Review by Matthew Hocter
In March of 2010, the Sydney Opera House played host to Sing the Truth - A Tribute to Nina Simone, a show whose title needed no further explanation. The primary draw at the time, was one of the four vocalists honoring the legacy of Dr. Nina Simone: the legendary jazz singer Ms. Dianne Reeves. Having admired her work for as long as I can remember, the prospect of her sharing the stage with three other vocalists in honor The High Priestess of Soul was a no brainer. The remaining three consisted of the legendary Patti Austin, the soulful Lizz Wright, and Lisa Simone, daughter and the sole inheritor of her mother's musical legacy.
While my then awareness of Lisa Simone was primarily confined to her impressive Broadway career, it was a realm I’d unfortunately never had the chance to experience firsthand. Now, seated front and center, the stage just meters away, I watched her arrive. Regal and radiating a captivating warmth, she instantly commanded the space. But it was the very first note, escaping her lips like some sort of divine revelation, that truly captivated me. In that instant, I was no longer just a spectator; I was now a witness to one of musics most intriguing and vibrant voices.
Fourteen years later and awaiting Simone’s imminent arrival on stage as the closing act for the Adelaide Cabaret Festival, that feeling of anticipation I once held had again returned, this time though, accompanied by a smile that couldn’t be contained. As the 16-piece band, a veritable constellation of South Australia’s finest musicians and led by the legendary Musical Director and first trumpet, Ralph Ply, took center stage, their instrumental introduction served a dual purpose. It was both an opportunity for them to showcase their virtuosity and a testament to the artist they supported. In allowing them this moment to shine, Simone, even in her absence, embodied the graciousness and generosity that undoubtedly fuels her artistry.
Opening the first set with the shows namesake, “Keeper of the Flame,” and moving through classics like “Gal From Joes” and “Go To Hell” - the latter eliciting audience participation, it was on “I Hold No Grudge,” that Simone marked a shift as she leant into the pain and emotion of the ballad. Perched atop her stool, a solitary figure bathed in the warm ochre glow of the stages backdrop, she delved into the songs poignant depths, her voice conveying the quiet ache of forgiveness. This vulnerability carried over to a heartbreakingly emotional rendition of "Pay 'Em No Mind," where the stage seemed to fade away, leaving only Simone and the raw truth of her song. Finally, with "Do I Move You," she closed the set on a bluesy note, leaving a sentiment of deep emotional resonance throughout the theatre.
The second set opened with a different kind of energy. A deliciously upbeat version of Duke Ellington's "Mood Indigo" set the tone, a vibrant reminder of Simone's ability to shift gears with effortless grace. She then launched into "Black Is The Color (of My True Love's Hair)" acapella, a stunning display of vocal prowess that showcased the naked power of her voice before the big band enveloped her in a warm sonic embrace. The set continued with a series of masterclasses. A mind-blowing rendition of the torch song "I Put a Spell on You" solidified her command of the genre, while an unexpected and funked-up version of "Love Me Or Leave Me" revealed her playful side and ability to reshape classics with a contemporary edge. The final two songs carried a deeper weight. "My Baby Just Cares For Me" offered a tender respite before the powerful closer, "Work Song." This searing tribute to the chain gangs of Australia's penal colonies and the American South resonated deeply, leaving the audience with a powerful message.
A standing ovation erupted, a well-deserved tribute to the two hour performance. Simone, ever gracious, returned for a four-song encore. "Feelin' Good" transformed the theatre as the entire audience joined in a joyous call and response, their voices attempting to echoe Simone's infectious energy. Yet, it was with her own compositions, "Finally Free" and "Hold On," that the true depth of the connection blossomed. Here, Simone wasn't just a performer; she became a conduit for shared experiences. As she glided through the aisles singing "Finally Free," a visceral sense of unity filled the air. The audience wasn't just listening; they were participating. This exchange, this mutual reveling in the adulation (and the numerous standing ovations), solidified Simone's place not just as a musical powerhouse in her own right, but as an artist who connects with the very soul of her audience.
Simone has now transcended as just being the legacy of her mother, a feat in itself mind you and one that should never be undermined. She is a musical alchemist, one that so delicately aligns the elements of the past to the present. Unlike a mere imitator, she doesn't simply echo her mother's sound. Instead, she uses her mother's legacy as a foundation, a wellspring of inspiration. With deft hands, she weaves in contemporary influences, creating a sound that is as fresh and captivating as it is respectful of its roots. This act of artistic alchemy ensures that the music, both hers and her mother's, is laid bare for all to witness, hear and enjoy, not as relics of a bygone era, but as vibrant expressions with enduring power that will live on long after our ears go silent.
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