As Australia Day celebrations began to wrap up, things became more and more quiet, an
ideal moment to begin a Spunk records showcase, when people want to listen quietly. With
a bill such as this, audiences were guaranteed a sensational show, Joanna Newsom, Bill
Callahan and Andrew Bird at the Parade Theatre. The people gathered around the foyer, glancing up like clockwork, eagerly waiting for the doors to open.

The crowd poured through the doorways, finding their seats; reading letters and counting
numbers. The curtains were up and on stage could be seen a large projected image of a
tree with its roots embedded beneath the stage and shadowing an array of instruments and
equipment, including Newsom’s harp, elegantly intrusive. The seats were almost full when
two Spunk fellows, includingSam Shinazzi (C-Minus Project), announced a hello and
welcome. Most of the audience was unaware that this concert was in celebration of the
Label’s 200th album release, congratulations Spunk, finding out shortly after their warm
welcome that the ‘unannounced guest’ was Miss Holly Throsby. Little did we know that this concert was as much a show as the theatrical events that the venue is so renowned for.

Throsby was at her very best, playing her half-hour set solo. With just an acoustic guitar
and a little piano, she reminded the audience that her music thrives on simplicity and with
the plucking of strings and a husky whisper she can capture everyone in the room;
everybody was completely silent. Playing songs from her new album, Under the Town, she launched into If We Go Easy, seeming cautious of the hushed blackness in front of her. The swift applause was enough to calm any nerves and she used the stillness to project her music with much confidence. And then came another surprise, Bree Van Ryke was called to the stage, the multi-instrumentalist taking her place at the little piano (is there anything this woman can’t play). Throsby also announced her own special guest, Sarah Blasko, to play the Brian Eno tune, By This River, a personal favourite. A moment I am sure audiences’ all around Australia have been waiting to witness, the crowd began to hum as they took the stage side-by-side. It was spectacular. So gentle, their wispy voices moved together without fault.

Next in this extravaganza was Chicago based multi-instrumentalist, Andrew Bird. A short
break between short sets, there was much action on the stage, anticipating Bird’s
presence. A relatively tall man, just exceeding the height of the harp, he appeared slightly
awkward, crouching over his violin, held like a ukulele. Hearing little of Bird’s music before
this, I was in for a hum of ambience, classical music dressed up in folk clothing. His
character was witty and generous, much like the music that was to come. With electronic
pedals at his feet, Bird slowly created an orchestra of plucked strings around him. When he
was satisfied with the soaring atmosphere he grabbed his sharp tinny-sounding guitar from
around his body. Whistling contently, we found out why he took the flighty creatures name.


Playing songs from his previous album’s including, A Nervous Tick Motion of the Head to the Left, and from his upcoming album, Simple X – Bird wooed the crowd with his high energy level and overall musical skill. As a classically trained violinist, he played with confidence and ease, and his vocals were strong and vibrant.

Bill Callahan, a.k.a Smog, made his way to the stage in a much more subdued fashion, taking his time to settle in to the performers chair, gallantly holding his guitar and smirking as he was welcomed by the audience. Playing a rather small acoustic guitar, much like the one Throsby brought with her, Callahan dug deep into his pockets to reveal calm folk songs, singing in a blunt almost speaking voice, with strong imagery of rivers, trees and the trains travelling through. Playing songs from his last record A River Ain’t too much to love, including the single Rock Bottom Riser and In The Pines, he sung with passion. His voice was mostly deep and dark, however he bared a sweetness when he reached up high and became tenderly melodic. Andrew Bird also joined him on stage for one song, playing his violin, and showing the audience that Callahan’s music could be as energetic and vibrant as it was calm and beautiful.

Finally, the curtain was lowered as they cleared the stage for Joanna Newsom, the woman
we had all come to see. The excitement increased as many people refused to move out of
their seats in anticipation. Over the hum the sound of a harp being tuned could be heard.
The audience hushed again when the curtain was raised and the harp was now the only
thing on the stage.

Newsom bounced onto the stage like a playful child, small and pixie-like, the crowd was no
longer silent, everybody was screaming. After wishing the audience a happy Australia Day
she raised her hands to the strings and haggled with the sound technician, charming and
mischievous. When all was well she begun Bridges and Balloons, the first song on her first record, The Milk-Eyed Mender. Rapidly moving her fingers up and down the instrument effortlessly, with such precision, her little voice soared and cried out. Immediately she was phenomenal!

Now the room was completely still. Explaining that she would swap between new and old
songs, she powered through Emily from her new record, Ys, and continued back and forth this way. In very high platform shoes and skeleton tights she was extraordinary, having large amounts of water between songs to conserve her voice and stamina. This Side of the Blue and The Book of Right-On were rhythmic and tuneful, but Sawdust and Diamonds made the audience weep. Watching her play completely solo, the audience could see the important part the harp alone, played in it all, complex and fantastic. She moved differently where the absent strings were supposed to be, as if she could hear it. She soldiered through Only Skin, a song exceeding 16 minutes in length, informing us that she had been too jet-lagged to play it at the Spiegeltent the night before.

Ending her hour-an-a-half set with Clam, Crab, Cockle, Cowrie the audience seemed more exhausted than she was. She squeaked and crooned with so much feeling, as if she had written it minutes before she appeared. Leaving the stage, the audience were wide-eyed and fiercely wild.

The greatest show I have ever seen. All the performers were spectacular, beautifully
musical and sweetly charming. Exceeding expectations, this concert is one I will never stop
talking about, and I’m sure I am not alone.