Review: Bryget Chrisfield. Photos: Kate Arnott.
The roar of Formula One cars hooning around the nearby Albert Park Grand Prix circuit soundtracks our arrival to the picturesque Live At The Gardens site, which is located in the Observatory Precinct of Melbourne’s Royal Botanic Gardens.
The sublime, serene sounds of Kee’ahn – whose name derives from a term the Wik people use, which means ‘to dance and to play’ – open proceedings. Backed by a three-piece band comprising a drummer, bassist and guitarist/backing vocalist, Kee’ahn’s vocal control is breathtaking. We’re completely transported by Kee’ahn’s breezy vocals and lilting melodies. Between-song banter further endears us to them – especially while introducing Yes Dear, a song written to commemorate the devoted love shared by their late grandmother and grandfather.
By creating and performing soulful music that never distracts from those exquisite pipes, Kee’ahn honours their ancestors. And every single time we hear Kee’ahn sing, we feel uplifted – airborne, even.
Up next, Emma Donovan thanks the people of Kulin Nation for welcoming her every time she graces local stages with her artistry. Donovan tells us she felt the love even before she stepped out onto the stage this evening with her killer three-piece backing band, which includes bassist Mick Meagher and drummer Danny Farrugia. Bringing All The Lovin’, “a little country tune” she wrote for family, paints a tender picture.
Donovan’s songwriting and storytelling keep the memories of her lost loved ones alive, with Peppermint Tree detailing her late Nan’s long list of funeral requests, which included wanting mourners to throw specific flower petals and peppermint leaves on her grave instead of dirt.
This proud Gumbaynggirr and Noongar woman lights up while admitting she saw Marlon Williams briefly backstage a minute ago. Donovan says she can’t wait to hear him sing and is clearly chuffed to be warming up his stage.
Remembering “the amazing songman” Uncle Archie Roach, who passed over three years ago now, Donovan reflects, “He taught me about filling my cup up,” before performing one of his glorious songs, Wash My Soul In The River’s Flow.
Emma Donovan – Til My Song Is Done (Live from the Forum Theatre)
“No rest ‘til this voice is heard… Until the day we see change/ Then I’ll keep singing my people’s pain…” – Til My Song Is Done, the title track from Donovan’s astounding 2024 album, is a soulful highlight. Her yarns are always welcome, but as Donovan’s set draws to a close she acknowledges, “I better shut up!” before concluding with Promised Land, which was written by her grandfather, Micko Donovan.
While thanking this evening’s support acts during his set, Williams says it best when he shares the Māori word for singing, tangi, also means sobbing, which perfectly encapsulates Donovan’s affecting vocal tone.
Williams is of Ngāi Tahu and Ngāi Tai descent. His mother’s tribe is from the South Island, his father’s, from the North Island.
Ngā Mātai Pūrua – a Melbourne-based, community orientated Māori performing arts group – performs a short kapa haka set, which sets a joyous scene. Then Marlon Williams and his excellent band The Yarra Benders arrive on stage to rapturous applause.
Marlon Williams – My Boy (Official Video)
The mood-enhancing My Boy, which Williams has labelled “Māori disco bop”, is an early highlight as the crowd delights in singing along with the “doo-doo-doo” section – especially those playful “WOO-WOO!”s.
The Yarra Benders have “done so well so far they get a little break”, Williams jests, as he takes a seat at the piano to perform Kahore He Manu E solo.
Williams describes Hirini Melbourne as “maybe New Zealand’s greatest-ever songwriter” before performing Rongomai. This is a song about Halley’s Comet – “a science lesson, also” – which is enhanced by atmospheric strings played by multi-instrumentalist Dave Khan.
The entirety of Williams’ last record, Te Whare Tīwekaweka (translation: House Of Disarray), is sung in te reo Māori. After admitting Pānaki is his favourite song off the album, he adds, “A friend of mine said it’s like a Māori Elliot Smith, so I’ll take it,” before acknowledging Kommi Tamati-Elliffe helped him write a lot of the lyrics.
Don’t Go Back (“…to the party), which Williams introduces as a “Bee Gees-inspired song”, is a bop. Props to bassist Ben Woolley for the dreamy harmonies.
Hoiho, a song about New Zealand’s titular endangered yellow-eyed penguin – known to mate for life – is charming beyond belief, encouraging, “Let’s go, Hoiho/ There’s no stopping you now.”
Williams showcases his versatility by performing Nobody Gets What They Want Anymore – a soaring lament – then the stalking Vampire Again, back to back.
Ngā Mātai Pūrua return to the stage and Williams enthuses, “Now the show can begin!” Korero Māori is an exuberant highlight, enlivened by Ngā Mātai Pūrua’s enthusiasm, synchronised movement and lively/fierce facial expressions.
We’re then treated to an encore. Following Williams’ solo acoustic guitar rendition of Devil’s Daughter – a haunting song he recorded with the folk duo, Kacy & Clayton – he welcomes The Yarra Benders and Ngā Mātai Pūrua back to the stage. A couple of traditional Māori songs, Te Hokinga Mai and Pōkarekare Ana, are warmly received to close.
Williams confirms he’ll be taking a little break from music after this tour – “not because I’m sick of playing music, but because I really love playing music and I wanna be able to keep doing it for a long time.” During this hiatus he plans to write new music, get a dog with his partner and “do nice things”. We’re already eagerly anticipating Williams’ upcoming musical endeavours and return to the stage.
