While waiting in the Blue Bar of London’s Royal Festival Hall for the doors to swing open, I can hear excitable snippets of conversation from everyone here to experience the always goosebump-inducing composer and performer, Ludovico Einaudi. This evening is an added date after the huge sell out success of his previous London dates earlier in the year.

We all shuffle to our seats and as the house lights go down, the opening strumming of the title track of Elements begins as the band, one by one and almost choreographed, take their places on the stage.

There’s a breath of applause as Einaudi steps into sight and sits at the piano, back to the audience, and plays his first chord. As he does, every member of his band gaze at him in awe and await his instruction, whether it be by a flick of the wrist or a gentle nod of the head.

The first half of the evening is dominated by tracks from Elements, a record which weaves electronic instruments with piano and more unconventional methods of creating music. It’s on the cusp of classical and modern composition. Lighting on the stage is minimal if compared to a popular band or solo pop artist, but for a classical pianist it could be considered flashy. Strings of light bulbs scattered across the floor and a huge screen at the back of the stage displaying images of cave drawings and equations. (At one point featuring the shadow of a moth which found it’s way up to the projector, but this is strangely charming and adds to the effect).

As his loyal band leave the stage, Einaudi, still with his back to us, plays solo. ‘Berlin Song’ starts him off and is spine chilling as you would be able to hear a pin drop with the utter silence from the audience between bars. ‘Song For Gavin’ is matched with enchantment and captivation with just a single spotlight reflecting from the polished exterior of the piano.

The second half of the evening is much faster paced than the first, filled with the musical equivalent of somersaults and fire breathing. It’s a spectacle for the ears as more and more weird and wonderful instruments are incorporated, including a gong being gently lowered into a tank of water as it’s played. There’s even food for the eyes as four gleaming disco balls fill the room with beams of white light. It’s just more and more proof that not all composers are stuffy, suited, and booted. (Einaudi has been wearing converse the whole night.)

After what is possibly the longest round of applause and standing ovation I have ever witnessed, the encore is where all areas of Einaudi’s genius are showcased. He starts with ‘Divenire’, an absolutely beautiful piece of music that I can guarantee you’ve heard before. It’s a favourite when it comes to television dramas or stunning documentaries. He and the band play it almost as if it’s water. Seamless; filling all the space it touches. After a quick turn around from Ludovico to thank us all one more time, we’re treated to the final piece of the night, ‘Choros’. This is a piece that builds expertly and finishes with a whopping great ensemble sound that’s the most amazing end to an amazing evening.

If there’s anything to take away from tonight it’s that classical music just got a little bit more rock and roll.

Ashley Powys
@AshleyPowys