Live Review: Nitin Sawhney

The newly renovated Hamer Hall, looking glitzier than ever, has at last reopened for business with a celebratory season of music that has drawn acclaimed artists from all corners of the globe. Included in this line-up is British Indian composer and producer Nitin Sawhney who for almost 20 years has provided us with music that masterfully delivers a smooth blend of urban grooves and traditional world music.

On what proves to be an extremely sedate Sunday evening, Sawhney and his band comprised of some seriously talented session players and singers take to the stage. They embark on a wonky-sounding version of Sunset on which Sawhney pulls the plug after a few bars. “And the reason that sounds so bad is because none of us can hear ourselves in our headphones,” he exclaims, to draw a giggle from the audience. Moments later and Sawhney has us basking in the golden glow of his setting sun. It's relaxed, feel-good vibe leaves you feeling as though you should be sipping cocktails down at the Buddha Bar. It is with great pleasure that everyone in Hamer Hall is sinking deep into their seats.
Upcoming English vocalist Rahel soon deals a sassy version of The Devil & Midnight that is perhaps a little more chilled than the jaunty gospel blues of Sawhney's version that appears on last year's Last Days Of Meaning. Tina Grace drops an utterly heartbreaking version of Letting Go. Nicki Wells duets with Ashwin Srinivasan and the pair raise the bar even higher as they deal a spellbinding version of The Immigrant, which Sawhney amusingly dedicates to Angry Anderson with whom he is scheduled to appear on the ABC's Q&A the following night. As much of Sawhney's music reflects on the immigrant experience, his perspective on the current debate about the boats that come to our shores from distant lands is sure to be insightful and fascinating.

Billed as an unplugged gig, Sawhney's vocalists are accompanied by the light acoustic jangle of his band. It all sounds as smooth as silk. Sawhney has so far been gently strumming an acoustic guitar but 'controversially' straps on an electric guitar for a new song called Longing from his next album. There is a hypnotic urgency to this song as Aref Durvesh's frantic tabla and dholak enter the swirling mix. Ashwin Srivasan's Bansuri flute swoops overhead as Wells gets her playback singer on to simply mesmerising effect. Sawhney is soon reflecting on days he spent in Barcelona and mixes up his flamenco guitar-playing with Subcontinental styles on tunes such as Shadowlands. Grace really puts her back into Noches En Vela and energises the show, which up until now has been extremely chilled. Wells, however, reclaims the spotlight with her flawless vocals on Sloka – an ancient Sanskrit hymn that praises Krsna – and of course it's hard to forget the sweet melancholia of the now-classic Nadia. Wells' vocal perfection makes her the standout vocalist in the band. Dedicated to Photek, Kite evolves into a jaunty but mind-bending drum'n'bass and tabla workout. In a playful mood, Sawhney claims that The Conference is essentially about counting to five in Hindi, albeit in the Carnatic tradition of Konnakol at extreme speeds utilising a virtuoso tabla player with the most incredible sense of rhythm.

The seamless integration of a broad range of musical styles into something fresh and almost spiritual is what keeps audiences returning to Sawhney's music. A stripped-back version of Prophesy is essentially a conversation between guitar and tabla. It starts slowly and tentatively before the tune's twisting and turning hooks accelerate to breakneck speed, turning it into an astonishing hypnotic whirligig that goes off like a cracker. Ninety minutes in the company of Sawhney and his band have passed all too quickly and inevitably many are left wanting more.