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Last night I was invited to watch German musician, Nils Frahm’s performance at Perth Festival. The concert took place at the absolutely packed out East Perth Power Station, a historic venue that offered a unique, atmospheric backdrop. The space, with its industrial charm and spacious layout, proved to be a fitting choice for Frahm’s style, which thrives in an environment where sound can fill and reverberate through large spaces yet still feel intimate.
Frahm expertly wove together delicate piano melodies with intricate electronic textures, creating a dynamic and emotionally charged experience. Audiences were in awe, as the composer and record producer, seamlessly mixed a range or instruments. Keen ears could catch a grand piano, upright piano, roland Juno-60, rhodes piano, drum machines and a Moog Taurus.
His set included selections from his 2024 live album *Paris*. These inclusions allowed him to showcase both quieter, reflective moments and more intense, experimental segments. The audience was completely drawn into the experience, as Frahm’s skillful manipulation of sound took them on a journey from calm and meditative to powerful and moving.
My favourite part of the performance was the audience interaction. He asked the crowd to make animals noises, then put it on loop and created his next track out of it. This was lots of fun and it did very much sound like a zoo for a few minutes.
A seated concert in this space would have been perfect, as you could then close your eyes and relax in an almost meditative state. As we walked through the crowd, we could see eyes closed, swaying back and forth as if in a trance.
Those in the VIP would have enjoyed this 5/5 star experience as they were able to sit and enjoy the show. Unfortunately, for the rest of us who struggled with standing on the gravel for such a long period of time, the reflective vibe of the concert was diminished.
That aside, the concert was a captivating display of Frahm’s mastery in blending classical and electronic music.