Consumed by wanderlust, the magnetic pull of Tijuana Cartel once again proved irresistible.
Their latest auditory journey 'Alectura' promised to tantalise our senses and envelop us in a mirage of sensory delights that transcends the mundane.Beneath its historic roof, Freo.Social – a beacon of artistic expression in the vibrant heart of Fremantle – once again proved its unmatched ability to bring together an eclectic mix of sounds and artists to create rhythmic alchemy (23 March).
With archaeologists finding sequins from the '50s hidden beneath the floorboards, the venue is full of untold stories and underwent numerous transformations to become the perfect stage for an unforgettable night.
From conception in 1895 as a military drill hall to the Fly By Night Musicians Club 80 years later, the space captures the soulful essence of Fremantle by drawing an audience as diverse and vibrant as the town itself.
Like Freo.Social, which has embraced its complex history to become a melting pot of culture, Tijuana Cartel's most recent work is a mosaic of influences that showcase the spectrum of their artistic adventures.
Carey O'Sullivan's album synopsis revealing: 'This album weaves together so many different musical styles and pushes the boundaries of our artistic horizons. It stands as a true embodiment of our collective passion and mirrors our growth as musicians, collaborators, and friends.'
Image © Laura Dashkovsky
Alongside Carey, Paul George exuded a presence that made his guitar seem like a natural extension of his being, led the bandmates onto the stage. The original creators supported by Sheila Finke on percussion, Phoebe Corke on violin, and two guests on trumpets, adding richness to the band's sound.
The group performed selections from their 'Alectura' repertoire, a colourful tessellation of sound, in which each song was a piece of broken music that came together to form a sophisticated musical mosaic.
The crowd surrendered to the flow of their new melodies 'Nisaba', 'Before It Goes', and 'Floating Point', each track unfolding like a chapter in an epic saga; we were swept away on a journey that blurred the lines between the mystique of ancient bazaars and the pulsating heart of modern dance-floors.
The venue's atmosphere became thick with anticipation and energy, each beat calling for movement, mirroring a bustling marketplace nestled in the heart of the Middle East. Every harmony tells a story, and every beat pulses with the vibrant lifeblood of distant lands and cultures.
The album name, 'Alectura', is a nod to the band's Gold Coast roots, a place teeming with these native birds, perhaps a metaphor for the band's approach to music and life – a continuous scavenge for beauty, for sustenance, in the gardens of sound they cultivate and explore.
The set list, which was interlaced with all-time Tijuana Cartel classics such as 'Sufi', 'Holiday In Baghdad', and 'Enkidu', ensured the night was an expedition through the band's rich discography, inviting listeners on a journey not just of sound but of spirit.
Their signature sound peppered with Latin rhythms, Middle Eastern melodies, and electronic beats, transported the audience beyond the confines of genre. Bodies moved in harmony united by the universal language of music, creating a moment of pure, unadulterated joy where the here and now melted away.
Image © Laura Dashkovsky
Paul George's dexterity and speed on the guitar was nothing short of mesmerising, adding an extra dimension to Tijuana Cartel's performance. His fingers moved with lightning speed across the fretboard, effortlessly weaving intricate melodies and blistering solos that left the audience in awe.
Whether he was unleashing rapid-fire arpeggios or delicately plucking out ethereal harmonies, George's mastery of the instrument was truly remarkable. While George's mastery is clear, his stage presence often strikes me as aloof or too cool, a contrast far too vast from the profound depth of his music, prompting me to know more.
In George's world, music serves as a dual force: a constant, comforting companion and a rigorous, competitive professional field. His global pursuit of musical knowledge, from flamenco in Granada to sitar lessons in India, illustrates a life deeply entwined with his craft, despite a non-classical background.
His humble stance on never reaching perfection speaks to a journey of continuous discovery. A perspective that is seeded into his performances, presenting a sense of mastery that appears effortless yet for him remains deeply personal, making the stage both a home and adventure.
This combined with Carey O'Sullivan's masterful melodica keyboard and production, seamlessly intertwined with Sheila Finke's relentless percussion and Phoebe Corke's emotive violin strains, together painting the evening with virtuosic solos and hypnotic riffs, underpinning the groove with a rhythm as infectious as it was precise.
The sight of Louise Sawilejskij, the band's manager, dancing alongside the audience is a testament to the community vibe that Tijuana Cartel embodies – a band not just performing for the crowd but with them.
Tijuana Cartel has carved a niche within the Australian music scene that is distinctly their own, a blend of geographical and musical exploration that defies easy categorisation. It speaks to the heart of human experience, mirroring the scrub turkey's interaction with the world – often misunderstood, yet undeniably impactful.
In a world increasingly fragmented, Tijuana Cartel's performance at Freo.Social was a reminder of the possibilities that arise when cultures converge, when music transcends boundaries, and when a night in Fremantle can feel like a voyage across continents.
Their show was a montage of human connection, a night where the history of the land, the spirit of the audience, and the artistry of the band coalesced into a singular, unforgettable experience.
