Myth of a Man (Song to ...)

I listen to you

Your words in the rain come through

Your words mean volumes to me

Words like streams pour endlessly

Lost in the air that blows in the breeze

Lost in the waves that travel the seas

Lost in the minds of men like me

And in the heart of femininity

She listens to you

Your words to her are the truth

You bring out the mother in her

Nurtures your soul and shows you to the world

She leads you to the stage

Holds your hand for you to be brave

After the crowd cheers and roars

Then you’re a child no more

He listened to you

Followed your every move

Sang along with your protest songs

Thought you could do no wrong

But he was there

When you sold your soul on air

With others he cursed and booed

You now are the fool

I listen to you

As the day breaks through

Your words kept me up all night

Tainted my heart, nourished my mind  

That’s why I wrote this song

To feel I can belong

Like the child I am

To the myth of a man

Elton John (with Ray Cooper) - Granaries, Floriana 26/09/2010

{Published in The Times of Malta, 29/09/2010 p.22}

Sir Elton still going strong

Towards the end of Sir Elton John’s first concert in Malta, back in July of 2003, the music legend kind of fleetingly mentioned that maybe he would come do another concert here, maybe with his band. It took him a rather tardy seven years, but last Sunday, the man once known as Reginald Dwight, finally made good on his half-promise and returned for another stately performance. And while there was not exactly a band of musicians to back him up, he did bring along percussionist extraordinaire Ray Cooper.

Following two successive chilly nights that were prone to spouts of rain, the weather on Sunday night could not have been more perfect. The air was warm and the sky was all but clear, ensuring the assembled crowd in the open-air venue at the Granaries in Floriana could fully enjoy their forthcoming entertainment without having to heed any mischievous natural elements.

Slightly after 9pm, Elton John walked on stage to grand instrumental music and was greeted with an affectionate standing ovation from the entire audience. Sat behind a sleek black grand piano, he started the night with his 1992 single The One, which sounded elegantly revitalised stripped bare from its candy-coated ‘90s production. “It is beautiful to be back here,” the star announced after this opening number.

While a far cry from the wildly extravagant costumes he used to wear in his yesteryears – such as his now respectively iconic Donald Duck and Mozart outfits – John’s attire on the night still exuded that natural flamboyance his fans so love. The performer donned a long tailed blazer adorned in various multi-coloured motifs, over an electric-blue shirt. The back of the blazer brandished the title of his anthemic song I’m Still Standing, while the right sleeve sported the song’s response lyrics “Yeah, Yeah, Yeah.”

The set continued with three songs from John’s eponymous second album released in 1970. Then fast-forwarding thirty-one years, he played two songs from his 2001 album Songs from the West Coast, including a dazzling version of The Emperor’s New Clothes. It was astonishing how full and complete the songs sounded with just the singer’s now gruff baritone, on top of his intricate piano playing. The big screen close-ups of John’s chunky fingers suddenly bursting into nimble flight up and down the black and white keys of his piano, delivering his trademark honky-tonk, blues and boogie-woogie infused solos, was mesmerizing to watch.

The first real showstopper was undoubtedly the goosebumpingly-gorgeous extended live version of Rocket Man. The bright silvery moon shining through the wispy clouds beautifully complemented John’s emotional performance, by the end of which the seated audience was back on its feet for another standing ovation.

Ray Cooper joined Sir John on stage mid-show during instrumental number Funeral For A Friend, banging on kettledrums and smashing cymbals together. Surrounded by a bastion of percussive instruments, the seasoned session percussionist was simply pure joy to behold, moving from instrument to instrument with a charismatic Cheshire-cat grin fixed on his face and animated movements that defied his sixty-eight years of age. Even the “simple” task of playing the tambourine was utterly captivating with Cooper at the helm.

The selection of songs for the night was made up of a well-balanced mix of lesser-know album tracks and big singles. A couple of songs from Sir Elton’s upcoming album The Union, a collaborative project with American singer-songwriter Leon Russell, were also showcased. It was a rather daring move for an entertainer who could have easily played it safe and churned out the hits only. While there were a few uninterested looking faces at times, the vast majority were really into every moment of the show, especially since Sir Elton performed each and every song in his two-hour set with an unparalleled passion.

Of course it was the hit singles that ultimately got the loudest cheers. There was an audible collective gasp of delight when John began the opening piano riff to Don’t Let The Sun Go Down On Me and yet another standing ovation when it finished. And moments into the glitzy glam rock of Bennie And The Jets, members of the seated audience began to get up out of their seats and flock down the aisles for a dance and a boogie right in front of the stage.

