Bryan Ferry Concert Review

Radio City Music Hall, New York City, 9th August 1988 by Sheila Rogers

Rolling Stone, 1988

Bryan Ferry IS A SMOOTH operator: when he sets out to seduce an audience, he's the master manipulator. And judging from the crowd at this concert -- women in little black cocktail dresses, men wearing stylish suits -- many are willing participants in the tryst. Although maintaining so much control means forgoing some spontaneity, it proved only a slight impediment to an impressive performance.

Dressed in a dark suit, a tailored white shirt and tie, Ferry looked every bit the romantic. But his eight-piece band -- featuring drummer Andy Newmark, bassist Luico Hopper, guitarists Jeff Thall and Neil Hubbard, keyboardist Clifford Carter, percussionist Miguel Pomier and backup singers Edna Holt, Michelle Cobb and Yannick Etienne -- took a while to mesh with its leader's vocal nuances: during the opening song, the Caribbean-influenced "Limbo," Ferry's silky voice was nearly overwhelmed by the band.

Following "Chosen One," from his album Boys and Girls, Ferry -- already in character -- launched into Roxy Music's "Casanova," giving the lyrics just enough edge to depict the song's anger and irony. After changing the mood and tempo of the show -- with "Bogus Man," from Roxy Music's 1973 album For Your Pleasure, and the equally abrasive "Ladytron," from the band's first album -- he slipped back into the seduction with "While My Heart is Still Beating." Gradually loosening up as the evening progressed, Ferry moved on to a beautiful "Jealous Guy."

But the show's highlights were still to come. A swirling version of "Dance Away" led into a disturbing yet brilliant performance of Roxy Music's "In Every Dream Home a Heartache."

Though Ferry was obviously enjoying himself, the members of his anxiously-attentive audience seemed stiff. But by the time the band played "Love is the Drug," they were in absolute sync with the singer.

It was backup vocalist Etienne who provided the show's final high point. Stepping forward for "Avalon," she provided a riveting, spine-tingling solo, her soulful attack a stark contrast to Ferry's more aloof style.

On the following night at Radio City, a more relaxed Ferry -- encoraged by a less self-conscious crowd -- delivered a fluid, spontaneous performance. It was proof positive that even in New York there is such a thing as being too cool for your own good.

Text copyright 1988 Rolling Stone, used without permission.
With thanks to Grant Goggans.

Last Updated: 19 July 2008