Yamini 2018 – IIIT Bangalore – Oct 31 / Nov 1, 2018

SPIC MACAY Bengaluru and IIIT Bangalore collaborated to present Yamini 2018, an overnight series of concerts on Oct 31, on the occasion of Karnataka Rajyotsava (Nov 1).

Dr. Rajam started the proceedings with her melodious aalap in Raag Yaman, which was the main piece of her concert. The way she made her Violin sing was amazing and her virtuosity left everyone in awe. Her granddaughter Kum. Nandini Shankar accompanied her ably on the Violin and Sri Ravikiran Nakod followed them closely with his soft playing. She played a couple of Bhajans in Vaishnava Jana to and Payo ji mein ne.. to end her short concert and the start to Yamini couldn’t be better.

Dr. Jayanthi Kumaresh presented the National Instrument of India, the Saraswathi Veena as the second concert of the overnight, to a packed audience. IIIT-B student team arranged a few LED screens for people who couldn’t afford to get a seat in the hall and it helped everyone to witness the proceedings. She started with an aalap and composition in a chaste Carnatic ragam Nattakurinji and the swaras were scintillating. She presented a mellifluous aalap of the beautiful ragam AmrithaVarshini. The swaras that followed the song literally poured down like a calm rain with an inch-perfect precision. Kapi is one of the beautiful ragas which has similar scale and structure in Hindustani system as well, and a composition of Saint Thyagaraja was presented after a soulful aalap in it. Sankarabharanam, a majestic scale – common to Carnatic, Hindustani and Western Classical systems of music, was the main piece of her concert. Dr. Jayanthi presented a delightful and an intense Ragam-Tanam-Pallavi in it, demonstrating her virtuosity and the voice of the Saraswathi Veena. A sublime ragamalika Tanam in SankarabharanamHamsanandiValachi and Revathi will be cherished by the students for long time. She was in company of two excellent percussionists – Sri K U Jayachandra Rao on Mridangam and Sri Trichy Krishnaswamy on Ghatam, who complemented her beautifully all the way!

After an intense couple of hours, Dr. Jayanthi ended her concert with a Thillana, a composition of her maternal uncle, Sri Lalgudi Jayaraman, in raga Misra Sivaranjani to leave the stage to another wonderful musician from Lalgudi school, Sri Saketharaman.

Sri Saketharaman started his concert in an unusual style with a Mallari in ragam GambhiraNaata. Mallari is typically performed by Nadaswaram artistes inviting the deity inside temples. His songs in raga Todi (very different from Hindustani Todi) and a typical Carnatic ragam Aahiri were soul stirring. The main ragam of the concert is a chaste Begada, and it was so beautiful that audience enjoyed some of the phrases subtly presented by him in a delicate manner. Sri H K Venkatram on the Violin beautified it in his return in his typical style. The ragam is often referred to as Begada-Meegada to highlight the smoothness of ragam like a fresh cream (Meegada in Telugu means cream over milk) and is known to be very difficult to present. Sri Saketh and team presented an amazing Ragam-Tanam-Pallavi in ragam Shuddh Saarang, one of those typical ragas that got introduced into Carnatic System by getting inspired from Hindustani system. He composed a special Pallavi on Bengaluru on the account of Karnataka Rajyotsava Sumadhura Kannada vaniyu nelasiha Namma ooru swargake mihilagudu. Percussion duo of Sri Patri Satish Kumar on Mridangam and Sri Guruprasanna on Khanjira played brilliantly throughout the concert. He concluded the concert with Baaro Krishnayya and a Meera Bhajan in ragam MisraSurya.

Sri Margi Madhu presented an inspiring Koodiyattam performance in the play, Anguleeyakam. It is an interesting play highlighting the significance of the ring carried by Hanuman in finding whereabouts of Sita. He hands over the ring to her on behalf of Rama and destroys the whole of Lanka with his tail when Ravana set it on fire, after being annoyed by the destruction Hanuman caused in Lanka. In the end, Hanuman returns to Mount Malyavan to meet Rama in ecstasy and hands over the tiara given by Sita in return to the Anguleeyakam given by Hanuman.

