Guy van Egmond
In a well-kitted out community hall down in far-off Newtown, there was a most lovely and supportive evening when the Rocking Rainbows performed. Not just a band, as their Facebook page states, The Rainbows are a movement that showcases talent and capability against odds and scepticism. Supported by music therapist Sophie Sabri, the band put together a really joyful gig and created a wonderful shared space to perform their music.
The show was opened by Zeeva, a third-year music-practice student at Massey, whose lyricism and soft-spoken vocals put me in mind of dodie, Haley Heynderickx or Pōneke’s own Vera Ellen. Standing alone on the stage with only an acoustic guitar, she spun songs that one could get lost in (even when the guitar fell out). “Photograph” was a nice example of this, as was “Touch,” my personal favourite for its catchiness and musical complexity. Zeeva did a good job at working with the audience despite obvious nerves, growing more comfortable as her set progressed and handling technical issues with a shared laugh. There were a few hiccups throughout the performance, but none that she let derail herself. Some of her songs, such as “Heartbeat,” lacked compositional complexity, but I enjoyed the variety of her set, from the spoken-word “Gladiator” to the poetic “In Black and White.” She was a lovely artist to listen to; I hope she keeps developing her body of work and lands more gigs around the city.
After a brief technical break, it was time for the Rainbows themselves. The four of them climbed the stage and settled comfortably behind their instruments: Matthew Wilson on vocals and congas, Michael Cupples on drums, ‘Rocking’ Reg Murray on bass and Sabri on guitar and vocals, mostly. She gave a brief introduction to the Rainbows’ movement, having been together for almost 5 years and performing together for 3. They were, unfortunately, missing a member on percussion, which was noticeable in a messy start with “Jungle Boys.” However, as the gig went on, they found their groove, taking cues from each other and jumping in with some energetic solos. Their second song, “Yeah Nah,” was already stronger, and showcased Wilson’s vocals with which we were all invited to sing along.
The band crossed genres easily, from rock and Manu-Chao-esque reggae to a haunting Andean folk piece. For this latter song, “The Flute,” Sabri played a Peruvian-made flute, which, melding well with Wilkson’s congas, produced a piece of music reminiscent of Koyaanisqatsi, or some South-American adventure film I’d love to see. This was followed by “Island Song,” featuring a Tahitian ‘ukarere and fantastically wild backing by Cupples on the drums. Murray had his own spotlight moment as well, having named and written the final song: “The Hand That Feeds,” a great classic rock anthem.
The real beauty of The Rocking Rainbows, however, was the energy they created and shared. I’m not sure what the make-up of the audience was in terms of ‘family and friends’ to ‘general public’, but I could instantly feel how supportive the space was. The friendly energy (and the table laden with strawberries and biscuits) meant that, even though the first sound check went well over time and the show started 40 minutes late, it didn’t really matter. This was a space for the band to express themselves, to share what brings them joy and perform what they’d created. With the music pumping and lights flashing, The Rainbows looked as comfortable on stage as any other band, and they performed with more gusto than most. I was grateful to have been a witness to it.
After a brief technical break, it was time for the Rainbows themselves. The four of them climbed the stage and settled comfortably behind their instruments: Matthew Wilson on vocals and congas, Michael Cupples on drums, ‘Rocking’ Reg Murray on bass and Sabri on guitar and vocals, mostly. She gave a brief introduction to the Rainbows’ movement, having been together for almost 5 years and performing together for 3. They were, unfortunately, missing a member on percussion, which was noticeable in a messy start with “Jungle Boys.” However, as the gig went on, they found their groove, taking cues from each other and jumping in with some energetic solos. Their second song, “Yeah Nah,” was already stronger, and showcased Wilson’s vocals with which we were all invited to sing along.
The band crossed genres easily, from rock and Manu-Chao-esque reggae to a haunting Andean folk piece. For this latter song, “The Flute,” Sabri played a Peruvian-made flute, which, melding well with Wilkson’s congas, produced a piece of music reminiscent of Koyaanisqatsi, or some South-American adventure film I’d love to see. This was followed by “Island Song,” featuring a Tahitian ‘ukarere and fantastically wild backing by Cupples on the drums. Murray had his own spotlight moment as well, having named and written the final song: “The Hand That Feeds,” a great classic rock anthem.
The real beauty of The Rocking Rainbows, however, was the energy they created and shared. I’m not sure what the make-up of the audience was in terms of ‘family and friends’ to ‘general public’, but I could instantly feel how supportive the space was. The friendly energy (and the table laden with strawberries and biscuits) meant that, even though the first sound check went well over time and the show started 40 minutes late, it didn’t really matter. This was a space for the band to express themselves, to share what brings them joy and perform what they’d created. With the music pumping and lights flashing, The Rainbows looked as comfortable on stage as any other band, and they performed with more gusto than most. I was grateful to have been a witness to it.