Review: MATTHEW LYKOS - SINGER IN A GREAT SHIRT Filled The Goodwood Institute Theatre

Reviewed by Ray Smith, Saturday 25th June 2016

Before a warm and close to capacity crowd in a rather chilly Goodwood Institute Theatre, Lykos' opening gambit for Matthew Lykos - Singer In A Great Shirt was an a cappella first verse of the iconic Northumbrian song, The Waters of Tyne. His voice is angelic and pure, without a hint of attack, the gentle almost breathy notes appearing from nowhere. His singing is effortless, beautiful and hypnotic, the relative simplicity of the old melody decorated with smooth vocal slurs and grace notes.

The second verse saw the introduction of his acoustic guitar and Emma Woolcock's subtle and understated violin lines.

While the song is traditional, the accompaniment was not. Lykos's chording and Woolcock's answering lines were anything but standard, the harmonies of the two instruments against the voice stark and forbidding, adding a darkness to a song too often sung lightly.

Sandy Denny's song, Who Knows Where the Time Goes, was presented with great emotion, and Emma Woolcock's virtuosic violin work left nobody in any doubt about her standing as one of the most in demand accompanists in South Australia.

The third and final member of The Paisley String Orchestra, Anne Harrington, took to the stage playing the percussive Cajon which, she was at pains to point out, does have strings within it.

Lycos displayed a relaxed and easy stage presence as he chatted amiably with his receptive audience explaining that, while the orchestra was small, it was at least economically viable.

Lykos moved from guitar to mandolin and, at one stage, played his acoustic guitar with a violin bow, a courageous and fascinating experiment that, while not entirely successful, was very evocative. Woolcock doubled on 'cello, and Harrington on darabuka.

The mood was one of restraint and understatement, occasionally lifted by the violin lines, but was beginning to develop a sameness that began to drag a little. The introduction of a Macedonian song inspired a few dancers to get to their feet, but Lykos's vocal was very fragile as the song was pitched quite low. The addition of the two backing vocalists who, I am assured, are named Merrily and Ginger, brought a much needed new texture to the stage.

The concert, all in all, was an unmitigated success and Lykos's audience ate it with a spoon.

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