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What you can do with bewildering selection of percussive instruments, including clay flowerpots, and an intriguing collection of double bass, didgeridoo, banjo and melodica.




NSF: Kabantu

at the Corn Exchange

on Wednesday, May 15

Review by STEPHEN OTTNER

Kabantu
Kabantu

KABANTU, a quartet who span the worlds of classical and folk and bring music from all round the world, made a welcome return to the festival.

On the classical side they have performed on BBC Radio 3, featured at the BBC Proms and been part of many festivals, including Aldeburgh and Lichfield. Their eclectic mix of music has seen them perform at Celtic Connections and numerous folk festivals including Shrewsbury and Cambridge, as well as collaborating with award-winning harmonica and melodeon player Will Pound.

On entry to the auditorium expectations were set for something a little different with the stage arranged with four positions. First a violin, then a selection of guitars, next a bewildering selection of percussive instruments, including clay flowerpots, and finally a most intriguing collection – double bass, didgeridoo, banjo and melodica.

These positions were then filled, respectively, by Katie Foster, Eddie Ogle, Delia Stevens and Ali McMath, who went straight into an instrumental that at times could have been used as a soundtrack to a spaghetti Western. That revealed another instrument, Katie Foster’s whistling.

The first half of the evening went on to include the band’s ode to Scandi-dramas, a romping hoedown and audience participation with rhythmic clapping.

The second half revealed Katie Foster’s other hidden instrument, her voice, with the audience contributing to the chorus. Other particularly memorable moments included a polyrhythmic interplay between members of the band, an excellent guitar solo and a call and response interplay between the violin and percussion.

The banjo, having intriguingly sat at the front of the stage, was wielded in the ‘final’ tune.

Kabantu
Kabantu

The modestly-sized audience made enough noise to encourage Kabanatu back for an encore where the melodica was used to great effect in a rousing tune with more than a hint of klezmer.

It reminded this reviewer of seeing Moishe’s Bagel at the Corn Exchange some years ago. Special mention must go to the bass player Ali McMath, who brought his sunny personality and a joy to his playing, which was conveyed to the audience.

It was explained to us that Kabantu means ‘of the people’ – stemming from the South African philosophy of Ubuntu: ‘I am who I am because of who we all are.’

Collectively we left the auditorium uplifted.



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