Player Profile: Kevin Keys

Ladies and Gentlemen, Mr Kevin Keys. Actor, Singer, Rapper, Trombonist, and all round nice guy. Let’s get up close and sweaty with Blackbird’s lead Trombonist, and man of mystery..


Please tell us about yourself and what you play in 3 sentences.

6 foot 2, Scorpio, long walks on the beach, etc, etc… 

I play the king of instruments, the undisputed heavy-weight champion of the metal department, the irresistible high-priest of the glissando, and the only instrument to have a forebear with the name ‘sackbut’, the TROMBONE.

How many blackbird shows have you done now?

The Sea Show, Ballet Banquet and The Night Sky.

Which is your favourite show and why?

The Night Sky has been my fave – full throttle with hugely theatrical elements that, in this next season, are going to be bigger, better and with a side serving of potatoes.

What is the best moment in the Night Sky Show?

Besides the moment when I crack out a pedal Bb (always a highlight for any trombonist), it would probably be when Jessie goes beserk to Bjork (appalling rhyme unintended, but noted.)

How do you feel when you’re performing?

Hmmm – a bit sweaty? Not sure – you’d have to touch me.

What to say? I like live performance – being part of an organic beast that can ebb and flow and react to that special crackle of energy that exists between an audience and performers…

What would be your dream blackbird gig theme?

I think a psychedelic/early 90s guitar rock/loosely agricultural-themed mash up is the obvious next choice.


What’s your favourite thing about BBE?

Its holistic performative experiential nature (did I really just write that?), along with the ‘can-do/put this shit on’ spirit.


Player Profile: Alex Taylor

cropped-img_4197.jpgYou may know Alex taylor as a composer. You may know him as ‘that guy in the gold jacket who can sing like Nick Cave.’ I know Alex as a man who makes a mean lasagne, who wears zebra pyjamas, and who can produce a whole octave of notes out of a single beer bottle. He’s also a great dancer. A man of many talents. Well here’s a few words from the man himself, who’s performing in the upcoming Night Sky concerts at Q Theatre.

Please tell us about yourself and what you play in 3 sentences.
I am a composer, musician, poet, teacher and student of the universe. Blackbird Ensemble gives me the opportunity to inhabit a bunch of different singing personas, including Nick Cave and David Bowie, and I also play tenor saxophone and violin. When I’m not making music I’m probably reading, binge watching HBO or procrastibaking.

How many blackbird shows have you done now?
I’ve been on board for the Sea Show, Carnival, Banquet Ballet, and the Night Sky.  

Which is your favourite show and why?
Each show has its highlights. The Sea Show let me go full seedy rock star with Nick Cave’s Little Empty Boat (complete with expletives and revealing jumpsuit); the Banquet Ballet had some very sharp arrangements and a great groove; Carnival’s costumes and make-up are hard to beat. But for me it’s gotta be the Night Sky – it’s got depth, breadth and so many killer tunes.  

What is the best moment in the Night Sky Show?
Taking my jacket off.
Just kidding. There’s a bunch – when the texture gets brought right back to banjo, guitar and flute for Sufjan’s haunting UFO eulogy; when I get to duet with my dear flatmate Claire; when Jessie goes full hysteria on Bjork… so many great moments in this show.

How do you feel when you’re performing?
Performing gives me the chance to act out my extrovert rock star fantasies. I feel focused, powerful, elated.

What would be your dream blackbird gig theme?
Something crazy. I think it would lend itself really well to something psychedelic, gender-bending, androgynous. Or some kind of sensory overload. Blindfolds, tastes and smells.  

What’s your favourite thing about BBE?
The fans.  

The Wilderness

This show took Blackbird Ensemble to a whole different level. We transformed the Q theatre loft into

a magical forest space, complete with pond and snow.

At Q Theatre, July

At Q Theatre, July

Read one of our favourite reviews below:


Reviewed by Hayden Eastmond-Mein for The Pantograph Punch.

As soon as I stepped inside the Q Loft, I forgave the strange smell that’s been occupying the Q Theatre complex for the last couple of days. It’s the kind of earthy, wet sock smell that makes paranoid people such as myself worry about a potential laundry mix up. In fact, it was emanating from the organic matter that makes up a stunning, eerie dead forest set designed by Celery Productions for the Blackbird Ensemble’s latest show, The Wilderness.

