Marlon Williams is basking in the adulation of whanau and fans, and the blessings of winter solstice Matariki celebration.
A time to reflect on the past year, celebrate the present, and plan for the year ahead. Past, present and future as encapsulated by Turn,Turn,Turn. Lyrics taken from the Book of Ecclesiastes by Pete Seeger.
Also, a baptism for his new album Te Whare Piwekaweka, released a few months ago.
The first time headlining a show at New Zealand’s largest indoor arena, Williams appears radiant. Wearing a suit adorned with a bolo tie (noticed by a female fan), as are his fellow Yarra Benders.
Dave Khan who plays with everyone and must be the busiest musician in New Zealand. High School mate Ben Woolley bass guitar including at upright acoustic, and Aussie mate Guy Agars on drums.
Williams is an international artist, worked and toured constantly prior to lockdown, and made a memorable cameo appearance in the Lady Gaga/ Bradley Cooper version of A Star is Born (2018).
He played a Roy Orbison styled singer, a trademark of Williams.
The current album was fertilised and gestated in that mad time when the government tried their best to shut down everything. The covid years.
Williams had a need to connect with his Māori roots for his own spiritual regeneration and rebirth. That would make it the equivalent of John Lennon’s Plastic Ono Band.
Melodic and seductive as opposed to punky and raw. That is present but not delivered like a punch in the guts. See the album review here.
Williams enters the stage solo with minimal lighting and immediately conquers the evening with a traditional number, Rimurimu.
Stunning voice from the start with superb phrasing. Orby’s there deep in the mix, and a lot more besides.
E Mawehe Ana opens the album and is second song in. A lament on record, it becomes a Pop song in the fashion that Sam Phillips Sun studios pioneered with Presley and the Big O.
Fifties music is one foundation pillar, and it is the history of Māori musicians at the same time. The love of melody and harmony singing.
Aha Atu Ra is drenched in this, and the tendrils which stretch to classic Doo-Wop.
Kura Pounamu. One of my favourites. A keening violin from Khan. Celtic Caldonian Soul like Van Morrison all through the Seventies. The drums roll and rumble like Big Country. I hear bagpipes rising. This one aims to storm the home on high.
Kahuri Manu was the one he sung with Lorde. She’s not here tonight and so it sounds like a Fifties melodic Pop banger.
Williams is an adept of Americana and the elements of Woodstock and the Basement Tapes are a lurking presence.
Ke Te Marama. Deep bass tones resonate through the guts. Distinct lines from Dylan’s I Shall Be Released.
Me Ua Ua Ke. Khan plays a whirling organ sound like Garth Hudson from the Band. Harmony vocals from the Benders and the song rises up to Gospel Pop.
Throws in one song from previous album, My Boy. Such a versatile singer that he can channel Mary Wells of early Motown.
A Kapa Haka ensemble started the evening, and many of the women come back on stage to finish the last third of the concert.
Korero Māori, reminiscent of the Patea Māori Club rhythms and swing. They do a poi dance.
Another helping of essence of Orby with Arahura, one written by Williams and recorded by Kacy and Clayton.
Pays tribute to the great Māori song stylist Hirini Melbourne and a cover of Rongomai. Refers to Halley’s comet. Played in a Folk style with tones of Simon and Garfunkel.
KOMMI Tamati-Elliffe was Marlon Williams collaborator on songwriting for much of the album.
Plays a style of Rap called Witch Hop, with a southern Māori dialect. Quite a surprise to see him perform for the first time.
Has a small band behind him and they play Jazz and Funk chops with a heavy stylistic influence of Black American radical music which dominated the Soul scene from 1968 to !973.
In the wake of the Martin Luther King assassination. The Last Poets, Gil-Scott Heron, Sly and the Family Stone.
Beat poet Rap. Heavy presence of the Godfather, the Minister of the Super Heavy Soul Funk himself. (Not the DoggFather).
Marlon Willams returns to the demands of the audience for an encore. As if he wasn’t gonna return.
One more classic cut off the album. Whakameatea Mai is Cowboy and Western Swing. The band drive this over the top and Williams in ecstatic mode with the vocals. Surpasses the recorded version.
The whole Family Ensemble are invited up for te reo singalongs. Rowdy Folk and in the midst of all that, a Shaft wah-wah guitar riffing.
Marlon Williams revels in all the Matariki spirit.
Rev. Orange Peel
Photography by Den
Marlon Williams
Kommi
Ngā Mātai Pūrua
