There was a palpable energy in the air as the hum of three yidaki players came from the wings of the Mitchell Library Reading Room. As William Barton’s voice joined them, a force unto itself, the audience was suspended between the four book-lined walls and a deeper, resonating sense of the world around them.

Before the stage, the Sydney Street Choir, in waiting, shuffled tree branches and whispered like wind.

Curated by Barton, Earth Flow forms part of the 200-year celebration of the State Library of NSW. This concert was a full-fledged production, from the lighting design and the wonderful rearrangement of the usually silent reading room to the carefully curated collection of words, poetry, song and music.

Barton conceptualised this space as a surrounding forest of knowledge, histories enlivened by music and spoken word.

William Barton. Photo supplied

The resulting evening was a compelling narrative of country, hope, community and song. Barton struck an incredible balance between the polished machine of a curated program and a personal frankness, addressing the audience and inviting poetry, speech and story from a diversity of voices spanning generations.

At every turn, the music was captivating. The opening works featured the haunting singing of Aunty Delmae Barton, before the rhythmic drive of Barton’s Petrichor filled the library’s expanse. Two 2026 works featured on the program: a stirring alto flute and yidaki duet commissioned by flautist Joshua Batty, and the world premiere of Barton’s Song Book.

Batty’s playing was like liquid gold, flowing through the room with a conversational immediacy. He led an ensemble of exceptional calibre: assured playing from Alexandra Osborne and James Armstrong (violins), enchanting viola solos from Beth Condon, and an impeccable touch from Phoebe Russell (bass) and Rebecca Herman (cello).

Guest musicians Hugh Coffey (guitar) and Isaiah Brunt (Hawaiian slide guitar) also provided evocative accompaniment.

Barton sat centre stage, the nucleus from which breathtaking musicianship fanned out. The amplification of some of the instruments at times limited the range of colour that could be achieved – the moments when Barton drew away from the microphone to sing were some of the most heartstirring of the evening.

The inclusion of the Sydney Street Choir, long-time collaborators with Barton, was a touching thread of community, and their three songs, interspersed throughout the program, were supported by singing from the audience. Their music-making embodied the joy of the evening – Earth Flow was a powerful and holistic experience that shone under brilliant musicianship.

For more infomation on events in the State Library of New South Wales’s 200th anniversary celebrations, visit this link.