Dr. Ashwini Bhide Deshpande raised the symphony of Yamini to great crescendo in the final concert of the night. She shared her deep perspective of awakening of the soul in three mellifluous own compositions in Raag Lalat so apt for the first Prahar of the night. The environment lit up with aggressive taans of Ab to jaago kanhaiyya. Moving from the brahm muhurt to dawn, she caressed swaras with melodious uncommon Raag Mangal Bhairavpresenting madhya lay bandish “tum palan haar” and drut cheej “jaago re jaago bhayi parbhat”. Keeping the tradition, Ashwini ji concluded concert on a high note with a Marathi Abhang in raag Bhairavi. Sri Ravindra Yavagal on Tabla and Sri Vyasmurti Katti on Harmonium complemented her very well, and Dr. Radhika Joshi gave good vocal support.

Note – This is a copy of the report (with a few minor changes) I published to all core members of SPIC MACAY across the world, as the co-coordinator of the event.

Thanks to my colleague Mandar Bokil for his wonderful write-up about Dr. Ashwini’s concert!

Yamini 2018 was indeed a great success with excellent contributions from students, faculty and staff of IIIT-B and of course from the volunteers of SPIC MACAY.

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Saketharaman – 49th Gayana Samaja Annual Conference – Oct 26, 2018

Saketharaman, accompanied by Akkarai Subhalakshmi on Violin, Patri Satish Kumar on Mridangam and Guruprasanna on Khanjira, delivered a wonderful concert at the 49th Annual Conference of Gayana Samaja.

  1. Sri Guruguha – Devakriya
  2. Tala Beku – Bhairavi
  3. Paripahimam – Vakulabharanam
  4. Amba Neelambari – Neelambari
  5. Mukhyaprana enna – Neelamani
  6. Tulasi Bilva – Kedaragowla
  7. Maasil Ayodhiyil – Ragamalika
  8. Ragam Tanam Pallavi – Sindhu Bhairavi
  9. Bhagyada Lakshmi Baramma – Madhyamavathi
  10. Thillana – Pahad
  11. Pavamana Suthudu – Sourashtram

Saketh very thoughtfully weaved a nice concert around the compositions popularized by or composed by Smt. D K Pattammal and HH Jayachamaraja Wodeyar, as this music festival is dedicated to them on their birth centenary.

I was a bit late to this kutcheri and while I was entering the hall, I could hear the scintillating swaras for Sri Guruguha in Devakriya. Glad that I was not too late! A brief outline of Bhairavi followed and the rare song Tala Beku was presented very well. Vakulabharanam aalapana by Subhalakshmi was very serene and soulful! Wodeyar’s composition Paripahimam ended with a brilliant swara muktayi. Top class stuff from all, just that Satish Kumar was a tad louder in the end.

Brilliant aalapana of Neelambari was presented by Saketh and Subhalakshmi. He started with slokam Manikyaveena.. and presented the Ponniah Pillai’s composition Amba Neelambari with great devotion to the Goddess. Satish Kumar played very well here complementing the soulful singing by Saketh.

Kedaragowla was again a top class stuff from Saketh which will be in my mind for long time. Very soulful and soothing indeed! Niraval at uramuna mukhamuna shiramuna bhujamuna karamuna netramuna charana yugambuna was amazing, although you expect much longer Niraval from Saketh’s concerts typically. Swaras were outstanding – at one point he demonstrated multiple ways of reaching Nishadham and muktayi was quite interesting. Saketh is always amazing in getting those different challenging permutations and combinations and what a treat it was for the ears! Transition to Bilahari and back through GrahaBhedam both in raga and swaras section was good. Subhalakshmi also played very well though it felt a tad louder on the ears especially at the swaras! Brilliant Tani by Satish Kumar – while Bhagyalakshmi struggled to keep up with him, it was a commendable performance from the only female Morsing artiste!

Beautiful SindhuBhairavi ragam sung by Saketh where a couple of phrases exactly sounded like they do on the great Lalgudi’s Violin and a wonderful Tanam by Subhalakshmi reminded of a bit of MSG. It is a Pallavi in Trisra jaathi Triuputa Talam in Khanda Gathi, as announced by Saketh – it was a pallavi sung by DKP in Todi which he presented in Sindhu Bhairavi. He announced the ragamalika was going to include some of the famous ragas in which DKP sung pallavis, which included Vachaspati, Todi and a brilliant Kapi!

