Tag Archives: Girl Talk

Concert review: Girl Talk (Barb Jungr, Mari Wilson and Gwyneth Herbert), Mercury Theatre, Colchester, 29th March

30 Mar

Girl Talk: warm, generous, witty and sophisticated

Take three of Britain’s top female vocalists, each with her own distinctive style and a generous supply of sizzling one-liners. Give them the run of the complete songbook of womanhood. Ask them to come up with an entertainment that touches on the complexities of the female condition, offering catharsis for the women in the audience – and little windows of enlightenment for the men. Then sit back and enjoy the chemistry.

Girl Talk‘s I Am Woman, which unites the multiple talents of Barb Jungr, Mari Wilson and Gwyneth Herbert, sashayed on to the stage at the Mercury Theatre in Colchester last night and delivered a show that brimmed with warmth, generosity, wit and sophistication, but was also peppered with some searingly emotional moments and bittersweet cynicism.

The new line-up (Herbert now occupies Claire Martin’s old spot) gives the singers a new dynamic to work with, pitching Jungr and Wilson’s hard-earned wisdom against the self-confessed young libertarian and allowing the sassy banter to set the songs up in hilarious ways. But more than anything, it gives them the freedom to show off their individual versatility within the framework of a trio. Between them, they share an abundance of musical gifts.

Barb Jungr: sings from the gut (photo by Steve Ullathorne)

Jungr, as always, sings from the gut. Even when she is ripping up a dubious lyric (the Doris Day number, “A Woman’s Touch” was delivered with many a knowing accent), she finds a way to wring some compelling truth from its remains. Wilson is a sublime song stylist with a voice of considerable range and the ability to give even the most familiar number a freshness that can make you feel you’re hearing the lyrics for the first time. And Herbert’s musicality makes her an endlessly fascinating presence, injecting some real edge with a timbre that veers from her trademark theremin tremelo down to a throaty contralto.

From the minute they launched into “Girls, Girls, Girls” – with the excellent Simon Wallace at the piano, standing in for the indisposed Adrian York – the harmonies were exhilarating. Several numbers were delivered a cappella, with an infectious verve that conveyed just how much fun they were having on stage. “Under My Thumb” was given a typically risqué introduction and liberties were taken with the lyrics of the Bacharach/David classic “Wishin’ and Hopin’”, sticking a stiletto into their dated, submissive message. “Where Do You Go to My Lovely?” and, gloriously reinvented, that bizarre, epic 1982 travelogue “I’ve Never Been to Me”, were given similarly arch treatment.

Mari Wilson: sublime song stylist (picture by John Haxby)

From “Jump the Broomstick” to the joyously anthemic “I Am Woman”, the songs flowed thick and fast, each one delivering its own thrills and surprises. A mash-up of “I’m Every Woman” (Jungr), the Bee Gees’ “More Than a Woman” (with an up tempo Wilson soaring) and the Lisa Stansfield mega hit “All Woman” (Herbert in whisky-and-nicotine mode) was the tumultuous highlight of the second half; the arrangement was exhilarating.

But it wasn’t just about three established singers kicking back and enjoying safety in numbers. Each also had a solo spot and treated us to some superb torch singing. Herbert led the way in the first half with an absorbing take on “The Other Woman”: the mistress materialised in front of us, trapped in the ebb and flow of her private agony. Then Wilson delivered a ravishing “Touch Me in the Morning” that had the audience hanging on every word and, I suspect, banished all thoughts of the haughty Miss Ross. Finally, Jungr tore into “Woman in Love”. Think Piaf at her peak with a dash of Callas in the characterisation, and you’ll get the idea. Streisand has always declined to sing it in her concerts, despite the fact that it was one of her biggest hits, because she doesn’t identify with the lyrics. If she’d been in Colchester last night, she might have found a clue or two.

Gwyneth Herbert: from theremin to throaty contralto

This new Girl Talk is tremendously promising. The arc of the evening is brilliantly set by the different qualities of the three singers. There is work to be done on the links, certainly, and the ‘journey’ through the emotions and facets of life could be more clearly defined. But these are quibbles about an act that is still at its formative stage, with the potential to explore so many possibilities in terms of material and style. As Girl Talk evolves, it will be fascinating to see how their characters evolve within the context of the show, and strike sparks off each other. If these women come to your town, don’t miss the chance to see them. They’re a class act.