Sir Elton and Mr Cooper finished off the final songs in triumphant style to tumultuous cheers and applause. Pausing in between songs Sir Elton got up to thank the continually increasing crowd below him, pointing at individual audience members and mouthing a sincere thank you to each. After an encore of his Disney songs Circle of Life and Can You Feel the Love Tonight, John took his final bows and was gone.

Four decades into the music business and the evidence is clear that Sir Elton John is still going strong. One can only hope it will not be "a long long time" before the Rocket Man touches down in Malta again, and with any luck he’d fulfill his other previous fleeting promise and bring his band along too.

Red Electrick - Tattingers, Rabat 24/09/2010

{Published in The Times of Malta, 27/10/2010, p.22}

The Red Electrick experience

Over the past two years Red Electrick have risen from relative obscurity to being one of the hottest bands on the island. With four consecutive number 1 singles on local radio charts and countless gigs at home and overseas, Red Electrick's brand of rock music appears to be resonating with everyone in their wake. This special event at Tattingers nightclub in Rabat marks the release of the band's debut album Vine Lady, and as frontman Matthew James Borg explains is "the most important thing we have done in our lives."

Before the show there is an unmistakable feeling of subdued suspense among the band. Each of the five musicians seems to be torn between the necessity of staying focused on their upcoming performance and the desire to greet their friends and fans. Consequently they spend the almost entire duration of opening-act Dolls for Idols' set moving between the backstage area, where they try to quiet their minds and get in the zone, and the merchandise-booth, rowdy with the hustle and bustle of the entering crowd; hence rendering their backstage meditations quite futile.

However as their time draws nearer, all five musicians finally gather backstage. Huddled in a circle they psyche themselves up, the adrenaline running through their system apparent in their movements. The expectant crowd start to syllabically chant out the band's name; "RED-E-LEC-TRICK!" With the final glow of Matt's cigarette and a fiery introduction from friend of the band Paul Borg Bonaci, Red Electrick individually take the stage, tearing into album title-track Vine Lady.

Any pre-gig anxieties melt away seconds into the band's set. Bassist Ivan Borg, wearing his mandatory flat cap, locks into groove with drummer Raphael Tonna. The two guitarists, beanie-clad Jonas Delicata and shaggy-haired Peter Borg, let the high-octane riffs rip. There's an air of confidence about the band that is usually attributed to acts twice their age, and they occupy the stage with flair and purpose.

After their second song of the night and latest single to hit local airwaves Jail Bail, there's a glint of a satisfied smile on the face of Matthew James Borg. "This is a good feeling, a really good feeling," he exclaims. The crowd also seem to be experiencing this very same "good feeling," especially those right in front of the stage who have been jumping and singing non-stop with an astonishing devotion.

During the final weeks leading up to the album release, Red Electrick announced that one of their new tracks would feature a guest singer, leading to a flurry of speculation on the band's Facebook page. Tonight it’s finally revealed that it is Ray Mercieca, lead vocalist of veteran local ska band The Riffs, who guests on new number It's a Shame. To the delight of many he also joins the band for a (no pun intended) electrifying live rendition of aforementioned track that reaches a cacophonous climax. Other new tracks Dimensions and Pick Up the Phone continue to add further musical inflections to the band's already reasonably eclectic rock sound.

Quite bizarrely for a band called Red Electrick, their onstage electricity cuts out during the percussive intro to the band's encore Who the Heck is REK!?, forcing Raphael to give an impromptu acoustic drum solo. Remarkably the band still somehow manages to keep the crowd rocking until the problem is solved. Matt shouts out the infectious hook "Do the robot!" and the band launches back into the song and finish off all guns firing. As soon as they come off stage they hurriedly open a celebratory bottle of beer each, no time to rest they shoot off to the merchandise booth to sign copies of their album for waiting fans.

The night has been a success for Red Electrick and you only have to look at their faces to understand how grateful they are to be able to finally share the fruits of two long years of labour with friends. They are one of those privileged bands that have a certain something (dare we call it X-factor?). Whenever the five of them are together - be it rocking on stage or casually hanging out - they emanate an irresistible chemistry that makes you want to be part of the Red Electrick experience. Thankfully for those partaking, the experience has only really just begun.