As the organizer mentioned, it was Friday and there were SubhaLakshmi and BhagyaLakshmi on stage. I think it was an impromptu decision by Saketh to take a cue from the statement and quickly sing Bhagyada Lakshmi Baramma highlighting Bhagya Lakshmi at the start and Akkarai in the last charanam ..akkaraeyulla.. Such a nice wordplay that audience and artistes seem to have enjoyed.

He concluded a very well planned concert with Lalgudi’s Thillana in ragam Pahad and Mangalam in Sourashtram.

Lalgudi GJR Krishnan & Viji – Sree Ramaseva Mandali – April 9, 2018

My first concert of the season at the prestigious Sree Ramaseva Mandali, at Fort High School Grounds happened to be a stupendous concert by the Lalgudi Siblings, GJR Krishnan and Viji, with Trichy Harikumar on Mridangam and Giridhar Udupa on Ghatam.

  1. Varnam – MohanaKalyani
  2. Rama Bhakti Samrajya – SuddhaBangala
  3. Ramachandram Bhavayami – Vasantha
  4. Rave Himagiri Kumari (Swarajathi) – Todi
  5. Hechcharikaga Raa Raa – Yadukula Kambhoji
  6. Sri Venkatesa – PhalaManjari
  7. Eduta Nilichithi – Sankarabharanam
  8. Sobhillu Saptaswara – Jaganmohini
  9. Ragam Tanam Pallavi – Dharmavathi
  10. Baaro Krishnayya – RagaMalika
  11. Thillana – Sindhu Bhairavi
  12. Pavamana Suthudu – Sourashtram

The concert started with MohanaKalyani varnam by Sri Lalgudi Jayaraman. It sounded as pleasing as the famous Thillana the Maestro composed in the same ragam! It went on with some incredible music marred by the sound system that frustrated the artistes and audience alike! Swaras in SuddhaBangala were lovely. Ramachandram Bhavayami was beautiful with some exquisite swaras.

Viji played an amazing and elaborate Todi ragam and the song that followed, was a pleasant surprise for the audience. The Syama Sastri’s masterpiece Swarajathi was soul stirring. Trichy Harikumar played appropriately with gentle touch that enhanced the beauty of the presentation. A quick Hechcharikaga raa raa followed before a brief PhalaManjari outline by GJR. Again a rarely heard song, Patnam Subramanya Iyer’s composition, Sri Venkatesa was presented which ended with mellifluous kalpana swaras.

GJR’s Sankarabharanam made my day! Various special phrases that he played, with the swift bowing was a treat to the audience. But for the disturbance caused by the spoiler man of the match, the sound engineer, this would have remained one of the memorable explorations of the majestic ragam on the Violin! Trichy Harikumar played extremely well complementing the grand composition Eduta Nilichiti. We couldn’t hear a complete Tani from Udupa as he was visibly frustrated by the sound system already. However, Harikumar continued his brilliance all through the concert.

A brisk Sobhillu Saptaswara was a filler between the main composition and the much awaited Ragam-Tanam-Pallavi. Dharmavathi was presented extremely well by the siblings and GJR played a superb Tanam with some remarkable bowing. Lalgudis are known for their Pallavis in complex patterns and this was no different. Pallavi Sada Ramachandram Bhajeham, Janaka Sudha Ramana was in Khanda Triputa Talam with the first part (Poorvangam) in Trisram and latter half (Uttarangam) in Chaturasram and was presented in different patterns. Phewww… how difficult do they make the lives of students like me in understanding the Pallavi! Ragamalika swaras in SaveriReetigowlaBinduMaliniHuseni and Behag blossomed into a garland of flowers that beautified the Dharmavathi (Devi)!

My favorite Thillana, Sri Lalgudi Jayaraman’s composition in Sindhu Bhairavi ended what was a sublime concert.

Sree Ramaseva Mandali has been organizing the festival for 8 decades now – a commendable thing in it’s own right but after seeing many concerts (especially instrumental) disturbed in the past, I appeal to the organizers to get a better sound system. The life of an instrumental concert is in the sound and a little more effort makes their efforts transform into the experience in a much better way.

Lalgudi GJR Krishnan & Vijayalakshmi – The Music Academy, Chennai – Dec 23, 2017

Lalgudi Siblings, GJR Krishnan and Viji presented a melodious concert at the Madras Music Academy, with Sangitha Kalanidhi Prof. Trichy Sankaran on Mridangam and B S Purushottam (BSP) on Khanjira.

