Review of Symphony Space/Thalia Show

Hudson writes catchy, genre-defying instrumentals that ought to be movie themes. Maybe they are movies themes, famous ones, and I’ve just never seen those movies. That’s what happens when you spend your life in dingy clubs instead of at home, glued to the tube. Their first number was a cross between a tango and a jazz waltz, Hudson’s electric piano tones glimmering and reverberating beneath Brock’s bracing, austere, sustained violin lines. A plaintive song without words titled Song for John Lennon was less Beatlesque than simply cinematic, building slowly as Hudson’s piano took on a pensive, longing tone. The rest of the set included a plaintive Belgian accordion waltz – that Hudson played on a melodica over a hypnotic Afrobeat groove – and a little later, a quietly nocturnal tune with a circular cello bassline. Redhage used this as a springboard for an unexpectedly searing solo, moving further and further up the scale, finally furiously joining the cajon player in staccato doubletime until it completely fell apart and collapsed violently on itself. This was as far from the serenity of what she played Monday night as you can possibly imagine…further proof of how many great shows are taking place in some unlikely places all over this town, every night of the week.

-New York Music Daily

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