There's no denying it: the last 18 months have been a nightmare for musicians wanting to share their craft with adoring audiences, as COVID-19 has proven a menace to live music.
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But throughout history, worldly troubles have often proven prime creative fuel for artists, and on While the World Waits, an Arts OutWest-backed compilation featuring 15 of the Central West's finest musicians, the challenge of COVID has been illustrated through a myriad of perspectives.
Few stones are left unturned on the record regarding these trying times, from reaching adulthood during lockdown [Gracey Denham-Jones' 'Wait'] to the doom and gloom of media and 'bad news' [Genni Kane's 'Trouble We're In'], and even the upsides of online gigging [Nerida Cuddy's 'Virtual Folk Club'].
There's also tunes reflecting the resilience of humanity [Adam Enslow's 'Stay Together'], filling moments of emptiness [Gavin Bowles' 'Killin' Time'] and a show of solidarity for those entering their professional careers in an uncertain world [The Safety of Life at Sea's 'I'd Hoped There'd Be More'].
In much the same vein as the previous Central West compilation, Dreaming of a Green Christmas, While the World Waits is a 'comfort album' intended to help listeners feel a sense of solace in what many have identified as a difficult and stressful time.
But unlike Dreaming, While the World Waits has further expanded its palette to incorporate as much of the Central West's sound as possible, from the lush, slide guitar sounds of Lake Cargelligo's Adam Kerezsy to the bluesy versatility of Cowra's Andy Baylor, or the smooth, PJ Harvey-esque croon of Orange's Lynda Manwaring.
There's still familiar favourites there, however, and Smith & Jones, Gabbi Bolt, Amy Viola and Lueth Ajak each provide a reflective and thought-provoking response to these trying times.
But the real strength of the record is how it raises the voice of many artists who may not have had much of a platform outside their home town, which is sure to benefit artists such as Cowra's Josh Maynard or Grenfell's BC and the Foot Falcons.
The record's diverse sound is a testament to Kris Schubert's detailed and tailored approach to production. He might've said his "job was to simply 'hit record' and enjoy the listening experience," but he's succeeded in engineering each track into its own distinctive beast.
It's also a testament to Arts OutWest music industry support officer Patrick Coomey, who has long endeavoured to foster a balanced and collaborative original music scene in the Central West.
Times are certainly tough for music, but this record proves the pandemic cannot silence creativity.
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