Welcome to the world of Bond — and we're not talking the 007 variety, even though it's just as exciting but not half as predictable.
In today's world of cruel stereotypes, it's only the presence of four musical instruments which give any indication the four beautiful women, draped in brightly-coloured sarongs, their svelte bodies working the camera, are not just fashion models shooting next year's biggest-selling swimsuit calendar.
Not just eye candy
These women aren't mere eye candy, they're redefining classical music as we all know it. And they're doing it well.
They're Tania Davis, Gay-Yee Westeroff, Elspeth Hanson and Eos Chater. The strings are their weapon of choice.
The Bond women have taken the UK and the rest of the world by storm with their new brand of classical music, made unique by pulsating dance beats and passionate world rhythms.
However, as the story so often goes, with fame comes controversy.
The four classically trained musicians, on electric violins, viola and cello, have thrived on the charts (both classical and pop) around the world, going gold in the UK, France, Australia, Sweden, Italy and Austria, and platinum in Turkey and Bulgaria.
Cue the critics. "Compromising the values of classical music," said one. "Unnecessary marketing," said another of their choice of outfits.
Luckily for Bond, who tabloid! discovered cannot easily be drawn on the subject, "We are playing our own style of music and present ourselves in the clothes we feel comfortable in. We are not styled, musically or visually," according to Westerhoff — their music does the talking.
Don't expect these girls to provide background music at a VIP function, Bond take centre stage and plan to this weekend when they headline the Global Fusion music festival on Saturday at the Jumeirah Beach Hotel Convention Centre.
Describe Bond in a sentence.
Davis: We decided on the name Bond because it signifies our friendship — there is a deep personal and musical bond between the four of us. We were also all watching a James Bond film when we came up with it.
Life in an orchestra versus life in Bond. What are the major differences?
Chater: The difference is that we are in control of the music writing and choice, choreography, production. We have a lot more freedom to compose, arrange and, basically, perform exactly what we want as opposed to what a conductor tells us.
What took you in such an alternative direction?
Hanson: We all have a strict classical musical education, which involved practising for hours every day, but each one of us was involved in alternative music at our various colleges and we all have an interest in music outside classical, like Middle Eastern, Asian and Latin music.
What can people learn from you and what you do?
Davis: We receive a lot of letters from music students and children starting out who heard Bond and who were inspired to learn. We always tell them to practise their scales and studies as well as playing our music.
Does adding a modern twist to classical instruments mean you reach more generations? What feedback do you get from all ages?
Chater: Most definitely — like Tania said, we receive so much mail from children and their parents. We love the fact that we have such a wide reach. Some people, as you mentioned, criticise us for presenting ourselves in a certain way visually, but, coincidentally, most of our fans are actually women and not men.
Tell us about the famous people you've worked with
Davis: We have worked with many artists from David Arnold [composer of Bond music] to Luciano Pavarotti. The experience of performing with the gigantic voice and presence of Pavarotti on stage in his home town for his annual charity concert in Italy is one we will all treasure.
Did you ever think you'd be so famous when you began?
Hanson: Not at all. We were all just doing what we love and we were so happy to get signed to Universal and make an album. About three months into our album promotion, when we were in Japan one week, China the next, Turkey the next, America the next, Lebanon the next, back to Europe then repeating it all over again is when we knew it was going pretty well.
What's your message to anyone pursuing classical music today?
Chater: If you love music and are enthusiastic enough, just go for it, no matter what your level. If you are seriously considering it as a career, you must know how many hours out of your young life it takes with all the practice.
What can we expect in Dubai?
Davis: We are so honoured to have been asked to participate in Global Fusion and share the stage with such wonderful artists from around the world. Clearly the architects of this event have created a very interesting concept and we hope the audience enjoys sharing it us with us.
The concert also highlight the talents of Emirati musicians, including two pianists — 8-year-old Sarah Al Ka'abi and 25-year-old Fatima Al Hashemi.
"One of the biggest challenges we face is the lack of music schools in the UAE," said Al Hashemi, who has played the piano since the age of nine.
"There is enough talent in the UAE and I feel that platforms such as Global Fusion will make people aware of the talent of musicians in the UAE.
"It is my dream to set up my own music school. As a student, I am aware of the challenges young people face while trying to develop their talent and master a classical instrument. I would love to share my experiences with young students and also provide them an opportunity to learn music through my school."
What is it?
The flagship event of Bank Sarasin-Alpen and Alpen Capital, Global Fusion features world-renowned artists from various genres integrated into a single musical experience.
Seven Global Fusion concerts have been held in Dubai, three in Doha and three in Muscat, featuring more than 85 artists from all over the world. The event also promotes talented local artists in the Middle East and provides them with an opportunity to work with world renowned musicians and share the same stage with them.
This is an invite-only event.