Hallway of Kites

Candles light the hallway
They light the thoughts inside your mind
My heart catches fire
Just like a fuel burns gently by night ...

... in the hallway of kites

And although I know
You want to disappear
I'm trying my best to hear you loud and clear
And how hard I try
But there's no one around
No one to tie us back down

Your soul thrown out the window
You've lost all sense of right and wrong
And while I lie in the crossfire
You're flying blind into the night ...

... from the hallway of kites

And although I know
You want to dissapear
I'm trying my best to hear you loud and clear
And how hard I try
But there's no one around
No one to tie us back down ... to the ground

Rockestra - MFCC, Ta' Qali, 11/09/2010

{Published in The Times of Malta, 15/09/2010 p.29}

The Philharmonic’s philanthropic performance

As the official Rockestra website makes clear, Rockestra is a “rock concert by the Malta Philharmonic Orchestra.” While this may seem a contradiction in terms, the marriage of rock music and orchestra is one that has become increasingly popular in modern musical performances. The orchestral arrangements give rock staples a new lease of life with elaborate twists and surprises, whilst preserving the raw live energy the originals offer.

After the great success of last year’s debut Rockestra concert, this year’s edition was rife with expectations of bigger and better, so much so that an additional thousand standing tickets were made available during the last week leading up to the concert due to popular demand. This must have been overwhelmingly good news not only to all the performers of the night, but also more importantly to the Malta Community Chest Fund who organised this special event in aid of people in need.

The concert commenced with the orchestra partially hidden from audience view by means of dim lighting and hanging draped sheets. Musical director Mro Sigmund Mifsud, covered in a druid-like cloak, walked unhurriedly out on stage to the introductory bars of O Fortuna. However, the sombre ambiance was quick to alter; with a flash of lights the hanging sheets were pulled down, and the orchestra launched into an electrifying mash-up arrangement of The Doors’ Roadhouse Blues with the Joseph Calleja Children’s Choir still singing the O Fortuna melody. It was a truly impressive start.

Mark Spiteri was the first guest vocalist of the night, and he proved to be a more than adept showman, easily getting the audience singing along to Beatles rockers Get Back and Come Together. The Viva Dance Aerial group from the UK made the first of three appearances during a version of Metallica’s Nothing Else Matters. The dance group’s aerial acrobatics combined with the angelic voices of the children’s choir added further poignancy to this heavy metal ballad.

The volume of the crowd singing went up a notch during two Maltese standards, Inti Djamant and Xemx. It was heart-warming to hear local music given the orchestral treatment, and the people audibly appreciated this gesture. This sprinkling of local music certainly helped make the night even more special and unique since these are songs that are endemic to Maltese communities. Furthermore it continues to prove that local music is loved dearly on our island and forms part of our cultural heritage.

The musicianship was world class throughout, and the vocals on display were all well above average. Performances worth particular mention are Neville Refalo’s exceptional vocals during Queen’s The Show Must Go On, soprano Claire Caruana’s stunning delivery during a lush orchestral pop arrangement of Nessun Dorma, and Airport Impressions’ frontman Errol Sammut’s rock-vocal master class on Led Zeppelin’s Kashmir.

Undeniably, one of the night’s most entertaining segments was the KISS tribute, which saw notorious KISS über-fan Gianni Zammit, Fire’s Kenneth Calleja, and Fakawi’s Paul Borg Bonaci - all clad in the band’s iconic costumes and makeup - sing two KISS classics. The energy and charisma of these three performers could have easily put a smile on the face of any old miserable Scrooge.

The concert’s setlist was unequivocally comprised of the best of karaoke classics; all crowd favourites, guaranteed to please. The usual suspects were all present; the Beatles were paid homage four times, Queen thrice, and U2 a further three times - their Pride (In the Name of Love) was played twice, albeit once as an instrumental which was later reprised with vocals. It would have been interesting, if anything, to see one or two curveballs thrown in. Not necessarily obscure gems for trainspotters, but choices that are leftfield enough as not to appear to be completely obvious inclusions.

It was impressive how well organized Rockestra was, even more so than most other recent music concerts. Apart from the top-notch talent, the stage set and visuals were very professional, the efficiency of the bar staff meant there was no excessive queuing for refreshments and even the on-site parking attendants handled the traffic flow smoothly. All the performers and crew deserve praise for an exceptionally enjoyable night, all in the name of a good cause. Given the further success of this year’s Rockestra, it would be safe to assume that we’ll see Mro Mifsud and his musicians same time next year.