Brisbane Powerhouse, Underground Theatre
Brisbane Festival’s “Heartland” sold out well ahead of its performance. Given the stature of its headliner, composer, producer, multi-instrumentalist and vocalist William Barton, this is of little surprise. Barton is widely recognised as one of Australia’s leading didgeridoo players and composers. (The morning after the performance he is jumping on a plane for Melbourne to appear as part of the AFL grand final’s half-time entertainment.) It is not just Barton performing, but also powerhouse versatile violinist Véronique Serret. Together they combine crafts to share connected stories as traditional songlines and modern storytelling blend in a distinctive evocation of our uniquely Australian landscape.
Brisbane Powerhouse’s intimate Underground Theatre is the perfect location for the expansive but also at-once personal meditation that “Heartland” represents, with moments of poetry written by Barton’s mother Aunty Delmae Barton interspersed throughout the hour-long collaboration. At times, the recitations are almost like slam poetry thanks to Serret’s punchy, powerful delivery, which adds to their soaring emotion. Numbers are fluidly anthologised together and, as with songs of worship, there is not opportunity of need for punctuating applause. Rather the captivated audience is held silent in attention of the stillness of the show’s moments, which are enhanced by lighting normally only seen in the Powerhouse Theatre, which lushes us from the earthy tones of dusk’s glory to fresher emerald greens, for example.
The journey through Dreamtime stories and spirits of the ancient land of their mother country (their heart land) is not just a message of peace, but a showcase of talent. Barton’s virtuosic didgeridoo playing showcases his agility as its drone-ing sounds are interjected with percussive tapping. And when a late show number about the passing of cultures from generation to generation sees the addition of guitar and Barton’s traditional vocals, the unique melding of western music with the ancient sounds of the land uplifts the show’s ending.
Throughout the performance, numbers make use of an expansive sound pallet to vividly elevate their evocation of the resulting unique, meditative world, inspired by the Australian landscape and the power of connection to place. Barton’s didgeridoo mimicry vocalisation is evocative of animal sounds, while the sweet strains of Serret’s upper violin registers layer the musical stories to share a range of sounds and pure emotions. Indeed, there are a number of beautiful moments where earthy didgeridoo sounds are canopied by the sometimes soft touch of the more ethereal violin, along with Serrett’s gentle feathery vocals which rise away to sweet whispering lingers.
Serrett is a dexterous instrumentalist. The concertmaster of the Darwin Symphony Orchestra is far from traditional in her playing, using all parts of the instrument. Short and separated staccato sounds add a dryness to the aesthetic, while playing the back of the violin creates vibrations that resonate in the air.
As audience members, we might not always know the specifics of the story being told, but were certainly recognise the sentiment that comes from the heart and soul at the core of this genre-defying share of connection to county. While the voice of the didgeridoo is a core part of storytelling and teaching, the violin is often said to be the instrument closest to the human voice, so it makes sense that they would pair so well together. United, they serve to elevate the sounds of the language of cultural identity, ensuring that it remains a legacy for generations to come