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Music
Israeli music
For the opening moment in a giraffe show people are going to see music
Even before the spectator-free Olympics got underway, the band opened the show at Barbie with a brilliant monologue about the need for an audience for the canals, for athletes as well as for musicians.
This passage, filled with wonderful noise, grasped the magnitude of the hour, and touched on perfection.
All the other things that happened there are far less important
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Giraffes
Gilad Kahana
Nadav Menuhin
Sunday, 25 July 2021, 08:06 Updated: 08:29
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Giraffes at Walla Studio (Director: Dubi Klein, Sound: Ilan Levy, Stills: Reuven Castro, Backliner: Tomer First, Photographers: Matan Goldstein, Eyal Klein, Bnei Ben David, Lighting: Yossi Addises - Letoizen, Production: Shai Warker and Hagit Barak, Studio Design: Avichai Baruch, Video Editor: Noa Levy)
On Thursday the Olympics have not yet started.
No one imagined that in less than 48 hours the phrase "Avishag Samberg" would roll in the mouths of the masses, that an Israeli medal would arrive so quickly, and certainly not the national celebration around.
No.
On Thursday, Tokyo seemed far from Tel Aviv, and the very idea of holding the largest sporting event in the world without an audience sounded, as they once said here, sad and unnecessary.
When Giraffes took to the Barbie stage in Tel Aviv last Thursday, they dedicated the opening part of the show to that.
Using sound effects, Gilad Kahana presented a kind of monologue about the loneliness of a long-distance runner.
The man, man or woman, who has been running or jumping all his life and doing nothing else for the moment when he can rise - but in the end will only hear one applause in the desolate athletics stadium, that of the coach - and that's it.
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To the full article
The lone athlete.
Gilad Kahana (Photo: Niv Aharonson)
Inside the Israeli Rock Olympic Stadium - the irreplaceable Barbie - and while the band is immersed in wonderful noise, Kahana accepted this surrealistic situation for a band that also needs its audience to transcend - a reminder of Corona's miserable impact on Israeli music for the past year and a half - and encouraged the audience to protest More and more applause, for the lone athlete, and for the missing band.
This moment, which, as mentioned, opened the show, touched on perfection. This is exactly the transcendence: an electrifying interaction between a band and an audience, between a club in south Tel Aviv and an athletics stadium on the other side of the ball, between the lone person who came to see a performance and the global company holding its breath in anticipation of a new pole vault. This metaphor captured in a matter of minutes the whole role of collective depth of culture and sport in an age of isolation and splitting into particles sunk into the telephone, and offered reconnection as a solution. Simply put, for moments like these people go to see music.
Multiple hits.
Kahana descends to the audience (Photo: Niv Aharonson)
This summit is all there is to know about the giraffe show.
Everything else is much less important or subordinate.
The continuation of the show was also very good, and in the spirit of the songs once again illustrated how much more of a band is built from the audience, and how much its audience is built from it, already drawn into the second song in the show - the energetic "He has girls like water", , One of the closing songs.
And the show, after all, is multi-hit.
From the high level of the Barbie, which allows a little more social distance from the expansion, one could be well impressed by the reactions of the audience, those who do not stop moving even when the music ends, as well as those who are indifferent to some songs and wait for a hit. "(" The most beautiful song written in the Hebrew language ", Kahana presents it in a semi-ironic tone).
It was also possible to examine the dynamics of the band - guitarist Erez Russo, bassist Yair Kaz, keyboardist Levi Ben Baruch and drummer Hagai Freshtman - as a trained, relaxed, well-synchronized brigade, and a bit contrary to the unexpected energy produced by the lead singer.
You can not go wrong with their enjoyment, and of course Kahana's of all the happening - and the audience loves to see people enjoying their show, the touch, the dialogue.
It might be funny to say that, but it's not obvious.
What about Margie and Kirl?
Giraffes (Photo: Niv Aaronson)
It is common to refer to giraffe songs as a random and far-fetched half-nonsense reality, not to mention absurd (wow!), But this is not entirely true. This is, for example, one of the bands that reacted most vigorously to the tent protest. In that sense, and on the tenth anniversary of that summer, I was quite disappointed to notice that songs like "Daphne Daphne" or "Summer 2", from "Need to Close Everything" - just came out of the stylist. In contrast, the later "Whoever does not dream, is angry", one of the most powerful protest anthems of the past decade, was received with great love. It is more interesting, at the moment, to see the audience learn the relatively new single "The Wave Rises", an attempt by the band to respond to the temporary death of Tel Aviv under closure and more closure, or as they sing: "Once upon a time there was a city here".
Throughout the show there were other monologues / jams that included reactions to the world, about the connection between absorbent paper and Jeff Bezos' spaceship and the disgust for what she represents, and about the breakup that was not between Margie and Noa Kirl ("I want to dwell on this").
It was entertaining, but not entirely focused.
Nor were all the jokes, improvised or not, funny ("I'm comfortable here. At home no one cheers me on when I fart").
It's OK.
It is permissible not to shoot all the arrows.
But when the end of the show comes, it is clear to everyone that no matter what happens at the Olympic Stadium in Tokyo, there will be a lot of applause here in the hall.
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