Suite 505 is a hidden venue, located at the top of an old apartment block in Surry Hills. After circling the block a few times and going down various dark alleyways, we finally discover the apparent entrance which has no signs or markings on it at all. There are about eight people surrounding the dubious and ancient looking elevator, all relieved that we found the right place. We cram into the elevator and all of us hold our breath until we finally reach the fifth floor. We follow the crowd through a few dark corridors until we meet with an intriguing lady, sitting in the doorway with a ginger cat sitting proudly on her lap.
We pay the mere entry fee of $10 and then take in the surroundings. The spacious Studio/Apartment is dimly lit with candles on beautiful, large iron holders, and there are lounges, cushions on milk carton crates, and bizarre looking chairs and tables scattered over the polished floorboards of the intimate studio. One corner of the room is set up with various instruments and is obviously acting as the stage tonight. Glasses of wine are being happily poured and consumed by the 30 or so people who have already made themselves quite comfortable. We purchase a bottle of red, and sit cosily on two neon blue chairs whilst talking quietly and listening to some avant-garde background music.
The first act to grace the stage tonight is Liz Martin. A pretty pixie looking lady with a flowing skirt and stripey socks approaches the microphone and gracefully picks up her guitar. She is joined by an older gentleman wielding a bass guitar, and a young, pale faced violinist who is appropriately dressed in a velvet waistcoat. They begin playing a collection of charming and interesting songs, the pixie singing in a delicate husky voice, accompanied by gentle bass lines and the tantalizing melodies of the violin. There are beautiful dynamics and a wonderful connection between the musicians who were apparently playing together for the first time tonight.
Miles Merril is the next special guest tonight. An amazing performance poet; who primarily uses his voice as a tool to tell hilarious, quirky, silly and moralistic/philosophic tales. He uses various accents, sounds, dynamics, vocal ranges and interesting gestures and facial expressions to create vivid imagery, atmospheres and to change the mood/emotion of his characters, which ultimately affects the audience by taking us on wild and enthralling journeys. Captivating is an understatement to describe this man and his abilities. His only accompaniment is a friend playing a saxophone, which follows the structure and lead of his voice and helps to accentuate certain noises he makes… such as the didgeridoo sounds, which he emits solely by his mouth/voice. Miles completely wins over the audience- whether you are now in a state of shock, bewilderment, amusement or amazement.
There are many whispers and a sense of anticipation as Inga Liljestrom’s band – the bassist, double bass player, violinist, cello player and the effects and soundscape DJ take the stage. Inga appears barefooted, wearing a hippyish style sparkly red dress and half of her long wavy hair tied into a small bun. The double bass solely begins playing, and Inga starts weaving her magic, confidently beginning their performance tonight by singing All of This. By midway through the first song, I know that this is going to be one of the best performances I have ever seen in my life. I try to hold back tears of overwhelming joy as Inga begins exquisitely and softly moving about on stage. Her graceful body and celestial voice weave in and out of the music, she uses her delicate hands to express the dynamics of her voice, and she is completely at one with her fellow, extremely talented and illuminating band members. It is an amazing sight to behold such a passionate and elegant lady, so entranced, and moved by her band’s brilliantly composed sounds. Amongst the array of songs Inga perform tonight include Phoenix, Glow, Stardust, 29 Poisons, Bullet and Deer. Each song is as brilliantly executed as the next, the alluring melodies flowing and cascading down onto and amongst each other, as if each rhythm, melody, lyric and soundscape is all the ingredients of a hypnotising potion, gradually filling up and up until it beings flowing over the edges whilst Inga’s seductive and enchanting vocals literally soar vocally and emotionally to places I have never experienced via music before. I really never want this show to end, and for the first time I take my eyes away from Inga and her band to witness the audience’s reaction and response, and I can see every single eye completely in awe, transfixed by the divine beauty occurring before us all.
Sadly, the show has to end and a distinct feeling of pleasure, privilege and pure delight of being able to experience something as special, rare and magical as this show manifests in the room.
