Almanac Music: Neil Murray at the Trinity Sessions

 

 

 

The genial duo, Roger Freeman and his wife Yvonne have organised music concerts, the Trinity Sessions, for more than twenty years. Held at the Church of the Trinity in the Adelaide suburb of Clarence Park, the venue is unique with brilliant acoustics and a wonderful leadlight stained glass window just to the side of the slightly elevated stage. The atmosphere is relaxed and friendly and everyone gets a seat. Over the years, folk-blues artists of substance have matched the surrounds. New up and coming artists are also afforded an opportunity. Archie Roach and Ruby Hunter performed here in the early years, Eric Bogle appears regularly while Lloyd Spiegel, Mahalia Barnes and Brian Cadd have graced the stage in recent months. Eric Bibb will perform at two sold-out concerts in coming weeks.

 

 

 

 

 

Last week the distinctive style of Neil Murray provided an enriching afternoon for all those present. Born in Victoria, Neil Murray has spent much of his time in the Top End. He has been a journeyman singer-songwriter since the 1970s. His songs tell stories of an Australian identity, bringing a connection to the land, the flora, the fauna and to the indigenous peoples and their ancestors.

 

His lyrics do not shy away from things that need to be said.

 

Murray wrote the iconic ‘My Island Home’, originally recorded by the Warumpi Band with Murray as a band member. The song became an indigenous anthem, taken to stellar heights by Christine Anu who performed it at the closing ceremony of the 2000 Olympics.
On a balmy afternoon with the sun streaming through the fabulous window, Neil Murray performed songs from the whole range of his catalogue. His playing alternated between his big white Gretsch guitar and a beautifully sounding amplified acoustic.

 

Most songs were accompanied by an associated story.

 

There are two songs from his latest album, The Telling, his ‘contribution to the process of truth telling in this country’.
‘Broken Land’ rollicks along as it relates the impact of 200 plus years of colonisation.

 

 

 

 

‘Tears of Wybalenna’ is an important song that tells the story of hundreds of Tasmanian aborigines moved to a settlement on Flinders Island for the purpose of being ‘civilised and christianised’. There was great suffering and many died as they awaited the promised return to their traditional country on the mainland. ‘Governments don’t learn from their mistakes’, sings Murray as he links this historical event with the fate of asylum seekers in the current era.

 

 

‘They languish in detention for many along year
and their cries for justice fall on deaf ears
Like the tears of Wybalenna’

 

 

 

 

 

Murray tells of a discussion with an old bloke in the Lyndhurst pub that led to the song ‘Horse and Rider’. The pitch of his voice rises a notch as he sings. The driving beat of ‘Goodlight in Broome’ is followed by ‘Fine Open Country’ and many others. He speaks of his respect for Eddie Mabo before performing the song of that name, the final verse becoming a name-check of prominent indigenous people – activists, sportspeople, politicians, artists and others.

 

The finale is a return to his early days and the Warumpi Band song ‘Black Fella, White Fella’ with the audience on their feet as they “stand up and be counted”.

 

A great afternoon spent with a talented artist who makes an important contribution to Australian music and culture.

 

 

 

 

 

 

More from Peter Crossing Here.

 

 

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