Live Review: SYNTHONY No.2 Perth 2022
Words by Sheldon Ang
Photos by Sheldon Ang Photography
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The pendulum ticks, silence ensues.
The Conductor slices the air with her baton, sparking the inexorable bond with her players. Like a marionettist with a voodoo knack, she casts a spell on the string section, directing their arms in elegant synchronicity. At ten minutes past the hour, the synth progression races to a continuous flow, cuing the rhythm section as tension deepens in the realm of time travel. The collective minds parachute in free fall into a dreamy undulation, weaving through a multi layered sensation built on the bed of beautiful chaos. Meanwhile, the technicolor spectacle waltzes with the orchestra, hypnotising the minds towards the gateway to another dimension of consciousness. Following a stroke of confirmation from centre stage, the progressive tension reaches critical mass, triggering an implosion of the neuronal sense and ultimately engulfing the 10,000 souls into the magnum Opus of dance.
SYNTHONY 2022 shuns the requirement of an intricate knowledge that comes with being a classical music aficionado. Irrespective of one’s background, the revellers can permeate themselves into the realm of classical roots; Conductor Sarah-Grace Williams’ animation and engagement inspire not only the orchestra, but also the audience, transfixing them onto the art form from the Opus intro to the encore. Despite the multiple vocalists potentially stealing the limelight from the pole position of the stage, William’s styles grasped the audience’s attention towards the orchestra for most of the night. Her semi-dance quirks and signature facial expressions while conducting were charismatic and fun, perpetually beaming a dose of technical grace and gentility that is ever so welcoming from a classical musician. In short, Williams took the clubbers onto her orchestral journey.
It’s no wonder the Sydney resident has graced the world stage, conducting the symphonic repertoires in the likes of Tchaikovsky, Mozart, Schumann, Schubert and Stravinsky and have also collaborated with household names such as John Farnham, Kate Ceberano and Air Supply amongst others. So it wasn’t surprising that the night’s itinerary instilled with clubbing bangers and boom-boom hits of the rave-esqus era has ingrained into William’s colourful resume.
SYNTHONY prides itself as unique fusion of the orchestra, vocalists and DJ, enshrouded by the technicolor spectacle beaming across the arena that is as mesmerising as the sonic aspects. Joining the Perth chapter was the 57-piece Perth Symphony Orchestra that mellifluously and effortlessly took the audience from café lounge to the intense and cautiously complex bangers.
Their performances drew nothing short of the decibels stolen from a rock concert or The Wiggles for grown ups. As we’d imagined, it wasn’t a night for sore feet and arm chair revolvers. Despite SYNTHONY being a seated event, the chairs were relegated to social distancing separators, given that one of the biggest indoor venues in Australia, the RAC Arena was transformed into a mini Love Parade from Row AA to the upper reaches of the second tier.
The other catalysts for tonight’s euphoria were the vocalists: New Zealand rapper Savage, along with Australian Idol finalists Emily Williams, Cassie McIvor and homeboy Chris Murphy – who took the role of The Potbelleez and performing the smash hit Don’t Hold Back with the gusto and spirit of an arena performer. Also featuring in the opening acts were DJ’s Mobin Master and Andy Van (Madison Avenue)
Each artist drew a rambunctious reception that’s mostly frequented on rockstars, as they took turns in ripping the stage and performing some of the greatest club bangers since the mid-90s such as The Rhythm of the Night (Corona), The Bomb (The Bucketheads), Right Here Right Now (Fatboy Slim), One More Time (Daft Punk), Show Me Love (Robin S), 9PM (Till I Come) and of course the pin up track – Destination Calabria (Alex Gaudino). Some would’ve loved for Ecuador by Sash! to shine on the night – maybe in 2023!
The sumptuous sax by local artist Tom Greble was underscored by fans as one of key highlights of the nights. The featured saxophonist graced the stage with a stylistic bravado, emanating a mellow and round yet complex sounds, dabbled with jazz and soulful refinements from his instrument. The saxophone/DJ combo is a common trend lately. With the backing of an orchestra, the unique collaboration in SYNTHONY was the exemplary showcase.
Apart from the sonic aspect, the night was also locked in community cohesion; it has been a tough two years, thereby inspiring clubbers across three generations including a few septuagenarians to dance in solidarity. It was also a moment to reminisce over old hangouts like Havanas, Red Heads, Aberdeen, James Street and Exit as the tracks de-crystallised from the walls of Northbridge.
So, despite two hours of hands in the air moments on a night where strangers became clubbing besties, Williams and the Perth Symphony Orchestra took the clubbers to another level of trance and dance in Darude’s Sandstorm – a global smash hit released before the turn of the millennium. The hyped up piece is one of the best known mellow busters of the modern music era, propagating the neurons and electrifying the heartbeat to the next state of euphoria – and that…pretty much sums up SYNTHONY Class of 2022.
Click here for tickets and info on the upcoming shows in Adelaide, Sydney and Hobart.
The Writer would like to thank Em, Fi and Nadia from On the Map PR, and team SYNTHONY for the invitation to one of the best parities since 2020.
About the Writer: Sheldon Ang is a photographer and journalist on www.sheldonangmedia.com (site under construction). He was the Chief Photographer and Principal Journalist for one of Australia’s premium music media platforms (unfortunately, that site has been annihilated from cyber space). He’s also an Engineer on weekdays, working on some of the state’s biggest projects.
