Category Archives: Concerts

Music of transcendence: MONO in concert

Formed in 1999 in Tokyo, Mono developed into one of the most prominent names in post-rock music, releasing 9 much acclaimed albums over the last couple of decades, with their 10th studio album scheduled to be released early next year.

Post-rock, however, is too vague and restrictive a term to fully do justice to Mono’s unique soundscapes, which seem to spring from a different dimension, taking their audiences to hitherto unexplored worlds.  As an enthusiastic NME reviewer once put it: “Screw ‘Music For The People’, this is music for the gods.”

Indeed, as testified my Mono’s recent live performance in Athens, the band’s mind-blowing blend of experimental, ambient, and classical elements offers an experience that goes beyond mere musical satisfaction. The band’s dedication, seriousness and intensity signify some sort of musical ritual or initiation rather than just a live show, thus encouraging the audience to partake in a truly uplifting communal experience. Music, thus, seems to become a means to something higher rather than an end in itself.

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Mono’s guitar-based, lengthy instrumental pieces -kind of miniature ambient symphonies with rich dynamics and extensive use of reverb, distortion and delay effects- slowly take you in until you are, slowly but surely, completely absorbed into the magnificent and otherworldly atmosphere they evoke.

In the end, Mono’s music is about evolving, going deeper, and reaching higher. In a word, it’s about transcendence. As Takaakira Goto, the band’s lead guitarist, has put it: “Music is communicating the incommunicable; that means a term like post-rock doesn’t mean much to us, as the music needs to transcend genre to be meaningful”.

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Nigel Kennedy meets Bach and Gershwin in Athens

From child prodigy to -super- stardom

Born in 1956 into a family of distinguished musicians, Nigel Kennedy started out his remarkable career in music as a boy prodigy (he became a pupil at the Yehudi Menuhin School of Music at the age of 7), and soon developed a highly individual style along with an unconventional approach that made him one of the truly unique -and controversial- violinists of his generation.

Yehudi Menuhin teaching young Nigel Kennedy

While still 16 years old, Kennedy was invited by legendary jazz violinist Stéphane Grappelli to play with him at Carnegie Hall in New York (which he did, successfully, against the advice of his classical teachers). His debut record featured Elgar’s Violin Concerto, while his 1989 recording of Vivaldi’s The Four Seasons with the English Chamber Orchestra became one of the best-selling classical recordings in history, with total sales of over three million units.

Fusing classical, jazz and rock

Over the last decades, Kennedy has made a name as one of classical music’s most (in)famous mavericks, regularly crossing over different music genres while developing his signature, unorthodox performing style and idiosyncratic playing. His tastes and influences vary from baroque and classical to jazz and rock (he has recorded an album with improvisational covers of Jimi Hendrix), and next to many of the world’s leading orchestras he has also collaborated with musicians such as Paul McCartney, Kate Bush, Robert Plant and The Who.

Regarding his departure from classical “orthodoxy” and standard practices,  Kennedy’s response has been revealing: ‘I suppose I took a bit of flak for taking the jazz attitude into the classical world. But so many people from the classical establishment are stuck in closets on top of their ivory towers.’

It was Kennedy’s acquaintance and apprenticeship with Grappelli that led him to a deeper appreciation and understanding of Gershwin’s music, which features in his latest album Kennedy Meets Gershwin.

A Greek premiere

Kennedy’s first live appearance in Greece took place earlier this week at the ancient Odeon of Herodes Atticus stone theater in Athens. Together with his ensemble (Peter Adams – cello, Yaron Stavi – double bass, Rolf Bussalb – electric guitar, Howard Alden – guitar), the English violinist performed a varied program in front of a warm and enthusiastic crowd.

After opening the concert with an original and absolutely breathtaking interpretation of Bach’s fugue from the first violin sonata in G minor, the highly energetic Kennedy carried on with some recent works by “one of his favorite composers” (i.e. himself), before moving on to a selection from his new album featuring his refreshing and lively arrangements of Gershwin’s classics Rhapsody in Blue and Porgy & Bess.

Nigel Kennedy performing at the Odeon of Herodes Atticus theater in Athens

Kennedy’s seemingly inexhaustible energy and high spirits led to a prolonged (nearly 3-hour-long) concert full of pleasant musical surprises, including Kennedy’s piano playing and an absolutely thrilling performance of the popular Csárdás, showcasing his astonishing virtuosity, improvisational skills, and… sense of humor (there were several moments when his comments caused loud laughter across the theater).

