffel 65’s throwback Blue (Da Ba Dee) and a cheeky sample of former Prime Minister Julia Gillard’s famous “I will not be lectured about sexism and misogyny” speech also receives a chuckle and supportive cheer from the audience. Dyan also shines when passionately playing an upbeat solo on his bejewelled keytar – there should definitely be more of this in future shows.
Dyan’s cabaret background is clear with showmanship playing a major part in Permaisuri and added to the popstar feel the artist aims for. From dramatic, and perfectly-applied makeup with giant lashes and striking contact lenses, to an array of visually-pleasing and experimental outfits and wigs, including red traditionally embroidered robes and a strappy white bodysuit reminiscent of Leeloo’s iconic outfit in The Fifth Element. The use of fans paired with an outfit adorned with stretches of flowing fabrics adds to the drama of the performance, though this choreography could use some practice as fan routines can be hard to master.
Backing Dyan’s experimental music, contemporary dance moves and solos are a diverse range of visually-impressive immersive projections by Juune Lee, a Sydney-based artist/designer working in 2D/3D animation, illustration and projection mapping. These, on a metres wide and high screen, range from elongated flowing dragons and traditional Southeast Asian shadow puppetry, to close-up visuals of giant silver crowns draped in chains and even a sci-fi alien-like lab.
During Dyan’s costume changes, the audience is also delightfully entertained by talented accompanying dancer Lion whose routines blend elegant contemporary dance with the power of drag-style show stopping moves – a treat to witness.
Dyan did seem nervous in the first half of the show, and didn’t quite master the powerful presence on stage at first. The lower energy levels of the audience may have also thrown the performer off, but as the show went on this changed and Dyan began to really shine, commanding the audience’s attention.
Perhaps a later time slot, and after the audience had a couple of drinks and loosened up, would benefit a show like this and create more of a vibe that worked in favour of the performer. The show also felt a little disjointed at some points, and could use more professional direction and workshopping, but it has potential to be a headlining festival choice in the future.
With some more workshopping and professional development, Dyan has the variety of performance and artistic mediums, dramatic stage presence and costumes, talented singing voice, and bubbly personality to provide a colourful, punchy and eclectic show in the future that could one-day lead a festival lineup.
Reviewed by Georgina Smerd
Photo credit: Chris Queen
Venue: Space Theatre, Adelaide Festival Centre
Season: ended
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