Live Review: The Cinematic Orchestra

As Melbourne Festival culture vultures fill Hamer Hall there's a growing sense of expectation and excitement that sort of anti-climaxes with the supremely chillaxed and low-key appearance of The Cinematic Orchestra, who casually shuffle on stage. They kick off the show just after 8pm with the loungey funk of Burnout, which builds into a dramatic crescendo that grandly brings the strings and horns of Philharmonia Australia into the mix. Jason Swinscoe leads and directs the group from a table at the side of the stage where he dials in samples and applies effects from his laptop in amongst all the live instrumentation.

The Cinematic Orchestra's music comes with widescreen technicolour ambitions, but tonight they focus less on atmospherics to provide jazzy vibes that fluently move across funk and soul influences. Many of the tunes featured tonight break down into lengthy improvisations that allow the genius of each band member to shine. Exciting sax solos prove to be exhilarating workouts while the sly keys keep it subtle and mellow. Much of everything is dominated by Luke Flowers' gently trip hopping beats, which provide everything from chugging insistence to abstract, rhythmic sophistication. The look of complete and utter ecstasy on Flowers' face suggests that he's having a great time. 

Heidi Vogel fills in for all the guest vocalists featured on the outfit's albums including the late great Fontella Bass. She effortlessly deals the light, jazzy abstraction of Child Song and soars on All That You Give, which concludes the night on a powerfully emotional high. The evening slips away quickly as they move from As The Stars Fall to Music Box and then the luscious Breathe before dropping selections from Man With A Movie Camera. As we lose ourselves in the velveteen folds of the luscious orchestrations, it just feels good to sink into your seat and let the music take you far away.

Brooklyn's Grey Reverend, who has been quietly strumming guitar all night, steps up to lead the encores. It's his soulful interpretation of To Build A Home, delivered with genuine emotion in his clear and powerful croon, that seems to mesmerise everyone. It's not long before we are sailing across Ode To The Big Sea, which has a kind of Dexter Gordon Round Midnight vibe. Almost two hours in, the company of The Cinematic Orchestra disappears very quickly and, as it's clear that the show is coming to an end, most in the audience give Swinscoe and his colleagues a well-deserved standing ovation. A killer start to Melbourne Festival and the many delights that are sure to come our way in the next couple of weeks.