Celebrating the biggest global dance tracks to ever hit a club, but doing it in a manner that brings waves of new fans to the fold, is something the organisers behind Synthony have been able to pull off brilliantly.
The concept is simple. A curated 60-piece orchestra, teamed with a cast of phenomenally talented vocalists, performing some of the best club music ever.However, Synthony does something extra – there is something in the curation of the set list with each tour, the grandiose presentation of this music that makes it perfect for an arena setting.
Returning to Melbourne this year, Synthony took place at Margaret Court Arena (20 September), after three years spent entertaining crowds outdoors at the Sidney Myer Music Bowl. Admittedly, stepping into the indoor setting this time around did feel like there was a thin layer of magic from years gone by. . . gone. The sound inside the venue, specifically during the support set, was way too low.
For British rapper-singer Example, this meant his set before the main event was a tough sell – it was easy to have conversations during the performance, each major bass drop had lost its edge because of the softness of decibels streaming through the venue.
Example is a class entertainer, who did the best with what he had, but it did feel like he was struggling to motivate the early audience who were still taking up their positions on this rainy Melbourne evening. By the end of his set, MCA was comfortably full – more importantly, ready to party.
The orchestra, conducted by the talented maestra Sarah-Grace Williams, is impressive, no matter what your exposure to classical music is. Bringing added emotion to the original arrangements, the musicians onstage brought so much to the evening and it was wonderful to see them constantly acknowledged and praised throughout.
Along with Williams, the night was largely anchored by Ilan Kidron – frontman of The Potbelleez – who provided double duty as vocalist and also stage emcee. With the energy needing to be kept high throughout, Kidron is the best choice for such a role.
Performing hits by Fatboy Slim ('Right Here, Right Now'), Robert Miles ('Children') and Swedish House Mafia ('Don't You Worry Child') are easy home runs within the Synthony set list, but anyone attending simply cannot walk out of the venue without being captivated by the vocalists who took to the stage.
Emily Williams, a commanding presence from the jump, dominates with versions of Ida Corr and Fedde Le Grand's 2006 smash 'Let Me Think About It', Delerium’s 1999 classic 'Silence' and the cultural reset that is Robin S' 'Show Me Love'.
Talented singer Greg Gould, who held great form on a unique reworking of Queen's 'Bohemian Rapsody', also struck gold on a stirring duet with Williams for Disclosure's 'Latch'. Masha Mnjoyan, a newer face to this tour, proved to be a new strength to the tour line-up – I do hope we get to see her more on stages around the country.
To close the main set, it was wonderful to see Cassie McIvor welcomed back to appropriately fill the arena with her excellent vocals, leading a rendition of 'You've Got The Love' into the night.
As the evening worked its way to the inevitable encore – fittingly, Darude's 'Sandstorm' – it was evident the room was full of people from a wide range of backgrounds and demographics. Joined here by the love of the music, Synthony proves that when the music is classic, it really is timeless.
- written by Sosefina Fuamoli
