Outside the venue, a seven piece ensemble, as zany and energetic as the Marx Brothers attract an ever increasing crowd. Musically, the band is eccentric, however lyrically it is candid which delights the audience. They are enthralled by Waiting For Guinness (WFG) and its idiosyncratic blend of tortured jazz, gypsy blues, gallows humour and Balkans boogie.

 

WFG are indubitable characters and superb musicians, so it’s understandable that as the audience sits in the theatre it’s already aroused with anticipation.

From the stage-right WFG hand-clap and foot-stomp onto the stage, where Marko Simec’s accordion features prominently and then WFG drive into Chanson Pour Marie. The stage becomes both pulpit and soapbox as WFG converts yet another audience. By the third song, The Spider, of this brilliant set, the crowd is dancing to the gospel of Waiting For Guiness.

There is a strong element of unpredictability throughout the performance though Dave Stephenson on trumpet, trombone and vocals, a consummate showman, somehow holds the act together. Like all of WFG, he is almost over-encumbered with personality and shifts the mood with a look, a word or a piece of music. The crowd are fully engaged as song-after-song increases in strength, involvement and vitality.

Chain smoker, Clever Trevor Brown on sax, flute and bouzouki, and you get the impression any other instrument he decides to play, suddenly jumps from the stage, marches through the audience, takes a seat at a table and steals a beer. It is all part of the fun as the members of WFG are not simply excellent theatrical musicians, singers and song writers, they are pure entertainers.

Dirk Kruithof, guitar and banjo, Lino Romeo, guitaron (Mexican bass) and vocals and Tim Bradley on drums all join in the exuberance and add depth to songs such as An Urchin’s Tale, Harry’s Song and El Casabel which are opaque concoctions from improbable musical muses.

WFG are having a festival on stage but they make the crowd feel like it’s a party in a private house. Now, everyone is totally convinced that WFG is unquestionably a significant force in contemporary “art music.”
However complex and difficult the music gets, WFG makes it all look so easy and the result is about as compelling a live show as anyone could witness.
As the crowd begrudgingly leave their seats and file out of the theatre they are consoled with the fact that at least they can buy the CD, The Show, featuring highlights like George and Diamonds.

It is the only chance to recreate the enthusiastic, satirical, stellar and decadent live experience that is Waiting For Guinness.