Having spent a long but fruitful March evening in the company of Glen Hansard, The Frames and Lisa Hannigan, there was a magical feeling in the air as fans walked away from the Recital Centre.
The night had opened with a graceful performance from Hannigan, who began her set with “Little Bird”, an autobiographical song about her past relationship with former collaborator Damien Rice.
Performing songs mainly from her sophomore album Passenger, it was refreshing to hear a female solo folk artist without the (currently trendy) voice of a little girl. Compared to the tents of the Port Fairy Folk Festival in which she played the week before, the acoustics in the Recital Centre led to a truly exceptional display of Hannigan’s vocal abilities.
“This is a dangerous place compared to Ireland – we don’t even have mosquitoes!”, Hannigan whispered before “Safe Travels (Don’t Die)”, which she dedicated to The Frames. The band (bar Hansard) then joined her on stage for a very sassy rendition of “Flowers” – the set’s highlight.
Hansard and The Frames – joined by both horn and string sections – took the stage shortly after and began with “You Will Become”, the opening track of Hansard’s debut solo album, Rhythm and Repose.
The pace went up a notch as Hansard switched to his signature guitar (which has a hole in it from constant use) for “Maybe Not Tonight”, before really leaping into full swing with “Love Don’t Leave Me Waiting” – which included a Van Morrison-esque sax solo and a flawless incoporation of Aretha Franklin’s “Respect”.
In between songs, the ever-so-charming and courteous Hansard told anecdotes, joked with vocal members of the heavily Irish crowd and recalled their 2002 gig at The Corner Hotel. “The Melbourne Recital Centre … Well, I guess this is kind of like a recital”, he pondered.
The crowd cheered for “When Your Mind’s Made Up”, first heard in the film Once and prompter of an Academy Award and his musical collaboration with co-star Marketa Irglova as The Swell Season. This track in particular displayed the impressive juxtaposition of quiet solos from Hansard and intense percussion from Graham Hopkins.
Mid-set, Hansard performed a crazy solo rendition of “Leave” and Van Morrison’s “Astral Weeks” – which included the chorus of Pearl Jam’s “Smile” towards the end. Impressively, Hansard’s voice in isolation is almost as loud as it is when the other 11 performers accompany him on stage. Sometimes he’s passionate to the point that he looks ready to burst a blood vessel.
When The Frames returned to play both “Santa Maria” and “Fitzcaraldo” from their six-album back catalogue, the crowd really exhibited their appreciation – the latter song displaying Colm Mac Con Iomaire’s violin skills. Mac Con Iomaire, who apart from Hansard is the only original member of The Frames’ line-up, shone throughout the night, particularly when he was left to perform an enchanting solo number entitled “Emer’s Dream”.
Hansard then returned, this time with Hannigan by his side in order to cover her duet “Sleep”, originally performed with Ray LaMontagne, and the Academy Award-winning “Falling Slowly”– an obvious choice and a highlight.
Approaching the final songs, it was hard to imagine the set getting any better. That is, until an audience member requested the traditional Irish lament “The Auld Triangle”, which resulted in a hair-raising sing-along and two audience members singing a verse. At this point in the night it became apparent that the audience was part of something magical.
The finale saw all 13 musicians perform Leonard Cohen’s “Passing Through”, which prompted the crowd to sing along with joy and then follow the band out the door, into the foyer and outside onto Sturt Street to continue the tune.
Playing for just under four hours, the performers had the audience completely enraptured – the only criticism being that they could have played even longer. How often can you say that you witnessed some of Ireland’s finest performers serenade the streets of Melbourne at 11.30pm on a Wednesday?
