LIVE REVIEW 



Ronnie Taheny
 “Decalogue” CD Launch
Sat Feb 4, 2006
Governor Hindmarsh Hotel 
Adelaide, South Australia


To the opening strains of Middle Eastern music and 400 
fans both old and new, the diminutive Ronnie Taheny 
graces the stage and sets the atmosphere by bridging 
the audience with a joke, a story, then a poem before 
eventually getting around to act of playing music.

The launch of Taheny’s sixth solo album, Decalogue, 
features some well-balanced world views, documentation 
of her experiences in the Middle East and social 
observations made during the last ten years in Europe, 
all humorously shared with us tonight.


Though lyrically more political, musically the Decalogue 
tracks sit well with the older material showcasing what 
Ronnie does best – pop songs for thinking people. 
“That’s Jesus” and “Gold, Frankincense and Murder” are 
but two of the latest examples of the Taheny trademark: 
typically big on melody, variety, dynamics and black 
humour. 

Ronnie may be is sassy, animated and highly 
entertaining but she is not one to mince words as she 
speaks of her social perspectives on life and living; 
she’s always got something to say and does so with 
humour, confidence and conviction. In keeping with the 
monotheistic theme, poignant Hebrew, Arabic and English 
monologues were spoken with transcripts projected onto 
the backdrop, an amazing touch to an already thought-
provoking evening. Taheny is a unique package and 
there’s no place for pouting or posturing in her 
performance. Ronnie’s down-to-earth Australian wit 
moves as quickly as she does. In between amusing 
comments to the audience she flows effortlessly from 
grand piano to guitar to keyboard to spoken word without 
losing momentum or intensity or warmth; seemingly it’s 
all the same to the ever-buoyant Taheny.

 

Tonight continued to expand in dimension with some 
exceptional backing by (as Ronnie later referred to 
them) “Three friends who are really great guys with even 
greater talent”. First up was John Ahern from Ireland 
showing versatility on tin whistle, guitar, harmonica 
and vocals especially in the haunting “Irish Girls 
Wake”. Then throughout the night multi-instrumentalist 
Jarrad Payne offered more originality and command than 
most of the drumming fraternity combined by holding down 
some tasteful grooves whilst simultaneously playing 
bass, percussion and some classy, wide-ranging backing 
vocals. Finally, the Russian, Michael Bahlij played some 
stunning piano solos especially on past hit “Not To Your 
Face”. All three supporting artists contributed even 
greater passion and polish to an already awe-inspiring 
evening of music, story, entertainment and song. 



Whether solo or with backing band Taheny has a powerful 
impact and stage presence. Whilst showing sass and true 
grit, her cheeky personality still shines through. She’s 
clever in word and music, her amazingly dynamic and 
earthy voice (especially featured in ballads such as 
“Fault Line”) is merely an extension of herself; rock 
solid, strong and defiant one minute, warm and husky the 
next- with soul and without apology. Witnessing a 
concert like tonight explains why Ronnie Taheny is one 
of Adelaide’s most successful and respected international 
and independent exports.

Catherine Blanch
 
“Rip It Up” Magazine

Adelaide, South Australia