The Daughters’ performance, is darkly seductive and alienating at once — a powerful expression of the tensions endured by women in conflict zones, and a reminder that identity often means fighting on multiple battle lines, writes The New York Times about band’s GlobalFest performance in New York.
The classical instruments appeared — and were sometimes abused — in what was perhaps the most extraordinary show of the evening. Dakh Daughters is born out of Kiev’s theater scene and features seven women who bring equal parts musical and theatrical chops to performances that are witty, subversive and brash.
Dressed in tutus and combat boots with their faces painted white, the Daughters stalked the stage like conquerors taking possession of an alien territory. Texts (in Ukrainian, English and French) were delivered in shouts, hisses and yelps, with the voices sometimes coming together in exquisitely vocalized folk harmonies.
Individually, the voices belonged to wildly disparate worlds including heavy metal, punk, and the glassy plangency of Balkan folk singing. They handled instruments like found objects: a violin propped against a hip, a cello tilted at a rakish angle. The bassist mostly drew sound from her instrument by spanking it; the drummer stomped the foot pedal of her bass drum as if it were vermin.