Rhiannon Giddens – The Factory Theatre, Sydney – 8 April 2017
Rhiannon Giddens’ songs are steeped in the traditions & history of the US South – not just the rich musical traditions, but the history of the place and the struggles of her people. She she sings from the soul, rendering heartfelt tributes to her civil war era forebears on her haunting trilogy of gospel infused originals which provide the backbone of this short but perfectly formed show.
‘At The Purchaser’s Option’ tells of the heartbreaking plight of a 17 year old slave girl advertised for sale with her 9 month old child being ‘at the purchaser’s option (the room audibly gasps at her introduction to the song’s origins). Then there’s the four innocent Sunday school girls at the centre of ‘Birmingham Sunday’ -murdered in the bombing of a Birmingham church by white supremacists – a tale from which Giddens draws parallels to more recent world events.
Finally comes ‘We Could Fly’ – the last song penned for her current album ‘Freedom Highway (named for her cover of the Staples Singers’ song which appears on the album but is not heard tonight) – which takes the audience flying above the cotton fields of the deep South in her fine rendering of a folk tale of spiritual stoicism, defiance and emancipation.
If all of this sounds like it could result in a show which is nothing more than a dull, studied throwback to the past, then you couldn’t be further from the mark because Giddens and her band know that gospel music is a joyous celebration of the soul.
The band is expertly led by Grammy award winning multi-instrumentalist, producer, arranger Dirk Powell and features Giddens’ Carolina Chocolate Drops bandmate Hubby Jenkins (guitar, banjo and, yes, bones), together with Jason Sypher (double bass) and Jamie Dick (drums).
They swing throughout, infusing every song with an unbridled spirit which provides a perfect musical scaffold in, through and around which Giddens’ rich, evocative vocals, can soar, glide and swoop – just like the slaves in We Could Fly.
The show intersperses these Giddens’ originals from ‘Freedom Highway’ with traditional dance music from Louisiana and Canada (on which Giddens’ fiddle playing raises wafts of smoke), a Carolina Chocolate Drops duet with Jenkins, ‘Spanish Mary’ (featuring Dylan’s lyrics set to her music for ‘The New Basement Tapes’ project) and her interpretations of Odetta’s ‘Waterboy’, Hank Cochran’s ‘She’s Got You’ and a medley of Sister Rosetta Thorpe songs.
When Giddens’ announces – all too early – that she has just one song left and warns that there will be no encore as she has tonsillitis and is ‘pumped full of steroids’, our awe at her complete vocal, musical and lyrical mastery are only enhanced by our recognition of her dedication.
Tonight Giddens has broken the shackles of illness and taken us flying with her high above the cotton fields.
[Thanks to Jeannine Clarke for the photos]