Lovers of Hawaii celebrated the Aloha Spirit last Saturday at the 2nd Annual Aloha Falsetto Festival, held at the Redondo Beach Performing Arts Center and featuring a headlining performance by falsetto legend Uncle Richard Ho’opi’i. An enthusiastic and heartfelt audience embraced the smooth, island sounds of Ho’opi’i and other top falsetto musicians Pomaika’i Keawe Lyman, Weldon Kekauoha, Kekaimoku Yoshikawa, and Leokane Pryor, straight from the Hawaiian Islands. In both matinee and evening performances, the musicians shared their culture and love for Hawaii through falsetto, a style of singing where the voice is extended higher than its normal range. “This is the only festival of its kind, outside of Hawaii,” said Mitchell Chang, Producer/Musical & Creative Director of the festival. “These are all really big names from Hawaii and all world-class musicians.” Crooning out classics, like “Hawaiian Cowboy,” Ho’opi’i’, whose appearance at the festival was his first in Southern California, “put the audience at ease with his gracefulness and story-telling,” said guitarist Jeff Peterson. “He’s a phenomenal performer,” said Peterson of his experience playing with the living legend. “He’s so commanding when he performs, that it just becomes easy for everyone to follow.”
Another major highlight of the show was the first-ever solo performance by Pomaika’i Keawe Lyman, grandaughter of the late Aunty Genoa, also a legend of Hawaiian music and falsetto singing. Lyman performed many of her grandmother’s songs, including her signature number, “Alika,” during which Aunty Genoa was well-known for holding a single note seemingly forever “til you’d think she’d turn blue and pass out,” according to Peterson. In a comedic tribute, Lyman also held the famous note and just as it seemed about to end, her father and host of the show, Eric Keawe, appeared on stage and continued singing the note, while Lyman began chatting with the audience. “It was an honor to have Pomaika’i there,” said Chang. “It was great to see her carrying on traditions that have been passed down through generations.”
In a rather historic moment, Ho’opi’i and Pomaika’i performed together for the first time, singing songs like “Good night, Baby Good Night,” with Ho’opi’i on ukulele. Even Chang performed a few songs, accompanying veteran female falsetto singer, Aunty Geri, on the ukulele. Most musical performances were accompanied by traditional Hawaiian Hula dancing (not to be confused with the more commercialized Polynesian Hula), performed by the top three Hula dance troupes in California, according to Chang, one of which was from Kekaiulu Hula Studio in Torrance. At times, the flowing arm motions and languid hip movements of the Hula performers looked like ocean waves that flowed in exact accordance with the smooth falsetto sounds from behind. “Hula dancing is a way of transmitting history,” said Chang. “Each hand movement means something, like a lei or rain. It’s not just a pretty dance. It is a means of cultural conveyance.” “All of the artists got a “Hana Hou,” said Chang, “which literally translates to ‘Do it again’ in English.” After a particular moving piece performed by Yoshikawa’s, a single, inspired audience member was heard calling out “I love you.” Chang was pleased that the “energy and excitement between the performers and the audience was top-notch.” In addition to musical performances, the festival also featured an outdoor fair with Hawaiian food, vendors, arts, and crafts. “I wanted to do this because I want people to see that there is a real tradition and culture here that’s been going on for centuries,” said Chang. “And that the best Hawaiian music anywhere can be found right here in the South Bay.”
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