This concert curated by Barkindji trobairitz Nancy Bates featured accomplished First Nations troubadours and trobairitz from far and wide around Australia.
Each performed a set, and most shared some story element of the inspiration around their work. While some aspects of the evening were a little underwhelming the overall experience provided a constant flow of country music inspired by the likes of Waylon Jennings and Lyle Lovett and their ilk.
Highlights included Aunty Penny Bonney an Elder of the Moandik, Meintangk and Narrungga people who hails from a big family in Kingston, sharing very personal insights concerning Aboriginal deaths in custody and her song celebration of gender identity; hers is a mature and rich voice with great emotional resonance.
Nancy Bates talking about her work with interns in Correctional Services and a new documentary to premiere at the 2024 Adelaide Film Festival that exposes this work, before she sang a song about what love is, having agreed with her group of Correctional interns after a yarn-circle with them talking about what “love isn’t,” which was as simple as it was poignant. Bates’ wry sense of humour effortlessly referencing Nashville’s Grand Ole Opry with a single phrase and a sparkle in her eye.
Glenn Skulthorpe’s anecdote about Lyle Lovett losing his song-writing mojo when he briefly found himself “too happily married,” to actress Julia Roberts in the early 1990’s tickled the audience’s funny bone.
The combined efforts of Jess Hitchcock, Scott Rathman Jr, Aunty Penny Bonney, Skulthorpe and Bates all led towards the evening’s inevitably heartfelt finale that provoked standing ovations, cheers and some tears.
What was a little disappointing was the program mentioning imagery of the land “which breathes life into the songs,” projected above the stage, but that element didn’t really seem connected in any significant way, the stage lighting was consistently dull, and some of the songs sung in language had no translation or insight provided as to the meaning, which seemed like a missed opportunity given the way Blak Country was framed as providing an opportunity to learn as well as listen.
By the end, Blak Country certainly demonstrated how country music and guitars have been easily adapted and woven into the fabric of contemporary First Nations Australian storytelling.
guitar.adelaidefestivalcentre.com.au
