‘The band’s theatrics were spontaneous and endearingly gawky throughout the evening’

This week’s Real Music Wednesdays saw its first encore at the Bioscope when Frankie Beagle, the incredibly talented musical visionary, simply couldn’t refuse the audience’s insistent petition for one more song.

Five transcending progressions earlier, Frankie stood timelessly on stage alongside David Driver (keyboard), Alex Collins (base) and Courtney Ward (didgeridoo and other miscellaneous items and instruments), making sure every element of their exhibition was up to standard. A staccato acoustic progression with a swingtime rhythm was underway, allowing Beagle’s sullen and beseeching opening line, “Listen closely”, on the song “Thombilly”.

Warmer and moodier melodies followed with the dingy yet sullen basslines and enchanted keys from Collins and Driver on songs “Sailor Song”, available for streaming online, and “Little Bird”. Courtney Ward, Beagle’s friend and collaborator, measured function against form as she complemented the acoustics with sound extractions from a baobab, a swimming pool cleaning tube and boots laced with trinkets.

Later, Ward would break out in a wild dance, letting out chiming percussion as she stomped and flung herself about, buffeted by what clearly was the audience’s favorite song, “Circus Man”.

The band’s theatrics were spontaneous and endearingly gawky throughout the evening and Beagle’s love for indigenous instruments was masterfully portrayed as the array of sound, produced by just a handful of artists, gave the performance a cinematic presence going on genius. The independent musician’s diet appears to consist entirely of an organic adventure of sound. The audience lapped up the serving’s treasures greedily and applauded beyond Bioscope’s parameters.

“Butterfly”, the last song, was placed so perhaps to mesmerise the occasion into a content calm – which never happened. Beagle found herself gladly having to relive the glory of “Circus Man”.

Ward’s rain dance revived the festive feeling the song abundantly engendered before dropping to the ground – being flung out by the now satisfied moment.