Review: The Ladysinger's Parlour (Vol. 1)

**Picture**: Closing *The Ladysinger's Parlour (Vol. 1)* with Linda Ronstadt’s *Old Paint* (image credit: Creative Futures Photography)

Many of the creatives who produce Anywhere Festival shows talk about the opportunity to test out new ideas and of ‘making dreams come true.’ Which is great news for local audiences, as the dreams of artists often produce some incredible experiences.

Anje West and Kym Ambrose have devised a fabulous new show, that is likely to run to many, many ‘volumes.’ Drawing on memories of music that has been formative or important, Anje West has distilled her personal playlist down to just a dozen numbers. As you would expect from a talented musician, the songs on Anje West’s personal list stretch back to early memories—making the performance even more special when interweaving the performance with anecdotes about songs ‘that came into her life,’ and ‘doing the songs just because I love them.’ It’s not surprising that this show was the first to sell-out in the 2024 Anywhere Festival program (including the extra night selling out in record time).

Fortunately for Brisbane audiences, the August 2024 show is tantalisingly referred to ‘Vol. 1.’ With a wide-ranging, and dare I say it eclectic playlist ‘of millions of songs,’ there are lots of opportunities to build a suite of exceptional events.

In the style of the ever-popular Australian Modern ‘at home’ events, The Ladysinger's Record Parlour (Vol. 1) was presented in the ‘parlour’ of a Fairfield home—a space that was cleverly transformed with a cozy cabaret stage for the show. Which meant that the perfect way to start the evening was with the Paul Macartney/Wings classic ‘Let 'Em In.’ Ok…we didn’t have to literally ring on the bell at this private home, but we had all been ‘let in’ to the living room of the legendary Anje West and Kym Ambrose. Anje West described the opening song choice as being a little like a ‘warm hug,’ and the contented collective sigh that followed the very warm applause of this first song demonstrated that we all agreed.

As we have come to expect from Madcouch Productions, the musicians were exceptional; Anje West (voice) and Kym Ambrose (drums) were joined by Jamie Clark (guitar), Helen Russell (bass), Mal Wood (trumpet), Joe Machen (keys), and Liz Pickering (backing vocals).

I’ve struggled to get to my top five numbers of the evening (a shortlist of just three was absolutely impossible). But here goes…

I thought it would be difficult to improve on Gerry Rafferty’s 'Baker Street,' but Anje West’s bossa nova styling was better than the original. We hung on every word, and this version included one of several fabulous guitar solos by Jamie Clark (guitar). Tom Petty’s Don’t Fade On Me is new to me. I’ll now be adding the Wildflowers album to my personal collection, but I’d much rather be able to buy the excellent Anje West version I heard on Saturday night—particularly if also with Joe Machen on keys. And I have a feeling that Steely Dan would have appreciated The Ladysinger’s version of Don’t Take Me Alive; the band clearly enjoyed playing this one, with excellent electric guitar work and harmonies.

Due to space constraints, and to achieve the best possible sound balance, for most of the evening Mal Wood’s muted trumpet notes floated in from the adjacent bedroom. However, Mal Wood was allowed out of the bedroom to play the trumpet in the room for part of Boz Scaggs’ Harbor Lights. Anje West introduced this one as her ‘spoken word poetry moment,’ and I really enjoyed this version.

Finally, I think my personal highlight had to be Paul Simon’s Late in the Evening. I loved loved loved Anje West’s interpretation: great harmonies, with wonderful rhythm and trumpet. Let’s just say that Anje West and band really ‘blew that room away.’

But there was so much good stuff to choose from—including Billy Joel’s Summer, Highland Falls (great piano, in a song that Anje West described as building the show around), and Linda Ronstadt’s Old Paint (an excellent choice for the final, ‘encore’ number, with great acoustic guitar and harmonies from the full band). And it was so good to be introduced to songs I hadn’t heard before. For example, I’m new to Warren Zevon’s Nighttime in the Switching Yard, but I can quite understand why Anje West has been stopping traffic while practicing this funky number (I’m thinking that Madcouch might need to put on a jazz funk evening at the Brisbane Jazz Club some time?).

The night may have been cold, but this joyful show was one of the warmest and most engaging I have been to in some time. At the end of the evening, the audience was clamouring for volume six, so it’s great to hear that Anje West is already choosing songs for The Ladysingers's Record Parlour (Vol. 2). I suggest you follow Madcouch Productions/The View From Madeleine’s Couch, to make sure that you get in quick for what will surely be sell-out concerts.

Catherine Lawrence

**Picture**: *The Ladysinger's Parlour (Vol. 1)*, **image credit: Creative Futures Photography.**

Audience information: The 2024 Anywhere Festival Brisbane program included only two performances of The Ladysinger's Record Parlour (Vol. 1) 2-4 August 2024) at The Parlour, Fairfield (private house). Complimentary pre-show hospitality of the house included in the ticket price. PG (suggest 10+). Tickets: $45, plus $3 booking fee. 75 minutes.

The reviewer was fortunate to have attended the 3 August 2024 7:30pm show.

Geoff Lawrence