Pauline Maudy wears her heart on her sleeve. Her confessional chatter in between the fifteen songs she performed became a dimension of the concert. The content of each number ranged from the intensely personal to historical narrative to songs referencing the environment at Harrigans Lane where Maudy and pianist Peta Leigh Wilson had a residency.
The backdrop to the Lagavulin platform is a picture window which encompasses the width and height of the stage with stunning views of the bush beyond. Lagavulin is an anglicised form of the Scottish Gaelic Lag a’ Mhuilinn which translates to hollow of the mill.
Sitting in such an intimate venue blessed by a deluxe acoustic with a modest audience deep in the elevated landscape of Willsons Downfalls, not far from the Queensland and New South Wales border, was a luxurious experience.
Beauty by Pauline Maudy and Anthony Garcia introduced Maudy’s silvery toned voice and the reliable professionalism of collaborators Peta-Leigh Wilson on piano and Robert Davidson on double bass.
Davidson is a composer and artistic director of the contemporary ensemble Topology. He’s that special breed of musician comfortable in channelling multiple genres. Wilson’s alternated busy spiky pianism and pulsing chords fleshed out the song distinctively.
When Maudy was diagnosed with fibromyalgia she was distraught but became defiant. She and Davidson alchemised this mood in Live Like We’re Dying. This unusual song’s sad message had an upbeat verve punctuated by spicy syncopated piano.
Maudy has a French and Australian background and in Gold Seams (Poésie de la felûre) co-written with Davidson her voice took on an exquisite airy tone. This was one of the concert’s highlights. Mundy’s voice has a different yet lovely quality when singing in French. Davidson’s supportive bass drove meaning and the astute arrangement contrasted sparse textures with instrumental bursts.
Another special was Watching the Stars, a song jointly composed by Maudy and Wilson. A poignant yet grounding rock groove illuminated the story of Eliza Marsh a colonial pioneer lying in bed in a shabby dwelling and watching the stars through a hole in the roof.
Wild Dogs was inspired by how badly the Chinese workers were often treated in the early days of the colony. This song bemoaned the schism between humankind’s capacity for generosity and brutality. Maudy railed against racist cruelty singing with lively embellished melodic flurries.
Phone of the Wind was about the devastation of a Tsunami in Japan. In the aftermath those who were grieving would visit a garden where there was a disconnected phone box and they would ‘phone’ their dead loved ones. Here a bold bass and rock groove created an edge and encouraged Maudy’s impassioned delivery.
Maudy has a voice of many colours and her sincere performances drive meaning and heart. Davidson and Wilson’s instrumental support and choice arrangements in seeking to illuminate the varied playlist of original songs was a pleasure in itself in this enjoyable recital.
An encore of Sympathique, Pink Martini was the original artist, involved the more than willing crowd in singing the last word of each line in the ‘Je ne veux pas travailler’ chorus.
Watching the Stars: Pauline Maudy with Peta Leigh Wilson
Lagavulin @ the Piano Mill, Willsons Downfall (NSW)
Performance: Saturday 19 April 2025
Information: www.paulinemaudy.com
Image: Peta Leigh Wilson, Pauline Maudy and Robert Davidson (supplied)
Words: Gillian Wills
Gillian Wills is a graduate and honorary associate of The Royal Academy of Music for distinguished services to the music profession. She is an author and arts journalist who writes for Australian Arts Review, Limelight and InReview. Her debut novel Big Music, Hawkeye Publishing, was released 1 October, 2024 featured as a notable book in The Australian Weekend Review.