New Orleans – Theatre Press

Stunning vocals in which to lose yourself

By Myron My

New Orleans native Cougar Morrison debuts his cabaret show RAWWR! at this year’s Melbourne Fringe, in which he recounts stories of beauty, love, gender and modernity with some re-imagined classic songs.

There is a huge variety to the songs and the styles in which Morrison performs them. While “Somewhere Over The Rainbow” has become a staple of the cabaret scene and generally not that exciting to watch or hear, Morrison’s rendition is perfectly suited to him and he manages to make it something quite personal and ultimately, his own.

However, the highlight of the evening is the mash-up of “Dream A Little Dream”, and “Sweet Dreams” by the Eurythmics. It was an experience I’ve rarely had with cabaret where I was just enveloped by the performance and everything around me disappeared. The musical arrangement of this piece is expertly delivered and works perfectly with Morrison’s voice.

Between songs, Morrison shares some personal moments about his life in New Orleans, from his dead-beat boyfriend and the sense of loneliness once a relationship ends, to his developing self-acceptance. Unfortunately, this is where I struggled to remain connected to the show. I found the humour in these anecdotes didn’t always quite hit the mark and their delivery was not always effective in creating the right mood for the song to follow. More time given to developing the comic style and pace of these narratives would put this aspect of the show on par with the extremely impressive voice talent Morrison possesses.

Morrison is supported on stage by two muscled back-up dancers whose costumes are just as revealing and androgynous as his. They subtly enhance Morrison’s own self-confessed “unusual appearance” and add a level of vulnerability and fragility to him. The costume changes, including some brilliant hats, are fun, sexy and imaginative. While some of the choreography was not as smooth and fluid as it could be at this performance, the duo play the part of the sexy eye candy well.

Cougar Morrison’s RAWWR! is bound to warrant your attention with the artist’s strong stage presence and amazing voice that can take on any song. Ultimately RAWWR! Is an enjoyable Fringe 2015 show that deals with sexuality and contemporary life with a classic-songs twist.

Venue: The Butterfly Club, 5 Carson Place, Melbourne

Season: Until 20 September | 10pm

Tickets: $20 Full

Bookings: Melbourne Fringe Festival

Top dogs won new fans

By Anastasia and Peter Slipper

The Melbourne International Jazz Festival audience was treated to a genre-hopping jazz-fusion spectacle by young US band Snarky Puppy at the Forum last night. Perhaps serendipitously, numbers were boosted for this still relatively obscure ensemble by jilted ticket-holders who missed out on seeing legendary New Orleans band Rebirth Brass Band after they had to suddenly pull out of the festival. However disappointed the punters may have been to miss the Rebirth second-line parade earlier in the day, they were certainly not disappointed by the end of the night!

Vocalist Alison Wedding (who was first responsible for alerting festival Artistic Director Michael Tortoni to the existence of the band) warmed up the room with a short set of her own material. “Too Tight” was a stand-out, reggae-inspired declaration against unhealthy body image.

After a short break, the band again took the stage, this time sans vocalist, lead by bass player extraordinaire Michael League. His whole body became part of the instrument, as he impressed the audience with extended virtuosic solos, and laid down some seriously funky grooves.

Each member of the band had plenty of chances to shine as they worked their way through a labyrinth of constantly changing styles and moods. Every solo was thoughtfully constructed and carefully built towards an exciting climax, and even in their supporting roles, all band members were responsive, showing how tightly knit they are after years of touring. Crowd-favourite “Quarter Master” was a highlight of the night, switching from New Orleans second line-eque grooves to gospel harmonies.

Throughout the gig, time changes and horn stabs were super-tight, but the band never drifted into vulgar displays of virtuosity. A special mention must go to Justin Stanton, who consistently excelled, whether on trumpet, moog synth or Hammond organ. An epic drum and percussion solo from Nate Werth and Robert Searight was musically and dramatically exciting, while never migrating into self-indulgence.

If you like funky grooves, a few 80s-synth effects, and exciting twists and turns Snarky Puppy are one to keep an eye out for!

Snarky Puppy performed at The Forum Theatre on Saturday 1 June for the Melbourne International Jazz Festival which ends June 9.