The first, and only, AR Rahman concert I had been to was in Hyderabad, in 2003. It was the first time Rahman had ever toured, and expectations were high, the man himself
had not sold out was at the top of his game, and I had all-access backstage passes. Since then, I’ve passed on every ARR concert that happened in the vicinity, partly because I could not really top the 2003 experience, and partly because there was not really anything new happening in any of the concerts – you could make out parts being badly lip-synched, there would be the mandatory Sivamani jam, garish background dancers, and a bunch of crowd-pleasing songs. Ho-hum.
But when Sasi told me about Rahman playing at the Hollywood Bowl in July, I was struck with that Rahmantic yearning again. And that’s how we landed up there this Sunday, with a bottle of wine, bags of popcorn, and a cumulative high after listening to ‘Jiya Se Jiya’ in the car. (the Hollywood Bowl allows you to bring your own food in, which was a pleasant surprise) As expected, the place was desi-ville, right from the parking lot to the crowded stands. (Which also meant there was a great deal of queue-bumping. Or queue-nonexistence.) A bhangra group, apparently a bunch of SoCal dancers called the Sher Foundation were performing at the entrance and inviting passers-by to join in, leading to much exhibition of left feet.
The concert began with a performance by Rhythms of Rajasthan, a folk singing troupe. Nobody really paid them much attention, people were still streaming in, it was not dark enough to see the screens, and there were no crunchy beats to make you get up and dance, yo. Karsh Kale was up next. He played an excellent 45-minute set, with some great singers joining him onstage, as well as a female violinist named Lili Haydn, who owned. Salim Merchant came onstage for a bit, jamming to his song ‘Shukran Allah’ from Kurbaan with Kale and his crew. Overall, a fantastic performance, and I was primed for the evening. But no ARR in sight, instead Sher Foundation and something called Bollywood Step Dance came onstage and did what every wannabe on every talent show on every TV channel does – dance to Bollywood songs. Omkara, Jab We Met, facepalm. Thankfully, this did not last too long.
The announcer came on stage, did his usual Rahman spiel. Mispronounced name, check. Slumdog Millionaire mention, check. Audience going wild, check. Random drunk Tamil dude screaming ‘thalaivar’ over and over again, check. Conductor Matt Dunkley walked in. The opening sequence to Enthiran played on the giant screen, and the crowd roared as Robonikanth sauntered into view. The music began to play, slowly building, and the choir launched into ‘Arima Arima’. But whoa, it was a version much different from the one on the soundtrack. I believe the precise moment I began to gape with disbelief was when ‘Arima’ became a rearranged ‘Puthiya Manithan’ . Because this was good, guys. This was not stick-to-the-crowd-pleasers Rahman I was expecting. The Spirit of Unity tour in 2003 had the bombastic ‘Oruvan Oruvan’ from Muthu opening every show. The overture to that song is a magnificent orchestral piece that was tweaked a little, so that the meaty beats and SPB’s robust vocals that lead to the song became a bubbly hymn of anticipation, driving fanboys like yours truly delirious with happiness. This version of Enthiran evoked something quite like that. But I expected the singers to emerge any minute, destroying those few minutes of sonic adventurism that we were witnessing. I was wrong.
Rahman came onstage, talked a bit about how happy he was to be there. Said something funny about this not being a ‘rockstar event’. A brief speech about Roja, and he walked away. The orchestra struck up again, with a delicate reinterpretation of ‘Kaadhal Rojave’, with ARR regular Naveen on the solo flute. It was at this point I realized this was going to be much, much more than a regular concert.
Chances were high that something like this would suck. You know why? Because orchestral reinterpretations fall into two categories – gimmicky or wannabe. An outfit like Apocalyptica, once the novelty of hearing METALLICA-ON-CELLO-WOO-HOO wears off, is just a bunch of celloists scraping on their instruments as hard as possible to make them sound like badass Les Pauls. Off the top of my head, the only orchestral version I loved whole-heartedly, without coming back to it some time later and going ‘wha-huh, I enjoyed that?’ was Jon Lord’s Concerto For Group And Orchestra. And please don’t say S&M. No, it does not hold up. Matt Dunkley, who was the conductor and arranger for the concert, has apparently worked with ARR since
The choice of songs was superb. These were the underrated gems, the pieces that do not make it to your top 10 ARR lists. ‘Ayo Re Sakhi’ from Water, (which was nearly ruined by the female vocalist, a lady named Amrita. I will get to her in a minute) , pieces from Couples Retreat and 127 Hours. ‘Mausam & Escape’ from Slumdog Millionaire was a frenzied piano/sitar duet, with sitarist Asad Khan joining Rahman on the keys, and a very unexpected choice for that soundtrack. The predictable inclusions – the theme from Warriors of Heaven and Earth and ‘Once Upon A Time in India’ from Lagaan, the Bombay theme. The most unpredictable one was a suite from The Rising, otherwise known as Mangal Pandey. I have to admit that the piece made me itch to go and revisit the OST, though I am not courageous enough to consider watching the film again. (Shudder!)
The one piece I could not recognize at all was ‘Changing Seasons’. Was it from Raavan? I have absolutely no clue, because my post-2009 ARRfu is weak. I do not remember seeing it anywhere before, even on promos.
The low points –
- Almost no connection between the content of the video clips and the piece being conducted at the moment. Imagine watching an action sequence with a romantic theme playing in the background, and you will understand what I mean.
- The multiple anti-British themes (and their corresponding videos) got a little tedious. Thankfully, no pieces from Bose: The Forgotten Hero.
- The choice of ‘Jai Ho’ as the closing song. While I get it, it’s the most recognized Rahman song in Hollywoodland, familiar enough for even the random drunk woman sitting next to me to wake up and cheer. But you have a Philharmonic orchestra and start off with programmed beats and a bunch of under-trained vocalists to substitute for Sukhwinder Singh’s power-packed vocals. Seriously?
- The terrible, terrible female vocalist, who had no business sharing a stage with the Man, or anywhere near a microphone. She sounded nervous at first, a little out of breath, when singing the Water song, but one can only forgive so much. Her voice was grating enough to suck away all the joy out of ‘Jai Ho’. I missed you, Tanvi Shah. You may be the only Indian woman who can say ‘Salut, baila baila!’ without making me giggle.
And now to wait for an official CD release.