In the intimate confines of the Persian-carpeted stage, the rock cabaret EVERYTHING IS SH*T! takes the audience on a mesmerising journey through writer, producer, and performer Andy Freeborn’s personal history and creative process. This confessional cabaret proved to be a bittersweet exploration of family trauma and resilience, weaving a narrative of hope and healing through the medium of song.
From the moment Freeborn’s fingers touch the keys of their contemplative keyboard, the audience is transported from heartstring-tugging ballads to raucous jams that reverberate the stage with energy. Their thoughtful, unscripted soliloquies struck a bittersweet chord. Accompanied by a band that functioned like a living, breathing entity as they responded to Freeborn’s every musical nuance, their glorious stage presence was elevated to new heights.
Their songs, infused with both humour and poignancy, received dynamic support from drummer Austin Hall and bassoonist Dylan Roberts, who interjected with “bad-um-tss” joke punctuations and kazoo interruptions. Alec Steedman’s violin and Ren McMeiken’s vocals added layers of depth and emotion to each composition. The wooden pier at the centre of the stage served as a focal point, grounding the band as they accompanied Freeborn from musical rock songs to Irish trad sessions.
At the heart of EVERYTHING IS SH*T! lies a deeply personal story of loss, reconciliation, and love. The cabaret unfolds as a genre-shifting, big-band spectacle, wherein Freeborn recounts “the story of dreams”, and how they fell apart with their parents’ divorce at the tender age of 10. It unfurled like a tapestry of musical vignettes, from the 1920’s New Orleans-inspired jazz, “Paris”, to the rock opera “Wine” (a song, Freeborn confessed, about what helped him cope), to the poignant ballad, “Lullaby for Victoria”. Each song was a testament to their resilience, a melody of healing that resonated long after the final note faded.
While there were echoes of familiar musical motifs within Freeborn’s compositions — including, but not limited to, a five-second snippet of Billy Joel’s ‘My Life’ — the underlying narrative remained refreshingly unique. Austin Hall’s brilliant production and arrangement created an immersive experience, drawing the audience deeper into the heartfelt story. Through moments of vulnerability and introspection, Freeborn invited the audience to share in a communal catharsis that transcended the confines of the stage.
In a particularly poignant moment, Freedborn shared a glimpse of their next musical, “They Who Pray to Mercury”, teasing a tale set in a future where the colour blue is forgotten. The audience was left eagerly anticipating what promises to be another unmissable creation from Freeborn.
EVERYTHING IS SH*T! concluded with an Irish trad-inspired ballad, as Freeborn announced that they will become a nomad over the beautiful violin accompaniment of Alec Steedman. As the band played the audience out, the songs lingered, resonating with the remnants of healing and resilience.
In their commitment to honesty and authenticity, Freeborn laid bare their soul for all to see. From unscripted banter to moments of introspective silence, they invited us to bear witness to their triumphs and tribulations. And amidst the darkness, they found solace in the simple truth: “Everything is sh*t, but it’ll be okay”.
EVERYTHING IS SH*T! ran from February 20 – March 1 at the Old Fitz Theatre.
