Emma Donovan’s latest album launch at this year’s Cabaret Festival defied conventional concert norms associated with new releases. Rather than transforming her performances into showcases solely for her latest tracks, Donovan embraced her roots in country music, marking a celebration of her journey as an Indigenous musician.
Accompanied by Megan Bernard on rhythm guitar, Shane Reilly on pedal steel guitar, Ruben Shannon on bass, and Daniel Farrugia on drums, Donovan kicked off the concert with the album’s title track, a poignant minor-key ballad. Her vocals, almost mantra-like in their delivery, resonated deeply amidst the band’s restrained accompaniment, setting a solemn yet profound tone for the evening.
Beyond her role as a singer and lyricist, Donovan assumed the role of storyteller during the concert, weaving narratives that provided context to her songs. This personal touch elevated tracks like “Liquid Gold,” imbuing them with deeper significance as she shared the familial inspirations behind each verse.
Throughout the performance, Donovan and her band breathed new life into several album cuts, such as “Away” and “Lovin’ Looks Like,” reframing them not merely as love songs but as tributes to her family and Indigenous heritage. This contextual layering, coupled with the band’s understated instrumentation, amplified the emotional resonance of Donovan’s evocative songwriting.
Midway through the concert, Donovan took a poignant solo turn with “Yibaanga Gangaa (Sweet By & By),” performed solely with her ukulele—a touching homage to her grandparents and their profound influence on her musical upbringing.
The evening reached a crescendo with “Change is Coming,” a song reflective of last year’s referendum on the Indigenous Voice to Parliament. Donovan’s impassioned delivery, accompanied by the band’s subtly intensified playing, underscored the song’s urgent plea for societal change.
Closing out the night with the gospel tune “The Promised Land,” learned from her grandparents, Donovan’s performance on ukulele, enriched by Reilly’s pedal steel and Farrugia’s percussion, radiated a poignant simplicity. This final act beautifully encapsulated Donovan’s legacy as an Indigenous artist, using country music not merely as an artistic medium but as a platform for Indigenous voices and perspectives.
In Donovan’s concert, each song became a testament to her identity and experiences, speaking truths that transcended mere lyrics and melodies, resonating deeply with her audience long after the final chords had faded.
Related topics:
TOP 5 PLACES TO WATCH AMERICAN COUNTRY MUSIC AWARDS
HOW HAS COUNTRY MUSIC EVOLVED OVER TIME?
BEST 5 PLACES TO POST COUNTRY MUSIC VIDEOS