Imugi 이무기
10th December 2020
The Tuning Fork, Auckland, New Zealand.
Review and photography by Sarah Kidd
Imugi 이무기are a duo that are almost impossible not to love; not only do they produce outstanding music which both their debut EP Vacasian demonstrated and Dragonfruit has only doubled down on, but they are the most joyful duo to witness perform live. Never underestimate the power of watching creators who truly love what they do, as it adds another layer to the live experience, one that will see fans come back time and time again.
Ensuring that their EP release show felt like a celebration of not only music and creation but of diversity too, audience members were welcomed into the Tuning Fork by none other than Soraya La Pread, whose extensive musical knowledge is enough to make one salivate.
Not only does the NZ born DJ, music producer and daughter of none other than Ronald La Pread of The Commodores know her stuff, but she can read a crowd like a recipe book. A little bit of this and a pinch of that, her selections kept the ever-growing audience entertained before and during sets. Artfully she threw down tracks such as ‘Don’t Rush’ by Young T & Bugsey, ‘All Night’ by Chance The Rapper and ‘The Box’ by Roddy Rich before she dipped into some old school vibes with songs such as ‘Roses’ by the glorious and forever popular Outkast.
Wanted something to boogie to? How about a little ‘Drogba’ by Afro B, or some Kaytranada? But where La Pread really comes into her own is with her mixes, the ones that kept the feet shuffling and the ears pricked, little snippets of old school Dizzee Rascals ‘I Luv U’ from the phenomenal album Boy in da Corner quickly turning heads.
Following her stunning opening, the crowd were already in high spirits, the emergence of Leaping Tiger only fanning the flames. Often referred to as a ‘maestro’, Leaping Tiger has been making waves all over Tāmaki Makaurau and for good reason. One only has to listen to his debut album Porcelain Orca Whales to realise that here is a creator who will not be boxed in by genre or style which is so utterly refreshing that it makes you want to embrace him all the more.
Having studied composition at UOA and playing piano, flute and bass guitar since the age of six, Leaping Tiger certainly knows his way around more than just a couple of keyboards. Armed with his mainstay bass guitar, and a tasty assortment of electronics, Leaping Tiger led the crowd through a set that while rudely interrupted at one point by gremlins (aka technical issues) still filled the room with a sonic medley that flowed from energetic techno through to the vibes of Daft Punk; free flowing funk and jazz beats thanks to tracks such as ‘Screw Face’ (featuring JY Lee and the always quality Church & AP) electrifying the room.
With the glitter highlighting his cheekbones matching the dazzling sparkle in his eyes, Leaping Tiger could not be caged in by the stage, at one point disappearing into the crowd for a spontaneous dance circle that made temperatures soar and smiles widen. Appearing at Rhythm and Vines this year, this is an act to keep a very close eye on, because it won’t be long til his name is dripping from everyone’s lips.
With word play that sliced through the skin like a cut throat blade, PollyHill took no prisoners; arriving on stage she laid down the facts accompanied by none other than MC Half.Queen, the two not only forming the perfect collab live, but in other areas of the arts as well; Half.Queen (aka Shaki Wasasala) co-directing JessB’s music video for ‘So Low’ along with Connie Cash (aka Paloma Schneideman aka PollyHill).
In contrast with Leaping Tigers set, this was not content with which to lose your head and dance to. This was content instead with which to use your head and become educated to; PollyHills jabs at those that call themselves allies but shying away from the mahi when times get rough stinging but clear.
Incorporating trip-hop, with old school vibes and horrorcore like beats, her work is both melancholy and cynical, with an ability to make heads nod as she speaks of refusing to be silenced due to sex or colour. ‘Don’t fall in love with a fantasy’ she throws out to the crowd with a wry smile, a statement that hits home for more than just a few punters.
With the ability to spit bars at a rate that makes you sharply draw breath in admiration and tracks such as ‘Spooky’ and ‘Rare View’ being definitive highlights live, PollyHill has something to say and you would be wise to listen up.
The night could have ended right then and there and there wouldn’t have been a disappointed soul in the building, the sheer quality and entertainment value of the acts preceding the headliners already deeply satisfying. But of course, there was one act left to go and Imugi 이무기 were ready to lay it all on the line.
Arriving to screams of delight, Imugi 이무기 had grown for the night into a trio, the phenomenal Dan Waterson (another ex-Rangitoto College student) joining on drums. Having both played since the age of six, and recently completing his music degree with honours at UOA, the addition of his flawless talents was guaranteed to lift the live set to an entirely new level.
Arranging themselves on stage, the set started with evocative words as vocalist Yery Cho began on her knees, her face delicately lit from beneath by the artificial light of her phone that she read from. As the words swirled above the audience’s heads, the room was transformed; this was now Imugi 이무기’s domain and they commanded it.
Cho comes out pulling no punches, raging against capitalism, reminding all that men can be shady and that the industry machine will eat you alive if you aren’t careful, her powerful messages are delivered with a side order of genuine love and appreciation for those that invest their time not only in the same belief systems but support of the endeavours of the band themselves – the two not always sitting well together for Cho but years of “unpacking” have obviously allowed for a balance within.
Watching Cho perform there is an air of Clairo and Girl in Red to her, and it is completely intoxicating, her vocals, as usual – on point and deliciously hypnotic, especially with early hits such as ‘Portals’ and the popular ‘Greensmoke’. From behind her on the left, seconded behind his desk of wonders is the yin to Cho’s yang, Carl Ruwhiu performing multiple duties throughout the set as he takes a few spins on both guitar and the mic, his infectious smile barely leaves his face for more than a few seconds at a time, illustrating just how much music obviously feeds his soul.
A momentary return of the technical difficulties that had plagued Leaping Tigers set threatened to derail Imugi 이무기, the pause instead allowing Cho to express her heartfelt gratitude to one and all while simultaneously handing out stickers to the front rows as she gave it up for the “girls and the gays” who always turn out. She also reminded the audience about the importance of consent, the topic coming with a warning that no funny business in the audience would be tolerated. Statements like these should not have to be made, but sadly are still required, especially when recent surveys show that over forty percent of kiwi women still feel unsafe attending gigs and other music related venues.
Their set is one that floats by like a dream, the trio pulling you momentarily into their electro-pop-synth world allowing you to leave your troubles of the real world at the door. There were dance routines, a special guest (PollyHill once again returning to the stage to floor everyone with her vocal skills) and a mix of old and new music that sated their fans; ‘Somebody Else’ from their latest EP Dragonfruit without a doubt a favourite with the crowd. Finishing with poetical outflow, Imugi 이무기 were met with a well-earned wall of applause.
Illustrating that in just three years they have already come so far, Imugi 이무기 are something special, so do yourself a favour and immerse yourself in Dragonfruit over these holidays – it is a decision you will not regret.
Were you there at The Tuning Fork for this magnificent album release show? Or have you seen Imugi 이무기 perform live somewhere else? Tell us about it in the comments below!
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Note: [AD] Imugi 이무기 / Blackout Music provided passes to Ambient Light to review and photograph this concert. As always, this has not influenced the review in any way and the opinions expressed are those of Ambient Light’s only.
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