Teleporting into the 60s, Lola Colt’s music reminds of Janis Joplin’s psychedelic-acid rock. Lola Colt’s music is not something we hear every day, it is something odd for today’s generation, it is something not familiar and maybe this is why it is difficult to understand.
Lola Colt and the supporting bands Bernaccia and Cobadelta were at Think Tank – a small venue with no seats, no soap in the toilets and wrong information on internet. Of the three groups only Bernaccia made me enjoy the night as the music was vivid, it makes you dance and at the same time listen to the lyrics.
However, I could not understand a word of what Lola Colt was singing – the sound was louder than their voices. The members of the group were different from each other and make you think how they got to play together and has the same passion for the music they do.
Lola Colt’s name from a spaghetti western originated as the song writing partnership of their Danish vocalist Gun and lead guitarist Matt, who came through a long-standing love of vintage films and cinematic sound, as well as having similar recordings. Films are a big part of both their lives and they influence their music career. Matt have started writing music in the form of film scores and theatre productions and when the band have developed into a six-piece, they ideas were to write a soundtrack for a movie which is not even written yet.
Psychotic is the right feeling their music brings to the listener’s heart and like burned with acid want to run away from the venue. The idea of music is really to change your world, to literally mind teleport you with their collection of unusual visual instruments used on stage.
They had a sold out show at London’s Electrowerkz to celebrate the release of their debut album Away From the Water and an intoxicating set at this year’s International Psych Festival in Liverpool.
The band is touring in UK till the end February including March 1 in Oxford, and after that heading to Europe – Netherlands, Germany and France. The psychedelic tunes are not for everyone’s cup of tea so if you are not a fan of that kind or narcotic sense prepare yourself to be transported into all those movies you have been scared to watch by yourself.
The Israeli girl with Geordie origins Gillie comes back to the North East when she is a teenager. With passion for dancing she practices ballet and choreography and from there emerge artworks in theatre, live art and experimental performance.
Her curriculum never ends as she is also running a magazine BELLYFLOP and works as a writer curator, facilitator and has a BA degree in Dance and Culture with Professional Training and MA degree in Performance and Creative Research in the Department of Drama, Theatre and Performance. Gillie moonlights as an Artistic Assessor for Art Council England.
She has always wanted to be an artist but she is sceptical about it because there were people trying to put her down: “If you make this kind of training and not that kind of training you won’t be able to make it.”
Fortunately, somehow it just happens – she said – did not expect it but quickly after graduating in 2010 she got the opportunity to work and carried on.
That same year she meets Sarah and got along. While laughing and sharing the same passion for dancing and song’s lyrics they came up with the idea for A Lyrical Dance Concert. At the beginning they were just joking about it the lyrical dancing, lyrical in quality in a kind of private dancing, competition, where dances follow lyrics.
Start messing with the idea in Gillie’s flat they record a trailer which introduce the whole thing of a cabaret show, a gig and a concert in one. It takes a lot of time to create something from scratch, to make the show and most of the time the idea is not enough because it needs supporting.
In the early 2012 they start working properly and in March 2013 the show is finished. They do performances across the UK and throughout Europe and started touring in November. Gillie has also begun to develop a curatorial practice, presenting the work of international artists in London and the northeast of England and organising events that frame artistic practice in relation to cultural policy and politics.
A Lyrical Dance Concert was created in co-production with Dance4, with additional support from Dance City, Northern Stage and organisations in Stockholm and Sweden. It was premiered at Nottdance 2013 in Nottingham, before touring north east England and the East Midlands. The show received its London premiere at Dance Umbrella 2013.
“By getting support from different organisations artist get their work done. The Art Council are pretty amazing which allows artist to do things and allow audience to get work. I am not the kind of artist to make a profit. The work is in experimental nature but unfortunately, without ticket will be too expensive,” Gillie said.
Gillie energises only by talking about her passion and the performances they do. Her voice sounds like performing a real dance. For her a lyrical dance is accessible and fun, it makes people laugh and that is what she and her friend Sarah aim. In her show she says pop-music belongs to us and exists to make money which is not very interesting but it is important: “Those things are sold to us, so other people can make money but what happens if we decide we can do whatever we want with it – twist it around, make other things out of them, make them social in different way.”
Creating a show is not easy and there are always problems on the way. Pop-music represents sexuality, intimacy and many singers share their personal, private life and make it public, so Gillie and Sarah were thinking how they could play with that. They have included the song by Tina Turner, Private Dancer, who is singing about a private dance for money. How can you perform a dance like this which is not exactly like this and make the economy of perception visible, how can you strip but not really? Gillie and Sarah have found a way and with the help of underneath fabrics and different outfits they successfully make the whole audience laugh and enjoy the show.
A Lyrical Dance Concert is not only for the audience. The audience is A Lyrical Dance Concert because they are included in every part of it and the lyrics are like instructions to follow.
Coming back to Newcastle makes Gillie very happy as her mom is originally from here. Even though she is coming often, it is still special because of the show. Just couple a weeks after the tour in spring she will perform Dance Class in London and in January next year will have another show to perform. Something that took her a long time to learn is that it takes time to settle things up, so you need to look ahead but never let anyone tells you, you will not be able to do what you are aiming to.