While the Crossing Border Festival is well known for inviting writers, poets and musicians from all over the world, de Nachten tends to search for talents mainly in its own neck of the woods, the Flemish part of Belgium, that is. The event itself is a gathering with a refreshing breath of modest air. There are no obnoxious narcissist (a tough word for people with a lisp :-), no shouters, no big gestures. Polite and decent culturati compared to their Dutch, French and German neighbours.

However, don't be fooled by the modesty they used to display. I can't quite put my tin finger on it, or in it, and I'm not absolutely sure that I would want to, but some sort of sexual revolution has finally taken place. The spirit of the 60's/70's has reached Flanders. The words: pussy, cock and 'neuken' (a harsh Dutch word for 'to fuck' which they remarkably are able to pronounce so sweet) can be counted numerous times during the evening. Does it make you Blush or does it make you think that the R&B video clips on MTV have had their obvious effect? (or was it the Swingpaleis? ;-) No, that's not fair. Culture has become very psychical and bodily. Something which Wim Vanderkeybus knows all about.

In the early evening the movie Blush, an adaptation of the dance production is screened. Modern dance translated in a movie, would it come across? Well, there is no doubt about it: the colours, the dance, the location ... the rhythm, the music, the synchronicity, the balance ... It's amazing and I'm definitely impressed. It's an extraordinary experience to see this colourful production with your favourite music as soundtrack. You know the music by heart, you want to sing along, you want to move along, and you'd like to dance with those on the big screen. You're drawn into the picture. You're invited to spin along.

Of course a review wouldn't be a review without some points of criticism. ;-) About the acted parts, meaning the spoken and non-dance scenes. Not only because they literally sabotaged the flow of the movement. But they had an uncomfortable feel to it. Because of the painfully bad acting in comparison with the professional dancing?

In the opening shot we see a celebrating group, including the four Woven Hand members, round a table. They have to act as if they are having fun. They talk loudly, they laugh out loudly, they drink, ... . But they talk and laugh just a tad too loud. And it all seems so fake and overacted that it makes you cringe and uneasy. After one particular moment of silence you hear Ordy Garisson joke: "Yes, that lasted more than 7 seconds." And you realise that you are in the middle of a director's instruction: 'it doesn't matter what you talk about, just act drunk and happy but do not, I repeat, do not leave more than seven seconds of silence.' The entire opening act was the only part of the movie that came close to making us Blush. So therefore maybe it was a brilliant scene to open with?

But enough said, later that evening we strolled along different halls and realised that here music can't be performed without an Apple laptop (musicians become nerds or nerds become musicians? Either way, what's the world coming to? ;->) or a family-tie with Flemish band, dEUS. How many groups can evolve from one particular band? It's like bacteria dividing and multiplying. :-) The love substitutes is such a particular act. The stairway-stage where they performed was just packed. It must have been special then, but …. I really gave it my best shot, I really tried, but it was monotone, passionless and done before. Sorry.

However a Flemish band that did surprise me, was Tom Wolf. They have a new album coming out and the singer has a voice like smoked silk. The 3 cleavagettes (one of them was An Pierlé, who opened for 16hp in 2000) on background vocals, made the entire experience very enjoyable. Unfortunately, we couldn't stay long. Woven Hand was about to perform at the Blue theatre.

But first the opening of the cultural set, Jamila Amadou. She was the second Moroccan-Belgian female writer of the night telling us about friends subjecting themselves more and more to the 'real Islam' and dressing themselves in traditional attire like the burkha, the cloaking device that conceals one muslima completely. Quite a politically challenged topic. Should we address it now or should we first listen to the next columnist/journalist, mister Hugo Camps?

Pff, I actually can't remember what he was on about. But as always … no comment, no opinion without a major leap to soccer. I don't want to sound cruel, but … this man has had his 15 minutes of fame long long time ago. Maybe this Belgian icon should be replaced with someone as DR Frisbee (who was featured by MC Scale earlier in the evening). A promising poet with a great sense of humour and fluent word gargles. Wouldn't mind hearing from him again on a stage.

Yet it's time for a live experience of Woven Hand. Tonight with Shane Trost, Daniel McMahon, Ordy Garisson and David Eugene Edwards. They had just finished playing during a performance of Blush in Brussels only a few hours ago. Two shows in one night. No soundcheck. It's almost 1:00 AM. Would they cope? Why do you worry? ;->

Without any technical problems, they played a 50-minute set. A continuation of the solo shows of a few months back with those extra needed ingredients to make it richer, warmer and more complete. The start with Tin Finger proofed this in a split second. That song just excels with a luscious bass-line underneath it. Compliments to Shane Trost. A four piece gives it just that extra zest: Arrowhead and Speaking Hands with Daniel McMahon on piano. Phyllis Ann with Ordy Garisson going like a madman. Simply scrumptious!

Let's not forget to mention Down in Yon Forest. Did you hear how it was rendered last time when Edwards played with Garisson? It has now even gone beyond that. To infinity. It has risen to extreme heights. They should really consider recording a 10-minute live version for a future album. It's got the strength of 16 Horses and the restraint of two Woven Hands. It's just so good to see David Eugene improvise and lash out: "We come together, here. Haven't we? We come to do are best, haven't we?" Absolutely! No need to argue, here. He continuous: "... to run from Him." No way! This is unmistakably Him! Thou shall not seek any further. ;-)

by TYFC