Her sound, as you will hear, is a mix of different worlds. In this song "Ghumar," for example, a Dhol drum pounds out a bhangra beat, while a Givson (no that's not a misprint, it's not a Gibson) mandolin provides the textural ear candy as Falu's sinuous voice hovers and dips through complex, compelling melodies. The lady has chops, for sure, honed by a lifetime of rigorous study with various Indian vocal gurus.
The Highline Ballroom was packed, and this video was taken from the balcony, so I was thankful for the zoom on my camcorder. And besides "Ghumar" there were several real standouts from the show as well; "Savan" was a deeply sensuous song of longing accompanied by the versatile Mark Tewarson on dobro, injecting a languid, country blues feel. In "Eastbound," Falu utilized the taan technique, a kind of scatting, in a rapid-fire exchange with the tablas of Deep Singh. For "Bahaar" Falu brought out an actual string quartet to perform on stage with her, and it worked beautifully. The band itself was tight and spirited, rounded out by the excellent David Sharma on kit drums, Soumya Chatterjee on violin, and Gaurav Shah on harmonium and vocals.
I had invited my niece Rachel to the concert, whose ears are quite open, but whose contact with Indian vocal music has been minimal. On the way home she asked me "Why is it that when we hear a voice singing, we feel such a direct physical and emotional connection?" While the answer to this question may seem axiomatic, the fact that she raised this issue speaks volumes about the caliber of Falu's performance.
The performance at the Highline was co-sponsored by the Indo-American Arts Council, a not-for-profit 501(c)3 arts organization whose mission is to showcase and build an awareness for performing, visual and literary arts from/of/about the Indian subcontinent.
For more information about Foras Road the CD, and Falu, visit: falumusic.com
For more information about the Indo-American Arts Council visit: iaac.us
For more of Michal's world music videos visit inter-muse.com.