Anywhere Festival 2016: Argo presents: FLOW

Argo’s latest show, Flow, feels like the kinda show that characters in a stylish New York drama like ‘Girls’ might have attended. This isn’t necessarily a bad thing. It just means the work is gorgeous, high production-value, and safe. And those are all okay things for a work to be. Because by being those things, what Argo managed to do was bring together the most diverse audience I’ve ever seen in one place in this town, and then let them mingle and shift comfortably together. The success of Flow is a testament, more than anything, to the universal language of live instrumental music, and the gorgeousness of the Spring Hill Reservoirs.

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Anywhere Festival 2016: The Moon Men

The Moon Men, as a text, is the strongest it’s ever been. But as a performance, and as a full experience, it is not. Where the text is polished, more nuanced, and clearer in terms of its structure and intent, the delivery of this text is harder to follow, and clumsier—and a lot of this comes down to the space the team chose for their performance. The Greaser carpark is grungy. It’s graffitied, concreted, and tucked away. It’s essentially perfect for The Moon Men’s aesthetic—the space feels like an extension of the marketing and that’s a great thing. But the space, in a functional sense, completely drowns out so much of the effect the show might have had. In fact, what this production proves more clearly than anything is that Anywhere Festival’s old ‘Theatre. Anywhere.’ slogan clearly has a few stipulations attached to it. 

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(2016==Yeezy/Theatre&Agenda/Free Art)

I got up at 5am to watch the MSG stream of The Life of Pablo/YZYSZN3 back in February. I watched Kanye come down waving to the cheering hordes of people who surrounded the giant tarps in the centre of the stadium. I watched as Ye and his crew bounced to the new record in front of his fabled laptop, celebrating whatever whack shit they’d created together. I saw Jay Z sitting up the back, frowning and nodding.

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Jonathan O'BrienComment
&how we moved forward, all of us
Jonathan O'BrienComment