Kennedy’s sensational performance closed with an electrifying rendition of Minor Swing by Django Reinhardt and Stéphane Grappelli – indeed, a perfect ending to the evening and a testament to the musician’s ability to roam seamlessly through baroque, classical, gypsy, klezmer, and jazz music.

A brief history of Greek rock: Spyridoula’s special birthday concert

Some forty years ago, in November 1977, the band Spyridoula is formed in Athens by brothers Nikos and Vasilis Spyropoulos. It was a decisive moment that would forever change the face of rock music in Greece.

Following in the footsteps of Greek rock bands with English lyrics that first emerged through the 1960s (such as MGC, Socrates Drank the Conium, and Aphrodite’s Child), Spyridoula started out with live gigs playing guitar-based rock and doing covers by American blues and rock bands such as The Doors and The Velvet Underground.

Their collaboration with legendary frontman, lyricist and composer Pavlos Sidiropoulos in the late 1970s resulted in the use of Greek lyrics, and their landmark debut album with Sidiropoulos as vocalist has been widely regarded as one of the most important rock albums with Greek lyrics ever recorded. In the ensuing decades, Spyridoula would further collaborate with several important Greek musicians and, despite many adversities, continue with both live performances and studio recording.

With a little help from its -many and distinguished- friends, the band celebrated its 40th birthday with a special live concert that took place at Gagarin 205 Live Music Space in central Athens.

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Featuring an epic set lasting nearly 4 (!) hours and spanning almost 4 decades of music, Spyridoula and their notable guests (including seminal figures of the Greek rock scene such as Dimitris Poulikakos and Giannis Aggelakas) gave a truly memorable appearance, effectively presenting the audience with a brief history of Greek rock from its early days to its current state. A history full of hopes and dreams, anger and pain, illusions and disenchantment – but, above all, full of music that reverberates across today’s empty streets and lonely hearts, forever shaking and moving us.

Summer in (and around) the city: Checking out Barcelona’s summer music festivals

So far it has been an eventful summer for the concert goers of Barcelona. From the plethora of music festivals and events that take place every year in and around the Catalan capital, one can only check out so many; it is simply impossible to be everywhere at the same time, so -sometimes tough- choices have to be made.

This summer I decide to skip some of the major (and typically over-crowded) events such as Primavera Sound or Sónar, and I head out to Vida Festival at the port city of Vilanova i la Geltrú, just outside of Barcelona. Although I certainly enjoy the likes of Venezuelan American singer-songwriter Devendra Banhart and American psych-rockers Flaming Lips (the festival seems to attract increasingly bigger names each year), I am mostly drawn to the the overall relaxed vibe, scenic surroundings, and holiday/summer camp mood that emanates throughout. I think I’ll be also coming back next year.

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A week later I find myself back back in Barcelona’s boiling-hot Forum for this year’s edition of Cruïlla Summer Festival. I arrive early in order to see the charismatic Benjamin Clementine, one of the most promising singers-songwriters that have emerged in recent years. His performance is indeed exhilarating and his stage presence memorable – there’s little doubt we will be hearing more about him in times to come. Next up is Ryan Adams whose performance is lit by an incredible moon, followed by a lively and groovy set by Parov Stelar and his excellent live band.

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Last one on my list for this summer’s musical events is Pedralbes Festival, which takes place at the lush gardens of the Pedralbes Palace along Barcelona’s Diagonal avenue. I am there to see Yann Tiersen’s solo concert, a sort of mini retrospective of his remarkable career. Tiersen gets on the stage quietly, sits on the piano, and proceeds to reconstruct his intimate minimalist musical universe he’s become well-known for. Accompanied only by pre-recorded ambient sounds reproduced on stage on reel-to-reel tape, he gives a solemn, reflective performance that seems to sit well with the venue’s elegant character and stately environment, further enhancing the beautiful, moonlit summer night.

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A Greek composer’s London marathon

Following the premiere of lament-inspired EARTH MINUS by organist Ourania Gassiou at Westminster Abbey about a year ago, the music of London-based composer Dimitrios Skyllas was performed last month in no less than three unique locations across the English capital. Let us follow the 29-year-old composer from Volos in his London marathon throughout its various stages.

At the starting line: Royal Αlbert Hall

On Sunday 18 September in Royal Αlbert Hall’s Elgar Room, acclaimed Greek pianist Konstantinos Destounis gave the English premiere of Nine Miniatures for the Universe, a piece by Skyllas inspired by the planets of our solar system, the NASA Voyager recordings, as well as traditional Greek rhythms and elements.