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CD Review – Renée Yoxon: Let’s Call it a Day; plus news of Barb Jungr, Mari Wilson, Girl Talk, Marianne Faithfull and a Sondheim cabaret season

24 Dec

Renée Oxon sings “Gee Baby, Ain’t I Good to You” on a fire escape in Ottawa. The sound quality on her album, Let’s Call it a Day, (reviewed below) is much better!

Wilson, Jungr and Herbert: the new Girl Talk line-up hits London in February

Congratulations to Barb Jungr, whose album The Men I Love has just been named Cabaret CD of the Year by Time Out New York.

Barb and Mari Wilson will be joined in the new year by the equally talented Gwyneth Herbert, as they launch a revived Girl Talk with a new show – I Am Woman. Girl Talk begin a week-long residence at The Pheasantry in London’s King’s Road on 8th February.

Mari has just released a fabulous slab of electro-pop, with a slash of retro hi-energy, collaborating with Boisounds on a party floor filler, “O.I.C.”, which is available for free download.

Horses & High Heels: Marianne Faithfull's new album, out in March

Marianne Faithfull’s new album Horses & High Heels comes out in March. “I don’t really do conventional,” she warns us in advance publicity. As if we didn’t know. A taster track, the self-penned “Why Did We Have to Part”, is available for free download until 19th January.

Back at The Pheasantry, there is a really good reason for fans of Stephen Sondheim’s work to join the Sondheim Society. In tandem with the Society, producer Sam Joseph has conceived a series of Monday night cabarets starring some of the biggest names from all areas of London musical theatre. Society members benefit from advance notice of the programme and discounted ticket prices. Confirmed so far are: Alex Young (10th January), Sally Ann Triplett (21st February) and Mrs Lovett-to be – at Chichester later in the year – Imelda Staunton (14th March). Future appearances are expected by Rosemary Ashe, Janie Dee, Robert Meadmore, Adrian Grove, Graham Bickley, Michael Peavoy and leading West End musical director Gareth Valentine.

Let's Call it a Day: an auspicious debut from Renée Yoxon

Who’d have thought a physics degree would be the ideal foundation for a career as a torch singer? OK, so she was doing a little music on the side, but Renée Yoxon’s decision to ditch formulae for the jazz clubs of Ottawa is one of those left-field decisions that can occasionally lead to thrilling careers. And on the evidence of her first album, Let’s Call it a Day, this young Canadian could be the biggest female talent to emerge in her field since Diana Krall.

It’s an assured and auspicious debut. Accompanied only by veteran virtuoso René Gely on a selection of guitars – his steel string, in particular, rings with marvellously crisp authority – and occasional piano, Yoxon has reinvented a selection of standards with a refreshing boldness. Not in a revolutionary way, but mainly by re-establishing the lyric as the focus of attention, stripping it away from the overblown tendencies of so many younger interpreters at the moment.

Yoxon’s voice is something to treasure. Like one of the UK’s rising stars, Rumer, with her slightly husky accents and bang-on vocal authority, nothing seems to intimidate Yoxon. The opening track, “The Look of Love”, is a case in point. Bacharach’s off-beat melodies are notoriously tricky to do well, but Yoxon slides through it with lightly-oiled ease.

Undercurrents of melancholy and Billie Holiday-like phrasing seep through her interpretations of “Willow Weep for Me”, a shimmering “The Masquerade is Over” and of course – with an intimacy that’s almost audaciously spare – “Don’t Explain”. Two self-penned numbers, “Let’s Call it a Day” and “Lovers’ Lullaby” add to the album’s sense of freshness. There’s also a French-language version of Rodgers and Hammerstein’s “It Might as Well be Spring”.

If the final track, “One For My Baby”, betrays her youthfulness and lack of cynicism – catharsis seekers will probably miss the spirit of a wracked and bloodshot Sinatra – equally, it hints at what we can expect from Yoxon in the future. She’s set herself a high bar indeed.