Cut Loose
REVIEW OF CUT LOOSE IN THE METROPOLITAN MAGAZINE
By Oliver Lowell, Music and Culture Correspondent
The hottest new experimental folk-pop band returned to its birthplace last week, and your faithful correspondent tagged along (admittedly neither my brother Felix, the bass guitarist and cellist, nor his partner Mitch, the guitarist and whistle-player, would ever have let me miss this performance).
A preeminent example of the “fusion jam” genre generated by the Transference, Cut Loose formed when its members were stuck in the remote town of Anchor Rock. Cut Loose is a fusion of classical music, pop, rock, experimental, and folk music, although the musicians have refused to label themselves more specifically and insist they just play, according to Billy Clarke, “whatever seems most fun”.
Cut Loose has since become much more widely known. Unusually for the genre, performances were first held in classical concert halls, in line with organisers Felix Lowell’s and Enara Abaroa’s classical backgrounds. The band’s membership has shifted slightly over the years, notably increasing to include Felix’s pre-Transference band mates, and not all members have travelled to every public event. Even so, it was clear to this correspondent that all members remain close friends.
Several of Cut Loose’s unique musical styles have caught on. Experimental electric metal band Electric Twister have credited drummer Billy Clarke their new paint cans drum sounds, and Renn Anderson’s skill at improvisational recorder has reportedly inspired a greater uptake of the instrument across the country.
Cut Loose annually returns to Anchor Rock, still home to pianist Phoenix Armstrong, conductor Enara Abaroa, guitarist Hal Wynder, and flautist Billy Tanner when the band is not on tour. Renn Anderson even serves as the town’s co-Mayor! There, they celebrate the life-changing event that brought them and the other Anchor Rockians together, both locals and transfers.
This year’s hometown concert was a roaring success. The band played covers of old favourites, including hits from the Inseacts, King, and Taylor Slow, as well as variations on classic pieces like In the Hall of the Mountain Queen, in their own unique and enthusiastic style. Mitch MacIntyre’s use of the whistle in “Trafalgar” by BAAB particularly stood out.
We were all surprised by a guest performance just before the intermission by Odette Lynn, a violinist in the Nootlyn Philharmonic, and Christine Fredrickson, from the cast of East Side Narrative on Narrowlane, who together performed a hauntingly beautiful arrangement of a love ballad from the musical.
After the intermission (and refreshments: Anchor Rock has incredible marshmallows, but I’d recommend giving the carrot cake a miss, despite the ‘new and improved’ recipe) Cut Loose dazzled the crowd with their improvisational section, showcasing their wide range of instruments and stylistic influences. Jason Osman’s clarinet solo was truly marvellous, and Phoenix Armstrong, Hal Wynder, and Billy Tanner played a fun upbeat trio with the piano, flute and guitar.
As is now their signature, Cut Loose finished their set with a cover of “Umami Caroline” by Neil Emerald, and, of course, the whole town sang along.