The event marked the beginning of the collaboration between the two Greek artists. As noted by the composer: “Konstantinos and I worked together on how to deliver my piece and his exceptional technique adds a different quality to my music. It was indeed a unique experience and seeing your piece in the programme of the Royal Albert Hall is fascinating!”

Half-way there: Victoria and Albert Museum

Five days later, Skyllas presented the world premiere of his piece ABYSS for solo piano at the renowned V&A Museum. A collaboration with artist and former V&A ceramics resident Matt Smith, ABYSS is an aural composition in dialogue with Smith’s Spode: A thirty one note love song, a ‘soundscape’ that was created by reassembling old plaster moulds into new forms.

The performance took place inside the Globe, a curved architectural sculpture designed by the Havana-based artist collective Los Carpinteros.

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Dimitrios Skyllas performing at the V&A Museum / Photo: Ryan Evans

As Skyllas remarked about the performance: “Ι always desired to compose music for a museum or a gallery. The V&A is a fantastic and absolutely inspiring environment to perform. I was hugely excited by the fact that my composition and my sound would embrace these walls. My experience with the ceramicist Matt Smith was the key point to this feeling!”

The finish line: Hellenic Centre of London

Last stop in Skyllas’s London marathon was the piano recital organised by ark4art in collaboration with the Hellenic Centre on 29 September, where the composer performed some of his own works alongside and in relation to the music of Giorgos Koumendakis and John Cage, exploring the contrasts and similarities between them.

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Dimitrios Skyllas at the Hellenic Centre in London

As he put it: “It was one of the most intimate concerts I have ever experienced. Perhaps it was the atmosphere, or the fact that I was playing the music by two composers I really admire, John Cage and Giorgos Koumendakis. Koumendakis’s personality and friendship have been a great influence to the nature of my work, and playing his music I felt warmth and kindness in my heart.”

 New spaces, new horizons

It appears that collaborating with artists from various disciplines and exploring different kinds of performances and new venues has affected the way Skyllas creates music. In his own words:

“In the last two years I have received great generosity towards my work. I have collaborated with great musicians, choreographers and dancers, visual artists, writers and actors. So I ask myself, how is it possible for this experience not to influence my creative decisions? My music is defined by the circumstances as well as the environment it is being performed every time.”

As new experiences continue to expand and shape his creative vision, it becomes clear that the Greek composer’s recent London marathon has only been a small part of a much longer and challenging, yet vastly rewarding, journey: that of ongoing self-development and creative expression through composing, performing, and sharing his music with all of us.

Whole lotta shakin’ – A day at Barcelona’s Cruïlla Festival

Following the incredible experience of Primavera Sound, I find myself heading back to Barcelona’s Parc del Fòrum for the high point of this summer’s Cruïlla Festival. Robert Plant, Alabama Shakes, James, and many more feature in this year’s diverse and promising lineup. 

For the s(h)ake of music

First up come Snarky Puppy, a Brooklyn-based jazz-fusion collective led by bassist Michael League. Their funky tunes get everyone groovin’ as the band’s eclectic mix of styles takes us to a musical trip with such diverse references as Balkan and African sounds to Stevie Wonder and Radiohead.

English rockers James are next, and they start right away with Getting Away with It (All Messed Up) as I am still rushing toward the stage. Singer Tim Booth proceeds with stage diving and as he mingles with the audience I suddenly realize he is literally in front of me, so I keep cool and take the opportunity for an extreme close-up shot!

The evening sky is getting dark and the Cruïlla stage is graced with the presence of Alabama Shakes and their charismatic lead singer and guitarist Brittany Howard. Howard’s distinctive vocal style and guitar playing make for a truly captivating and emotionally charged performance. Along with other talented upcoming artists such as Leon Bridges, Alabama Shakes are no doubt one of the most original bands in the current revival of American gospel, blues, and soul music.

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Whole lotta shakin’ goin’ on

Robert Plant and the Sensational Space Shifters are about to take the stage, and the atmosphere is electrified. A living rock legend, Plant has shown time and again his restless nature and tendency for experimentation. His remarkable last album is another stop in his constant musical exploration and a highly seductive mix of classic rock with African, bluegrass, and Celtic elements.

Even though he is surrounded by a group of excellent instrumentalists and highly accomplished musicians, it is nevertheless Plant’s imposing, majestic stage presence that immediately grasps everyone’s attention. His voice has matured gracefully and, together with the Sensational Space Shifters, he delivers a fascinating set comprising of both new and old numbers, including classics such as Whole Lotta LoveBabe I’m Gonna Leave You, and no less than three songs from Led Zeppelin’s classic fourth album (Black Dog, Rock and Roll, Going to California).