  1. Varnam – Hamsavinodini
  2. Dasarathe – Kokilapriya
  3. Sri Venkata Girisham – Surati
  4. Marugelara O Raghava – JayanthaSri
  5. Sivakaama Sundari – Jaganmohini
  6. Mahitha Pravruddha – Kambhoji
  7. Ragam Tanam Pallavi – Shanmukhapriya
  8. Chandrasekhara – SindhuBhairavi
  9. Thillana – Tilang

The concert started with the Maestro Lalgudi Jayaraman’s composition, a Varnam in HamsavinodiniDasarathe in Kokilapriya was lovely, so were the kalpana swaras.

A beautiful Surati aalapana by Viji was followed by Muthuswamy Deekshitaar’s Sri Venkata Girisham. Niraval in the Charanam was embellished beautifully by Trichy Sankaran. Kalpana Swaras were brilliant!

Two quick compositions Marugelara and Sivakaama Sundari followed, before the main raga for the evening, Kambhoji was taken up by GJR. He played some phrases with really complex gamakas, showing his virtuosity, while maintaining the melody that the Lalgudi Bani is known for! One of the Lalgudi Pancharathnams, Mahitha Pravruddha was the song. I saw a lot of guesses having gone wrong, with people around me trying to predict the song. We have to admire the duo’s quest to present rare krithis. Kalpana swaras and of course, the muktayi were quite interesting!

Shanmukhapriya was outstanding. So soulful and mellifluous that there was not even a second where we felt bored off the long aalapana. They did Graha Bhedam to KaanadaNaata and Dhenuka (thanks to Viji for clearing my doubt about how Kaanada was achieved from Shanmukhpriya through Graha Bhedam – by avoiding Madhyamam). GJR announced the Pallavi was sung by Alathur Brothers in Academy in 1964 and Trichy Sankaran Sir improvised on it. Pallavi, in Jhampa Talam in Khanda gathi was in Tamil, so I couldn’t comprehend the sahityam it inspite of Viji singing. As usual, it was a complex laya pattern, a trademark of the Lalgudis, which keeps students like me interested in following it very closely. Ragamalika swaras were in HuseniNalinakanthiHamir KalyaniKarnaRanjaniRasikapriya and Viji was simply outstanding in this segment!! Trichy Sankaran Sir was brilliant all throughout, and it was indeed a treat watching him.

The concert ended with Chandrasekhara in SindhuBhairavi and Lalgudi’s Thillana in Tilang.

2.5 hours of pure melody, both Violins singing in unison, Trichy Sankaran Sir showing his class and BSP handling Khanjira as carefully as handling a flower – it indeed was a musical ecstasy!!

Saketharaman – NadaSurabhi – September 17, 2017

Saketharaman and team presented a nice concert on the 87th birth anniversary of legendary musician, Lalgudi Sri G Jayaraman, at the Indian Heritage Academy for Nadasurabhi!

Sri Saketharaman was accompanied by Kumari Apoorva Krishna on Violin, Sri Sai Giridhar on Mridangam and Sri Omkar Rao on Ghatam.

  1. Sendil… – Neelambari (Varnam)
  2. (Jagad)Eesha Paahimam – Kalyani
  3. Adamodi Galade – Charukesi
  4. Kande Kande Kande Namma Kangala Dhenuva – Varamu
  5. Paalinchu Kamakshi Pavani – Madhyamavathi
  6. Kannanai Kanbadeppo – Ragamalika
  7. Jathiswaram – Sindhu Bhairavi
  8. Kandena Govinda – Chandrakauns?
  9. Thillana – Pahaad
  10. Mangalam – Sourashtram

Saketharaman introduced that he was going to sing either the songs composed or popularized by the legendary musician Lalgudi Jayaraman Sir. As expected, the concert started with a beautiful Varnam composed by him, in Neelambari.

(Jagad)Eesha Paahimam in Kalyani is the first of the Lalgudi Pancharathnams composed by Saint Thyagaraja and it was rendered brilliantly.

