Beautifully Mad, live at Beatrice Taylor Hall
15th November 2024
For a musician there are few things more gratifying than being ‘in the zone’. (That elusive and almost mystical place where magic happens in a seemingly unconscious way).
For the listener, there are few things more satisfying than being immersed in music that transports you because it is played by consummate masters of their craft.
Last Friday we were privileged to listen to a duo comprised of 2 such masters, at the top of their game. Beautifully Mad.
Beautifully Mad are Tony King (6 & 12 string guitars, vocals, slide & harmonica) and Nina Vox (nylon stringed guitar, vocals & percussion) who have been performing together for over 30 years.
(When it comes to delivering a finely honed performance, being married to your musical partner must be a good place to start as you don’t have to go too far to rehearse).
Many artists (not just musicians) develop personal styles for which they become well known. Their work becomes recognisable, predictable perhaps but no less enjoyable for their fans.
However, it is rare to find artists who are sufficiently skilled and versatile that they are equally adept across a number of genre-bending styles.
Q How do you describe a performance that includes sensitive self-penned songs, keenly crafted covers, jazz-tinged melodies (old and new), country & western and side-splitting songs in the key of High?
A The answer is….entertaining!
When you see performers smiling frequently and exchanging knowing glances, that’s always a good sign. If it’s working for them, then it will be working for the audience too. (Even when the odd note might have also taken them by surprise!)
With such a contrasting repertoire, the listener is never quite sure what’s coming next, but the common denominator is quality.
The range of Nina and Tony’s vocal gymnastics is worthy of special mention.
For a duo to attempt to cover Paul Simon’s “Diamonds on the Soles of Her Shoes” may seem foolhardy to some, as Paul’s version on the Gracelands album includes over a dozen musicians and an African choir. For Tony and Nina to produce a 7-minute-long version, replete with complex rhythms, improvised arpeggios and stirring Zulu-inspired overtones was astounding.
In a quantum mood-shift, they subsequently treated us to their Pinky & Perky-esque song Helium. (A cautionary tale about substance abuse – amazingly sung in a simulated helium high key, with facial expressions to match!)
Equally entertaining was their ‘country and eastern’ adaptation of Rawhide. (Who would have thought this might work when sung – and acted – in Glaswegian/Cantonese).
Tony’s guitar playing was also a noteworthy feature of the evening. Versatile and vibrant throughout, his proficiency on the 12-string was something else again. With a few notable exceptions (eg, Leo Kottke), the 12-string guitar is most often strummed rather than picked – to provide a full backing sound. Tony’s atypical finger-style approach to the 12-string may arguably be unique, as he teased out melodies, jazz chords and lead runs with enviable ease.
With the mixer at his fingertips (and pedals at his toes), Tony was able to conjure up a warm and well-balanced sound throughout the evening, complementing the tight harmonies and thoughtful arrangements that were a hallmark of their performance.
All in all, a thoroughly entertaining evening and our thanks to Beautifully Mad for making the trek up from ‘the deep south’ to play for us.
It is a testament to both the performers and Hornsby Ku-ring-gai Folk Club that we can attract talent such as this and provide such a welcoming venue.
DAS 18-11-24