Reviewed by Graham Reid

One thing you can say for Crosby, Stills and Nash, they might not come here often – but when they do turn up on the stage with alarming punctuality. The previous time they played the Trusts Stadium I arrived at the very early unrock’n'roll time of 8.20 to find them three songs in.

This time I took no chances and by my watch they took to this stage eight minutes short of 8pm.

I guess they know their audience doesn’t want to hang around and get impatient.

And, they also know what that audience wants to hear. But although they included all the right crowd-pleasers (Southern Cross, Wooden Ships, Marrakech Express, Deja-Vu, Our House etc) CS&N also delivered a performance full of pleasant surprises.

Among the many unexpected delights was an amusingly ragged and heart-in-mouth inclusion of Suite: Judy Blue Eyes which Crosby said they hadn’t played for about 20 years (True.)

It was certainly rough around the edges and here — as in many of their old classics – the harmonies are a little less bright and seamless than they once were. (Stills’ voice weak and often wavering). But the enjoyment they took in it (Stills on guitar especially as Crosby beamed away) was infectious and pulled a standing ovation.

Even more surprising came in the encore between Love the One Your With and Teach Your Children Well. Stills found his voice on For What It’s Worth by his pre-CS&N band Buffalo Springfield and the room rocked once more.

And backed by a cracking five-piece band (which included Crosby’s son James Raymond on keyboards, and that’s a story in itself) they certainly didn’t stint on the firepower when required, especially Stills who pulled out fierce sharp solos all night. You’d love him to come back with a bar band and really let loose.

And throughout the set – Crosby noting they could just play all their old hits – they included new material including longtime sailor Crosby’s Radio about rescue at sea but with a more universal meaning. There was also a tetchy Almost Gone written by Graham Nash and Raymond about the imprisonment of Bradley Manning for allegedly passing secret memos to Wikileaks.

And Nash’s country-flavoured In Your Name (about killing in the name of your God) sounded like a weary update of his old and angry Military Madness.

But of course it was the old songs which people responded instantly too – and Crosby (who often looked like he was pacing himself) unleashed exceptional vocal power on Almost Cut My Hair.

His “weird shit” on Guinnevere was much appreciated in the acoustic set which opened the second half. And there was a charmingly off-kilter version of Dylan’s Girl from the North Country with Stills taking wobbly lead vocals.

Crosby, Stills and Nash made a point of saying that this was the opening night of a world tour, but it never sounded like we were getting an open rehearsal. They were (mostly) on top of their game and you’d have to think that a few shows in this will become even more powerful.

You’d also observe that all these years on and against the odds – drugs, internal conflict, obesity and so on – that they could have coasted through this night just pulling out reasonable facsimiles of great days long gone.

But with the new songs, the humour, the flinty politics from Nash and Crosby, and Stills’ guitar playing this was clearly an outfit that isn’t going to go gently into that goodnight.

If the organisers do as great a job as they have in previous years, it wil again be a great event for families, kids of all ages and especially those school kids who participate in the massed “Kiwileles”

More info will be posted here as it comes to hand.

For info and reviews of the 2010 festival see http://www.culturevulture.co.nz/blog/ukulele/ukesinschools/nz-ukulele-festival-auckland-2010-review/

and

http://www.culturevulture.co.nz/blog/ukulele/festivals-events/new-zealand-ukulele-festival-band-line-up/

Ukulele World, the exiting new resource, has 22 original songs for ukulele groups and schools. It includes chords and lyrics with helpful tips. A free D.V.D. of the songs is to be recorded – would you like to be part of this exciting project ? Contact Kevin Fogarty now.

Nigel’s sensational guitar skills complemented Whirimako’s great vocals wonderfully. The small Church venue and Whirimako’s wonderful ability to engage and connect with an audience made for a great intimate performance.

To quote Motueka Online’s recent review of the same concert held there:

“Such was the high quality of Whirimako’s rich, honeyed voice and emotional presentation and of Nigel’s at times almost unbelievable guitar playing, that it would be presumptuous of any minor-talented music reviewer to criticise anything.

Nigel’s guitar work flowed with a consummate ease which belied the complexity of what he can achieve with just 10 fingers, six strings, a few bits of wood, and an electronic system which allowed him to record live his own background chord patterns over which he could play instrumental breaks. “

We agree entirely, except that in Coromandel, Nigel was actually playing a seven string guitar – with an extra bass string added for more depth and versatility – further showcasing his extraordinary skills!

Well done to the Coromandel Music society for organising this great night.

Held in perfect weather at Waitakere Stadium in Henderson, Auckland on 27th November 2010, a great day was had by the thousands who attended. All for free too!

The Kiwileles massed schools playalong and also a “Kiwi Ukealong” where everyone could play together created a great atmosphere and stimulation for many.

Songwriting contests and a Ukequest to find the best Youth ukulele act added interest. Main stage performers like Azo Bell & Ukelele Bart from USA filled out the day of performances, workshops, open mic sessions and fun.

Well done to the organisers.

Final words from some who attended:

It was cool for my granddaughter who played in it

Absolutely brilliant. They get better every year.
absolutely loved it – totally magical – the sun was shining and it took me away from the TV for a few hours – it gave me hope

A really fun day for all ages!
I thought the Uke Fest was fantastic, i came down from Mangawhai on my own and stayed for hours, you did a gr8 job! Thank you.

It was a beautiful day and my daughter and school friends enjoyed the Uke Fest alot. Thank you.

Part of the comedy was the hilarious use of opposites. As if Saturday night and ukulele orchestra are not a funny-enough pairing, how about a six-foot baritone scrunched around a tenor ukulele or leader George Hinchliffe’s plucking a delicate melody from an instrument so tiny it was barely visible behind his “sausage fingers”?

Not only does the humble ukulele find safety in numbers in this orchestra but it shows off its diverse sonic palette.

Sitting in a row between Dave Suich on tiny soprano ukulele and Jonty Bankes on the bass ukulele the musicians plucked and strummed detailed melodies and managed to fill the Town Hall with everything from Beethoven to charming versions of classic British rock songs.

There was everything from a strangely beautiful version of Teenage Dirtbag sung by Hester Goodman to the ukulele-as-a-bongo version of Chic’s disco classic Le Freak to a breathtaking version of a Camille Saint Saens composition.

At points, their choice of covers were reminiscent of the film Young At Heart, with Smells Like a Teen Spirit and Should I Stay or Should I Go?

Despite the dapper suits and bowties, they also recreated a campfire singalong atmosphere, encouraging the audience to sing along to Anarchy in the UK.

It was the kind of show that gave you itchy fingers, and a few members of the audience whipped out their own ukuleles and plucked along to Ode to Joy.

Wrapping up with a clever remix of everything from Elvis to The Beatles to Robbie Williams and giving a Kiwi salute with Now Is The Hour, they packed up their instruments to head down country.

Concert date 20 November 2010, Auckland Town Hall

Review by Jacqueline Smith NZ Herald