Still under the spell of Plant’s mesmerizing performance, I stick around to check some more of the festival’s acts, such as Fermin Muguruza & New Orleans Basque Orkestra, Shantel, and Skunk Anansie. It has been a full day and a whole lotta shakin’ with groovy, soulful, and exhilarating music.

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The Sound of Primavera

Sure enough, this year’s Primavera Sound included all the necessary ingredients of a grand festival: ping pong between stages, losing friends along the way, rushing for beer, fighting for a good spot, finding your friends only to lose them again. But the most important ingredient of all came in abundance:  an overdose of uplifting, inspiring music, much more that one man alone can handle (I still tried my best!).

But let’s take it one day at a time…

Day 1: Taking off

It’s only fitting that the music journey about to begin kicks off with names such as Explosions In The Sky and Air. As the Barcelona sky is gradually being painted in shades of purple, the air is filled with the sound of miniature instrumental symphonies and electronic art pop from the Texas post-rock band and the French duo respectively.

Once everyone’s mood and spirits are lifted, Australian psychedelic rockers Tame Impala take the stage. With a set comprising mostly of tunes from their excellent last two albums Lonerism and Currents, they give a dynamic performance marked by colorful, trippy visuals and Parker’s precise delivery of the vocal and guitar parts (almost identical to the actual recordings – perhaps a more relaxed take would be even more effective).

The night goes on with LCD Soundsystem and smaller electronic/dance acts that keep the audience going until the early morning hours. But not me: I feel like I only want to go backwards (toward the exit, that is) and charge my batteries for the following days.

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Day 2: Losing one’s self

I arrive in time for Beirut, whose Balkan folk feel and sound gets the blood flowing. It’s already getting dark and I rush to the main stage to secure a decent spot and get a glimpse of Radiohead, the festival’s biggest name and arguably the most important rock group of our times.

The experience is thrilling. It’s been almost a decade since I had last watched them in Amsterdam, and their sound has evolved significantly in the meantime. I know it’s not just me who waits in great anticipation: a deafening silence hovers over the huge crowd that has gahered to watch the revered band from Oxfordshire. And mind you, silence here in Barcelona is not exactly normal during rock concerts.

The first notes of Burn the Witch finally break through, followed by the first half of the band’s  acclaimed new album A Moon Shaped Pool. Radiohead proceed to cover their entire catalogue, including tracks from Kid A, The King of Limbs, and In Rainbows. But it’s with the opening melody of No Surprises that the audience’s silent, reflective mood suddenly changes to open endorsement and unrestrained excitemet. And it’s the spontaneous reaction to Karma Police, another track from OK Computer, that marks the concert’s perhaps most memorable moment, as a sea of people keeps singing “for a minute there… I lost myself, I lost myself…” well after the song is over.

Impossible as it seems to follow such an act, the show must go on and The Last Shadow Puppets are next on the bill. Not knowing quite what to expect,  I am delighted to see the band accompanied by a string quartet on stage. Alex Turner takes the lead and together with Miles Kane, they give a quite remarkable performance which ends with nothing less than a lengthy jam over the Beatles guitar-heavy dynamite I Want You (She’s So Heavy). That’s a good time to call it a night, and by this point I am pretty exhausted anyway.

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Day 3: The witching hour

Today I have a date with pop history: Songwriting genius Brian Wilson performs the entire Pet Sounds album together with a band of seasoned veteran musicians. His voice has lost its old sparkle (and much of its range) and his stage presence can only be described as ‘static’, but somehow the brilliance of his music makes up for all this. And when Good Vibrations comes up as an encore, I just don’t need I could ask for anything more.

But of course there’s more. I pass by indie rockers Deerhunter before moving on to another stage to catch English singer-songwriter PJ Harvey. Her presence is captivating and she delivers an atmospheric performance that blends well with the surroundings as the Barcelona sky turns dark.

The clock strikes midnight and instead of demons and witches, a different kind of supernatural beings appear on stage. It is the Icelandic post-rockers Sigur Rós with their otherwordly, transcendental sound. It seems impossible to grasp how this kind of music is made by human beings; frontman Jónsi Birgisson’s hunting falsetto, ethereal bowed guitar, and the bewitching background visuals resemble more some strange magic ritual than a music show.

Still mesmerized, I stick around for a little longer to explore some more of the festival’s vast territory. As dawn breaks, I am on my way home full of images, impressions and a music playing constantly in my head: I cannot quite pin it down, but I know it is the sound of Primavera.

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