_2014GODTHAU_6CThe God That Comes

Loosely-very loosely some might say- on Euripides’ Greek Tragedy The Bacchae, Hawksley Workman in collaboration with Christian Barry is a musical extravaganza which seemingly incorporates several genres, often at once, to create a substantial whole which is gripping and enthralling. If it strays into dreaded prog rock territory- last week I attended The Furies also at Summerhall and reported then that I had popped my prog cherry- then it is excusable as in the context it serves. Anyway think more Kate Bush’s ‘Hounds of Love’ prog-concise, melodic and vital- rather than anything by Yes or Genesis. Definitely musically accomplished it tells each sequence of the tale then moves on.
Thus we are entreated to Workman showing us his musical chops as he shifts between drums-after a spoken prologue- megaphones, keyboards, keyboards, ukeleles-whilst serenading the art of cross dressing in ‘Ukekeladyboy’- and some imaginative harmonica playing which brings new meaning to the term mouth organ. Throughout his voice dips into a magical musical dressing up box all of its own: shades of Bono, Jim Morrison and Wayne Coyne of the Flaming Lips all make a spectral appearance although it is still very much Workman who takes eventual control.
Definitely an impressive show which is sure to be a highlight of Summerhall’s Fringe offerings ‘The God that Comes’ definitely holds the attention and takes you somewhere. Workman is more than talented; he is expressive, charismatic and captivating. As for the prog rock thing, whilst I cannot envisage I will buy an album of this genre I must admit in this setting and context it worked perfectly.
The God That Comes is on at Summerhall until August 24th at 6.10pm

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