Everything is refined about Celine Cairo, her music, her singing, lyrics. Her appearance and choice for musicians are also well-considered. When she performs, such as Wednesday evening in the Concertgebouw, an oasis of civilization and beauty is created. The 31-year-old Cairo creates a musical tableau in which the feelings are diverted towards a beneficial experience.
With the subtle instrumentations around her like a cape, her voice fluctuates along painful but rounded sounds, along a worn or a skipping swipe. Sometimes a tone is lifted up slowly, and as a listener you wait with interest to see if it will work. And yes, she has it.
Cairo is ambitious. She recorded a previous album in Los Angeles and her latest album, released last year overflow, was written and recorded in London with esteemed producers such as Tim Bran (of London Grammer and Birdy fame) and Benjamin Rheinländer. The result is a beautiful album, with thoughtful but always surprising songs like ‘The Fire’ and ‘Holy War’, in which reverberation and silence are just as much instruments as the cello and piano.
There she was, finally, two years after the planned concert in the small hall of the Concertgebouw – promoted to the large hall, with many rows of empty seats to guarantee the one and a half meters. Her musicians turned out to perform the songs just as attractively live.
Here Cairo’s seriousness was striking. All the musicians were dressed in black, and Cairo’s comments between songs were serious too. As a result, the performance became more sacred than necessary. Cairo echoed her special voice, glued to the microphone, playing her acoustic guitar. Only in the last songs did she put down the guitar and dance. The reaction of the audience sounded like a packed house.
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