Reviews & Feedback

Reviews: 

 

AUDIENCE handwritten feedback TN5 2017:

gig 1 – Impact
Gorgeous performance. Beautiful voices and music.
What an amazing setting. Especially loved Motherless Child with the call and echo singers.
Fantastic experience. Great acoustics.
Great, interesting instrument combination. Mesmerising!!!
Very special—music and space. Wonderful.
Stunning sound, the voices were spectacular in here.
Sublime.

gig 2 – Transformation
Beautiful. Peaceful ambience. Short but Wow!
Amazing. Would love to hear some bass in there.
Magnificent Aboriginal voice—please put a didge with him next year!
No kids next time [in audience] – otherwise great.
Fantastic. Very moving.
Maybe tell the audience not to applaud in the middle—allow the glory of the totality to be savoured.

gig 3 – Sounding the Tunnel
The storm scene was amazing!
Whoo-eee! Impressive.
Pretty cool. Great effort.
I was moved to tears. Kids were so awesome too.
The best gig I’ve been to in the Northern Territory.
Fantastic soundscapes.
Fascinating use of acoustics & natural sound.

gig 4 – Sub-Liminal
Truly enchanting. Transporting! Thank you for this beautiful moment.
So beautiful. Last piece—sublime.
Fantastic. Will be back in 2018.
Other worldly. Sublime. Brilliant.
I haven’t been that calm in yonks!
Magical! Transported me to a different world.
Can we have more aboriginal singers please.
So beautiful and restful—a truly amazing experience.

gig 5 – Digging Deep
Wonderful night.
Phenomenal combination, bridging cultures. Such a rich experience.
Fabulous. Eclectic and soulful.
Gorgeous—So wonderful!
Fantastic. My 2nd time & will be coming again.
Sweet as!

Reflections by Denise Kirton, audience member of all Tunnel No5 concerts in 2015, 2016 & 2017 ….. “Resonance forms the heart and soul of Tunnel Number Five. I found myself swept into experiences that transcend words, with musical virtuosity from a diverse range of performers.
The audience sits staring at a rusty wall a few meters away while listening to the sonic offerings of a distant muso walking towards them. When far from the sound source, a deep listener is able to hear the response of the tunnel even more clearly, bouncing from either end and activating the air column.
Individual artists or pairings may have the main focus for a time, yet it is the cumulative effect of the whole which I found most powerful. Like many, I found the flow meditative, and was shocked out of my bliss state when, in some concerts, others “politely” clapped enthusiastically. Deep listening is a practice in some spiritual paths and at least one indigenous community, and these concerts invite us to experience that in some complexity.
So, my suggestion? Bring a chair and a fan – it’s hot and stuffy in there with the noisy electric fans turned off. While in that space, immerse yourself in both the created sounds, their resonance and the silences between. This is not a “greatest hits” concert where it’s good to acknowledge each favorite number. There is much to be gained by flowing with the tide as we learn to listen more deeply.

 

ARTIST’s FEEDBACK:

Nick Tsiavos‘Tunnel number 5 was a wonderful space to perform in. The eerie beauty of its acoustic ambience, along with its challenges and difficulties the tunnel presented to the performer and audience alike, created an actively liminal space for the listeners. At times, the experience might be seen as analogous to the rock paintings found in caves throughout the world – one goes deep underground into a physically and spiritually charged place – set apart from the reality of the every day world. If art is meant to be a transformative force in the world, the environment within the tunnel amplified the mystery and aesthetic qualities of the music and its effect on the audience.’

Peter Neville’The tunnel provided a totally unique sonic environment to work in. I have played in many highly resonant spaces before, but tunnel # 5 was peculiar in that it added reverb, as expected, but also amplified small sounds with clarity. As a percussionist it also offered a totally incredible resource in terms of being able to play the tunnel itself and attachments as a meta-instrument.
The chance to collaborate with a number of NT musicians was also highly valued, especially the opportunity to create a large-form work with the very talented percussion students from the NT Music School. It was also very rewarding and moving to work with senior Yolngu Songman – Jason Gurruwiwi and through improvisation, to produce collaborative work of depth and substance. Anne Norman and Anisha Stitfold deserve all support in the future to keep this important and life-changing event going.’

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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