Part one is here.
Last time, I spoke too soon. It took me less than an hour to get in touch with the representatives of the three groups concerned, and the paperwork was sent on a Wednesday afternoon. For the first time, I understood why being a reviewer was leading me to be an advocate. (I could have said it was the other way around, but the experience seems to suggest otherwise.)
It really started with fuseboxx. In my review of Animated for the Philippine Online Chronicles, I briefly told the story of how I met Abby and the rest of the band. After the gig I attended last 19 May, I was convinced that they were amazing enough to share with other people, and even more so after I bought their new album more than a week before it was due to launch.
Credit must go to an old friend, Eric Barcelon, who helped me along my education in progressive rock. He lent me two of his albums, by Yes and King Crimson, and over a chicken-all-you-can evening at Max’s Shangri-La Plaza, we talked about the album and its influences. (I still have yet to drag him to a gig; his schedule does not permit it.)
So it was that I ended up writing the review, then making it a point to see their gigs when my schedule permitted. Then it was time to introduce them to people, including the owners of two of my favorite places in Makati. To make a long story short, it all led to Monday night. But it is not over. I have yet to tie together my recent discovery of fusion folk and local progressive with…
…my interest in stripped-down, singer-songwriter stuff.
Nope, I don’t mean the acoustic trend which record companies are desperately trying to keep alive. It really started many years ago when I was listening to the likes of Julia Fordham and early Sting, and then to the work of Sarah MacLachlan and Paula Cole. Maybe there were a few others here and there, but I think it was one night in early February of 2009 when a friend and I watched a very memorable gig with Cynthia Alexander that I suppose my interest was stoked in earnest.
More on that in part 3!