The 6th day of Ghent Jazz Festival kicked off on July 10th, unfolding a mesmerizing journey through the diverse and captivating realms of jazz. Against the historic backdrop of the atmospheric former 13th-century hospital De Bijloke, the festival delivered an extraordinary day of musical exploration, featuring a lineup that boasted exceptional talent from both established names and emerging artists.
Ghent stands as a beacon of musical innovation and creativity. Diversity reigns supreme in the city’s musical scene. Different styles, genres and identities find in its musical community the perfect scenario to flourish and thrive. Music resonates deeply within the hearts of Ghentenaars – they celebrate, fuel the growth and the vitality of the city’s musical scene, evident by the overwhelming response to concerts and other musical initiatives in the city. Moreover, while it is no wonder that Ghent has adorned the prestigious title of “Creative City of Music” bestowed by UNESCO, it also doesn’t come as a surprise that a Ghent Jazz day’s line-up headlining world-renowned pianist Ludovico Einaudi, would sell out less than a week after it was announced, this march.
The public’s demand led to an extra festival day added on July 10th, with Noah Vanden Abeele, Arooj Aftab, ÃO, and Ludovico Einaudi making a second appearance at this year’s Ghent Jazz edition, after playing on Sunday, the 9th. The names were joined by Catherine Graindorge, violinist and compositor that opened the main stage with Monday’s first show, setting the tone for the day.
Ghent Jazz organizes its schedule in a way that guarantees you not to miss a single act. With no overlapping performances, a pause of 5 to 10 minutes is given in between the beginning of each show. The concerts alternate between the Main Stage, a huge tent offering only seated places on Monday, and a secondary Garden Stage, completely outdoors, with lawn chairs and inviting grass. A cozy layout of the venue includes a site surrounded with promptly served drinks and food, giving visitors several delicious options to buy from.
As the sun descended upon the festival grounds, Noah Vanden Abeele inaugurated the Garden Stage for that day. The audience spread over the lawn, lounging to the sounds of the Royal Conservatory of Brussels’ classical piano trained musician. Although his jazz and classic musical education might lead you into thinking that’s all you will be presented with, similarly to others of his shows, this past Monday’s performance proved otherwise. Noah’s style drinks from inspiration that reaches far past his training. On the grass, visitors where being transported to far aways lands, through epic soundscapes painted by the musician’s rich swelling keys and the softs strings of his accompanying band.
Five minutes after the pianist’s performance, it was time for the Brooklyn-based Pakistani artist, Arooj Aftab, to get on the Main Stage for the 2nd time in two days. Asking the crowd how many had attended the previous day show, the Grammy Award-winning singer was surprised when no hands where raised: “Are there that many people in Ghent that we can fill this tent with a whole different group today?”, she asked with a smile.
Visiting the city for the first time, Arooj was enchanted by Ghent’s old buildings and canals. “It’s so beautiful here. It’s nicer than Amsterdam”, she joked, while expressing how sure she was that this quote would be published – “journalists always quote the stupid things I say. But it’s true.” – Sorry, Aftab! The artist’s sense of humor is indeed noticeable and, may I add, needed. Her songs are serious and carry with them a sort of ancient sadness, because, according to the artist, “the human condition is extremely sad, and everything sucks”. Just like her style is a heavenly cross-pollination between jazz fusion, minimalism, folk, Hindustani classic (yes, the list does go on), so is the rollercoaster of emotions between the melancholic songs and the jokes cracked in between them. They drink from one another in a balance that seems to keep you uplifted and deeply saddened at the same time. If that’s not a Monday mood, I don’t know what is.
To the Pakistani singer, attending her show is demonstrating that you are in touch with your emotions. For the exception of one song performed in English, “Last Night”, all others were sung in Urdu, her native language. And I didn’t need to know the language to have her scratch open wounds I never knew were inflicted.
Accompanied only by guitarist Gyan Riley, the singer seemed to be in the hands of meticulously crafted talent. That delivery, that only comes from a leader’s blind confidence in her band’s capabilities, was palpable, making this a show worthy of highlighting.
The Belgian Aõ kept the ball rolling on the Garden Stage. Only thirty-five minutes before the main act, the audience, once again, spread over the lawn to listen to the 2-year-old quartet, led by Zimbabwe born singer Brenda Corijn. Their Electro-not-pop amused the crowd, with the singer rocking in between English and Portuguese lyrics. Her voice is nothing but amazing, but the ambient sounds and the subtle eclectic percussion presented by her band, rounded up the performance, leaving no complaints on the grass.
While attending the same artist for the 2nd night, and last, at the same venue, one can only hope that the previous was but a warm-up to the final, most mesmerizing delivery. With an artist of Ludovico Einaudi’s caliber, known to fulfill his every performance, it is, fortunately, hard to tell. The 67-year-old headliner has earned his position as a coveted live performer and the most streamed classical artist.
His cinematographic sound is mesmerizing, but I must confess, I was skeptical. Although I have seen other pianists’ performance capture the crowd’s attention for an hour or so, never in a tent this size and never for a two-hour concert. Sometimes, it’s nice to be wrong. In a world like today, where screens flood our every scene and everyone’s attention is fragmented at all times, it was impressive to witness a full room in silence, with no blue light rectangles in sight.
For the first few songs, Einaudi carried the show face looking down at the ivory for most of the time. Shortly after, he was joined by two strings and a percussionist. The interplay that followed layered the carpet for a musical tension that enraptured everyone. Following the pianist’s lead, violin and cello deepened or softened the tone accordingly.
Although I do usually condemn certain artists’ lack of discourse towards the crowd, I cannot accuse the Italian performer of not communicating with his audience. I still believe that instruments converse better than people and Einaudi lets the piano attend to the social tasks. And he’s successful at it. Presenting his audience with a “good night”, “thank you for coming”, and a compliment to the city of Ghent and the festival’s venue, was enough for the audience that braced him twice with a standing ovation.
The festival’s unwavering commitment to quality is reflected in it’s meticulously curated line-up, striking the perfect balance between established stars, hidden gems, and emerging talents. It is a haven for those who appreciate live music that defies categorization. Rather than sticking to pure, traditional jazz, Ghent’s festival celebrates the spirit of the genre by embracing raw talent and boundless creativity, in a progressive approach. Making a point in including artists that incorporate the boldness of Jazz and express the infinite fusions it allows for, rather than highlighting only those who stick to the conventional form of it – if one can dare to attribute such characteristic to this irreverent, borderless, fearless genre.
