DEVA PREMAL & MITEN with MANOSE - AUSTRALIA 2018
Thu, Jan 25, 2018 - Edmund Rice Performing Arts Centre, Brisbane
Sun, Jan 28, 2018 - Elisabeth Murdoch Hall, Melbourne
Thu, Feb 1, 2018 - Mullumbimby Civic Hall, NSW, Mullumbimby
Fri, Feb 2, 2018 - Retreat: Ecstatic Chant Weekend, Mullumbimby
Sun, Feb 4, 2018 - Mullumbimby Civic Hall, NSW, Mullumbimby
Flame carriers of a 5,000 year old tradition, Deva Premal & Miten are at the forefront of the burgeoning world-wide chant phenomenon. They grace festivals, concert halls, rock venues and cathedrals around the planet and have hosted online mantra meditation programs with over 200,000 participants.
Merging ancient mantras of India and Tibet with contemporary musical settings, their debut album, The Essence, introduced a unique musical genre. The album rocked to the top of World Music and New Age charts where it still remains. (Deva Premal: The Essence – 1999). Since then, Deva & Miten have released over 17 albums with sales exceeding one million.
Their ‘fans’ include such diverse luminaries as His Holiness the Dalai Lama, Cher (who recorded and performed their version of the Gayatri Mantra), motivational guru Tony Robbins and author Eckhart Tolle.
Deva & Miten are accompanied by Nepalese flute maestro Manose. Born in Kathmandu, Manose has performed extensively with them and is featured on many of their albums, including Songs for the Sangha and Cosmic Connections (May 2016).
Idan Raichel - TOUR CANCELLED
The Idan Raichel Tour
We regret to advise that due to scheduling and logistical issues out of the promoters control,
the Idan Raichel Australian Tour 2018 has been cancelled
Tickets will be 100% refundable to your account including any fees at point of purchase.
*The cancellation was a promoter decision had nothing to do with Idan and his band nor due to ticket sales - all shows had sold out
We regret any inconvenience and will update you as to future concerts in the year ahead
Thank you for your understanding
NANO STERN - AUSTRALIA / NEW ZEALAND - 2018
Nano Stern’s path as an artist follows richly crafted song lines laid by his family and his Chilean musical ancestry, and unites those with a sound utterly fresh and relevant.
The confluence of recent student and environmental political events in his home country Chile and Nano’s rise as an articulate writer and performer have, much to his chagrin, incongruously positioned him as the voice of a newly politicized Chilean generation.
The grandson of Jewish refugees fleeing persecution, Nano’s childhood was painted vivid by not only his own family’s activism and musicianship but by the powerful legacy of the Nueva Canción movement lead by Chilean musical activists during Pinochet’s dictatorship a generation before. Legends like Inti-Illimani and Victor Jara, who suffered exile and even death during these troubling times- continue to inspire Nano’s breadth of sound and emotion. “I am extremely respectful of the tradition,” explains Stern, “It is an enormous gift we received from the people of the past.”
When only fifteen, Nano performed as a member of popular Chilean underground punk/rock bands and thus was initiated into the fresh, new sounds and socio-political pulse of the South American underground scene. Their thick rock-energy, his classical and jazz training, and the powerful influence of traditional, Chilean revolutionary music make for something purely Nano.
What has emerged is a powerhouse artist, brilliantly layering indigenous, African, and European elements into a sound all his own, and humbly bringing audiences to tears, to their feet, and to reverie with a singular kind of emotion and soulfulness unlike any other South American artist performing today. “I’m generally working to create a language of my own,” he says. The world emphatically agrees.
Folk legend Joan Baez remarked, “[Nano] may be the best young Chilean songwriter of his generation. With his lyrics, melodies, message, delivery, humor and heart, he gets my vote”. Agile across a range of instruments, Nano’s closest companions remain simply his guitar and staggering vocals, and with them come fluent, extraordinary musicianship and a wide-open heart.
Oscillating between the personal and the political, outspoken, passionate, and experimental, it is perhaps Nano himself who captures his musical ethic best when remarking, “In the measure that I’m able to vibrate strongly, other people will resonate. If that frequency is intense, other things around it will vibrate together with it. Music in the end is that. We can put aside words, and genre, and tradition. In the end, it is all about a movement of air that makes our bodies move. It’s the most mysterious thing.”