Charukesi is one of my favorite ragas and in some sense, synonymous with Lalgudi and I was actually about to send Saketh a text requesting if he could sing that ragam, but held back thinking he might have his own plans for the concert on his Guru’s birth anniversary and hence did’t want to disturb them. Surprisingly he picked up long aalapana of this amazing ragam (telepathy, perhaps?), though a bit fast paced rendition than the ones that I heard innumerable number of times from the maestro, it had the Lalgudi stamp all the way. I am seeing this wonderful young girl Apoorva after 3 years on an accompanying role and felt very happy listening to her return, which started and ended very well. The krithi was easily to be guessed, Adamodi Galade. Violin accompaniment for Saketh is not an easy job because of the energy with which Saketh sings, and in complex patterns of swaras, but she did a good job. A blistering round of kalpana swaras made everyone sit on the edge of their seats.

Madhyamavathi aalapana was quite detailed both by Saketh and Apoorva, and I was somehow guessing a Pallavi. Pleasantly surprised and happy to listen to one of the masterpieces of Shyama Sastry, Paalinchu Kamakshi, which had interesting, intense and long Niraval like in any typical Saketharaman’s concert. A tad surprised that there were no kalpana swaras and even the last charanam which will have Shyama Sastry’s mudhra was skipped too. Nonetheless, it was already an intense singing by then in the form of delightful Niraval @ Karunya murthivai jagamu kapadina talli… Tani by Sai Giridhar and Omkar Rao was energetic and fulfilling.

Jathiswaram in SindhuBhairavi is something I heard for the first time and it really is a wonderful composition by Lalgudi Sir, which had GrahaBhedam to BehagMohanaKalyani, Tilang ragas in a very simple way for the ears and definitely tough for the singer. The composition deserves to be known more popularly to the general folklore and musicians like Saketharaman are hence, real torchbearers of the Lalgudi tradition. It was so nice that he sang and explained the composition as he did it!

The concert ended with a few small pieces followed by his famous Thillana in Pahaad!

Overall, a nice concert by Saketharaman and I was probably expecting one more Niraval and a Pallavi, but I do understand that the theme was more focussed on the legendary musician Lalgudi Jayaraman Sir and Saketh needed to make adjustments to his usual format, accordingly.

Lalgudi Krishnan & Vijayalakshmi – M A Narasimhachar Music Foundation – 18 November, 2016

Lalgudi siblings, Sri Krishnan and Smt. Vijayalakshmi, presented a delightful Violin duet concert, with Sri K U Jayachandra Rao on Mridangam and Sri Phanindra Bhaskara on Ghatam.

  1. <Missed a few compositions, as I arrived late>
  2. Seethapathe – Khamas
  3. Mayamma yanine – Ahiri
  4. Manasu karugademi – Hamsadhwani
  5. Kaligiyunte – Keeravani
  6. Ragam Tanam Pallavi – Kosalam
  7. <Couldn’t identify composition> – Kapi?
  8. Thillana – Pahaadi
  9. Pavamana Suthudu – Sourashtram

I had unfortunately missed initial 30 minutes or more of this beautiful concert and while I was driving to this concert, I was hoping to listen to Khamas. Bang on! The first composition that I heard in the evening was in Khamas! A short and beautiful aalapana followed by Saint Thyagaraja’s Seethapathe. A very delightful Niraval towards the end, from both, was a treat for the ears!

Syama Sastry’s Mayamma in Ahiri was full of bhavam and I wouldn’t have been surprised if any one in the audience had actually wept listening to it! Oh, that bowing!! It probably requires a tapas of an entire life to be able to do that kind of controlled bowing!

Brief Hamsadhwani followed by Patnam Subramanya Iyer’s Manasu Karugademi pumped the energy levels of everyone, with a wonderful rounds of fast paced Kalpana swaras.

Keeravani. What should I write about this?! Very detailed, soulful aalapana by both the siblings. It was like being in a different world altogether, and wished it could go on forever!! I would have heard the composition Kaligiyunte by the great Lalgudi Jayaraman Sir, which is in my collection, many times. I felt he was playing it in their form, on the stage this evening! Kalpana Swaras are a special feature of Lalgudi Bani and what a remarkable way to end the main composition it was! Soft, elegant and melodious! I have often confessed that KUJ is my favorite current generation Mridangam artiste and he was fabulous in this concert. Very gentle, as soft as the sound from Lalgudis’ Violin! Lovely Tani Avarthanam by him and Phanindra made the main piece, grand!

