TOE Live in Manila (The Five Six Seven Tour), a set on Flickr.
20 March 2012
I declare I was at my giddiest brandishing a DSLR when I got an all-access pass to shoot TOE’s Manila performance. Kashikura Takashi is one of my drumming heroes, so I expect nothing but worship for him emanating from my drummer-being. I’ve watched some of the band’s videos and I knew for sure that taking photos of them would be a blast. I wasn’t disappointed because I expected to be surprised even if I’ve listened to their songs and watched Youtube videos of them numerous times.
Gawd, I still feel giddy.
Because of my sweaty palms and the short time I have to write this post (I feel an update/edit coming up sooner or later. I promise!), I’ll let my good friend Marco Harder, writing for Pulse.ph, do most of the talking:
I’ve long believed that that appreciation for instrumental music is limited and is a taste that can only be acquired by a certain profile. This, when considered in the current state of affairs in Philippine arts and entertainment, can be quite disappointing. While I haven’t made the ultimate capitulation on this front, I am willing to grant the point that there is indeed a demand for this type of music in the Philippines, however small it may be. I have so far not settled which one of these explanations is true: the listening audience has not matured to a point where it wants to risk disappointment by listening to unfamiliar material, or post-rock (a label Toe is often associated with) has yet to mature to a level where it can get audiences regardless. Anyhow, Toe’s arrival and the immense gaiety their ensuing performance elicited in everyone at the NBC Tent creates a strong case that instrumental music is something that this country is up for a listen.
Just ask Ben Gibbard of how wild and enthusiastic Manila concertgoers are. Judging from the audience in the TOE’s performances I’ve seen on video, the Manila crowd is more ecstatic. And why not? The band is leaving everything on stage, so why not the crowd do the same on the floor? The boisterous adulation after the opening notes of almost every song is a testament of how passionate Filipino fans can be, of how grateful they are for the honor of witnessing musical genius unadulterated by all that superficiality mainstream pop offers.
Ok, I’m still giddy. Lots of thanks and love to Chi Brotonel of INSTASTELLA BURST HK and the rest of the organizers who made all this possible, especially and particularly my giddiness.
©PTMTolibas2012. Photos published with permission from INTASTELLA BURST HK.