Live Review: Nils Frahm

This was German composer/pianist Nils Frahm’s second visit to Australia this year and his second appearance at the Sydney Opera House.

Early on he joked about being downgraded to the basement of the esteemed venue but in truth it was probably the best place to experience his mode of music, which seamlessly blurs the boundaries between classical, post-rock, avant-garde jazz and electronica.

With the majority of the audience standing and a willingness on his part to play some different material for those who caught him on his last visit, Frahm drew on trance-inducing kosmiche electronica as readily as his more traditional ambient works. There was little in the realm of build-up dance anthems but the way he controlled and manipulated his synths, pianos and effects units created a similar rhythmic pulse that made a physical connection with the audience. In what is something of a rarity for his type of performer, Frahm took the time to talk to and interact with the audience and his sense of self-effacing humour added a human element to the show and provided an insight into the man behind the instrumental compositions. We heard about a broken finger (falling out of bed) leading to a piece composed for nine fingers and his attempt at writing music specifically for large dance music festivals.

The wonder of Frahm’s music is the spectral beauty created by one person on stage. From intimate, sparse and infinitely delicate flurries of notes to coruscating screeches of digital sound, droning tones in a suspended state of hypnosis to melodies that hung in the air with melancholic weight, Frahm managed to imbue each piece with a real depth of emotion. His virtuosic ability was a marvel to observe but ultimately the music and the harmonious interplay between organic and synthetic sounds were what made his performance so engaging.