GofaDM is proud to continue its commitment to archaic, fixed verse forms as part of a doomed project to rein in the verbal vigour of its author. Today, we bring you a gig review in the form of a Shakespearean sonnet. At a time when many will hand in any bunch of words arranged into roughly 14 lines and call it a sonnet, GofaDM is pleased to stick to the rules (at least insofar as it understands them). We say “No!” to half-rhyme and anapestic feet; no hens will sully our decasyllablic form. Some might have expected the next verse to grace these pages to be a sestina, but this is proving quite the challenge and the triune form of the sonnet, capped by a closing couplet, more neatly matched the event being immortalised.
There are some limitations to the explanatory power of the sonnet and so I will offer a little background to provide the merest dash of context to my versifying.
Last Thursday I attended the final gig of the soi-disant first season of Playlist gigs which have become such a highlight of Southampton’s cultural scene. These have been glorious with each offering an extraordinarily diverse mix of excellent music in interesting spaces. They attract an open-minded, respectful audience: something which should not be under-estimated and is clearly relished by the musicians. Not only do they provide really good gigs for musicians but also commission new music to be performed: which makes them a fish of a particularly uncommon feather.
This gig took place under one of the arches that once formed a part of the abattoir associated with the city’s cattle market but which have now been transformed into an arts space. There were three performers: percussionist (and Terpsichorean marvel) Sam Wilson, flautist Pasha Mansurov and prog-rockers A Formal Horse as an acoustic trinity. Australian composer Drew Crawford had been commissioned to write a new site-specific piece for the concert, which took advantage of its unique acoustics. For the performance, the space was lit only by the tablet screens of the musicians (whether to read the music or find their instruments, I’m not sure) which was quite magical.
While A Formal Horse played, artist Alys Scott Hawkins attempted the, frankly impossible, task of creating live art inspired by their music which was projected behind the band onto the curving wall of the space.
All power to the elbows of the dedicated group of Playlisters who bring such broad artistic skies to our view. Count me in as a Playlist Pal and roll on Season 2!
Enough with the procrastination, time to suffer the poetry!
To frictive rhythm words describe a route
Direct to deeds unknown on some staircase.
A Bach Chaconne follows, rising from a flute
Its liquid notes caress once bloody space.
Under the Arches, written for this gig,
Bass flute and vibes in muted light commune.
On electronic mat a whirligig
Of limbs, through laptop, dances out a tune.
To end our revels comes A Formal Horse.
An artist draws, as high voice rises clear
And strings compete in prog rock tour de force:
Behind, bright illustration does appear.
With its mantra ‘Music we want to hear’
Playlist concludes its first triumphant year!