It’s not the setting you’d expect to find a chamber orchestra in, which is of course the point. Director Claire Cowan’s ensemble does for classical music what no number of NZSO v Shapeshifter collaborations could ever really achieve: modernising classical music and making it more accessible to a wider audience without resorting to dumbing it down. But more so than the set design (and costuming, which matches the set’s eeriness perfectly), it’s Cowan’s musical direction that really bridges the divide between chamber music and the young, gig-going audience.

The bulk of The Wilderness is set around Max Richter’s recomposition of Vivaldi’s Four Seasons. With such a well-known piece of music, this reworking operates as a sort of exhilarating acid flashback for those who appreciate but don’t make a habit of listening to classical music. Soloist Amalia Hall’s powerful and beautifully expressive violin playing carries the group through familiar and not-so-familiar movements, soaring above but never beyond, making full use of the theatrical crescendos and caesuras.

But it’s when vocalist Jessie Cassin comes to the stage that the show really opens up. Along with her pure voice, the chamber group is suddenly joined by a wider range of aural textures as a tabla, guitar, banjo and accordion join the stage that’s already full of violins, violas, cellos, harp, harpsichord and bass. The three numbers Cassin leads – Bjork’s “Hyperballad”, Joanna Newsom’s “Cosmia”, and Bat for Lashes’ “Wilderness” – don’t have the same urgency as Richter’s Four Season (not many pieces of music do), but they have an intrigue and drama that’s perhaps more captivating.

Transplanting chamber music to a space like the Loft isn’t without its issues. There’s a reason it’s usually played in a specially designed wooden hall – the resonance of wooden surfaces not only allows the sound to fully envelop an audience, but it lets the musicians hear themselves within the context of the group. In such an acoustically dead space as the Loft – necessary for intimate theatre – the audience feels separate from the sound source, and the musicians – at least initially – seemed self-conscious.

But what you gain in the Loft is an intimacy that you wouldn’t get in a concert chamber – the ability to see the expression on each musician’s face, and the subtleties of the group’s time-keeping sway. In the end, it’s the performance of this talented group of musicians that encapsulates.

Claire Cowan and her Blackbird Ensemble are doing something vitally important for classical music in New Zealand, and you should really go see why.

Introducing: Manjit Singh, Tabla player for the Wilderness

We have a very special collaboration happening the Wilderness Show. Manjit Singh, our Tabla player talks about his instrument and what it’s like to play with a classical orchestra.

Blackbird Ensemble: When did you start to learn Tabla?

Manjit: I started learning tabla at the age of 14 and learnt under the traditional guidance of Kulwinder Singh (disciple of legendary Ustad Alla Rakha) the famous tabla player and teacher in Punjab. I have done a Masters in Indian Music and currently doing a BMus in University of Auckland. I am working as a director and teacher in Rhythm School of Indian Music.

Blackbird Ensemble: How is the process different working with classical musicians?
Manjit: Indian classical music is improvisation based music. The Indian music does not employ notation system for any instrument playing or singing. Its very different for me to playing tabla with the western classical music because of the reading notes. But its a new learning experience for me to play tabla with reading scores.

Blackbird Ensemble: What is your favourite place in the Wilderness?
Manjit: My favorite place in nature is the Lakeside. I like sitting at lakeside and play tabla and enjoy playing tabla with the sounds of nature.


Blackbird Carnivale at Q July 19th



Come along at 6.30pm next thursday to Q lounge where Blackbird will be performing the ‘Carnivale’ quintet show.

Featuring Jessie Cassin, Alex Taylor, Claire Cowan, Peau Halapua and Iselta Allison. It’s free! See you there.

String Quintet, with percussion and Voices

String Quintet, with percussion and Voices


Our New Show, The Wilderness, will open at Q theatre on July 10th. It runs for four nights and there’s five shows. It features some of the most stunning classical music recently composed. Or recomposed, for that matter. We will be performing the Southern Hemisphere premiere of Max Richter’s Four Seasons Recomposed, a work originally inspired by Vivaldi’s masterpiece. Our soloist will be young kiwi superstar Amalia Hall. For bookings, visit Tickets start from $27.

On at Q Theatre July 10-13

On at Q Theatre July 10-13