A Scream and an Outrage: Session Three, Barbican Hall - music review

Two musical worlds collide in this concert as classical and indie performers gathered to form an indie-rock orchestra
A scream and an Outrage - Conor O’Brien (Villagers), Britten Sinfonia, conductor Andre de Ridder Pic: MARK ALLAN
Andre Paine13 May 2013

New York composer Nico Muhly compared his weekend of concerts to a riotous dinner party. However, this was less a scream and an outrage and more an evening of awkward conversation between classical and indie performers corralled together for the occasion.

The National’s Bryce Dessner was not even present to perform his guitar concerto, prompting sighs from fans. Grizzled guitarist Mark Stewart stepped in to play languid notes alongside the Britten Sinfonia’s swelling strings, building to a galloping finale that hinted at The National’s majestic indie-rock.

Arcade Fire’s Richard Reed Parry was joined by The Calder Quartet and Muhly on piano during a composition for which musicians wore stethoscopes to play in time to their heartbeat and breathing. But Parry’s concept was soon revealed to be a messy, self-conscious gimmick.

At least the Irish guitar-strumming contingent, Conor O’Brien of Villagers and The Swell Season’s Glen Hansard, livened things up. “This is a song about doing a poo,” O’Brien said of Earthly Pleasure, making us laugh if not conductor André de Ridder.

O’Brien appeared more boyish than usual alongside an orchestra though he gradually imposed himself on Muhly’s widescreen arrangements of Villagers’ intense, poetic tunes.

Hansard was the genial guest whose songs were never going to be overwhelmed by the orchestra. The strings provided a stirring backdrop to his vocal on In These Arms, the frantic strumming of This Gift and a fervent Falling Slowly. Hansard teased the conductor for his strictness and failed to persuade the orchestra to jam during the encore. For all the talent Muhly assembled, this was a meeting that didn’t always come off.

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