Krishnan announced the concert is going to end exactly at 9 and hence directly jumping into Ragam Tanam Pallavi. Kosalam (71st Melakarta ragam) this time. I have never heard the ragam on stage and this was fabulous. Pallavi Kamalavadani Karunakari KamaladalaNayani, was in Khanda Triputa Talam. I liked the pallavi very much, more so, because I understood it! Ragamalika swaras in Sahana, Ananda Bhairavi (well, I wanted to request Ananda Bhairavi if I had reached early – but it was checked too in some way!), Varali, Janaranjani, ? (couldn’t notice) and Hamir Kalyani ended, what was a lovely RTP!

The concert ended with Lalgudi Jayaraman Sir’s Thillana in ragam Pahaadi, followed by traditional Mangalam.

Overall, a great concert with sound quality way better than many places, and my fond memories with this Our School Auditorium continue!!

T M Krishna, H K Venkatram & Ashwin Anand – Bhoomija – 12 November, 2016

This is a special collaboration by Sri T M Krishna (Vocal), Guru Sri H K Venkatram (Violin) and Sri Ashwin Anand (Veena). TMK announced that Veena – Venu – Violin concerts are very popular since being conceptualised by Lalgudi Jayaraman – N Ramani – R Venkataraman many decades back and even today. However, he said, instrumental concerts and vocal concerts have always been in different paths and have seldom converged as a collaboration (not considering the regular concerts with ‘so-called’ accompanying instrument or pakka vadyam) and this Veena – Vocal – Violin concert is one of those attempts to see how it works!

TMK – HKV Sir – AA performed with Sri Arun Prakash (Mridangam) and Sri N Guruprasad (Ghatam). One of the special things I noticed in this concert is, TMK announced almost every composition that was being presented, and with a bit of background, as applicable.

  1. Mallari – GambhiraNaata
  2. Sri Krishnam Bhaja Maanasa – Todi (preceded by Ragamalika in free style)
  3. Ragam Tanam Varnam – Navaragamalika
  4. Thillana – MohanaKalyani
  5. Nottuswaram (Ramachandram)

The concert started with a brief Tanam in GambhiraNaata and the Mallari that followed in Misra Jathi Jhampa Talam, was very nice and refreshing to listen. It started in ultra-slow motion and gradually transitioned into different nadais. After a brief round of swaras, the Tani Avarthanam followed, which marked a great start to the concert!

The next composition preceded with a Ragamalika aalapana in free style, transitioning from one ragam to the other, seamlessly, alternating their turns, in the order – AA, TMK, HKV Sir. Shanmukhapriya, Varali, Asaveri, Mukhari, Salaga Bhairavi, Manirangu, Surati, Desh, Kapi, Dwijavanthi and finally a brief Todi aalapana and slokam in it, by TMK. The krithi Sree Krishnam Bhaja Maanasa was presented together by AA and HKV Sir, with TMK joining in the end, for a delightful Niraval at Shanka Chakra Gadha. Arun Prakash was outstanding with his Mridangam – felt as if a fourth melody track was running!!

Yet another Ragamalika – now in reverse order. Kedaram, Sankarabharanam and Kalyani (ragam) by HKV Sir, Begada (ragam), Kambhoji (Tanam) by TMK and YadukulaKambhoji, Bilahari, Mohanam and Sree (Tanam) by AA. By now, the composition was already guessed! One of my favorite varnams, just in one speed followed. A special round of swaras in the end – in the reverse order, from Sree to Kedaram was taken up by each, alternating among themselves. Very interesting!! A mini, soft Tani Avarthanam made it even special!! Both Arun Prakash and Guruprasad were amazing!

Lalgudi Jayaraman Sir’s MohanaKalyani Thillana followed. This was a tad slower than what I heard a thousand (or more) times from Lalgudis. Nonetheless, as special, as always!

TMK announced how Sri Muttuswami Deekshitaar was inspired (or, [perhaps] tickled) by the Scottish and Irish light music bands in the British India to compose about 38 Nottuswarams. AA and HKV Sir presented the composition and TMK joined again to repeat it along with sahityam.

Overall, it was a very nice concert indeed, with a couple of ragamalika sections. I would have been happier if there was another composition in place of the long ragamalika as a prelude to the second composition.

Thanks to Bhoomija trust for bringing these kind of concerts to reality. Looking forward to many more of these concerts!!

DisclaimerPlease excuse me if I wrote anything incorrectly. I am a mere mortal and my knowledge in music is very limited to understand and explain things in greater detail!