Review: - I'm grateful
to Todd Placid for this personal review.
Rufus
Wainwright is an amazing talent. His stage presence decidedly undeveloped
(and refreshingly uncorrupted), he exudes an odd sense of wise-beyond-years
youthfulness that's almost painful. His lyrical strengths are remarkably
cogent in imagery, ("clouds and stuff in hell," "cigarettes and chocolate
milk," "...hang with the wolves who are sheepish, flow through the veins
of town..." Writing about love affairs that haven't happened, acknowledging
(in a low rumble) that they likely won't ever happen. He snorts, and
moves on. This capacity for resilience encourages further travel in
the dark, frightening pools of human experience. The spawn of celebrity,
he's clearly on his own, starkly minimalist, (a potent playfulness
in
a cynical age) and confident in promise.
The Roxy Music original band and ensemble managed to far exceed my
greatest expectations! (When was the last time I could say that about
anything?)
Drawing concert material from a huge catalog that spans not only years,
but dramatically distinct periods of musical evolution had me a little
worried. Would they settle on a smattering from everything, trying
to
please everyone? Would they cater to the American audiences (expecting "hits" like
Love Is The Drug, Avalon, and other commercially popular recordings
from the later years)? As it happened, they hurled an explosive
performance harkening directly from the defining elements of their
legend.
The musical arrangements are exceptionally solid, guitar, winds, keyboard,
synthesizer and percussion boasting with strength. Bryan Ferry was in
excellent voice, delivering both parsing phrase and impish riffs with
deft precision. Guest female vocalists (mezzo-soprano and contralto)
brought soaring generosity to the mix, rich, consistent and unflagging.
The electric violin (Lucy Wilkins) in Out Of The Blue was punishing
in beauty, drawing huge gasps of sheer astonishment and approval from
the now hopelessly seduced crowd. Classic rock n roll (with brain cells),
adorned in silk stockings, spiked heels, sequins and feathers, flashing
each opus though the evening like plucked diamonds.
Among many, Street Life, Both Ends Burning, Remake/Remodel, Mother Of
Pearl, In Every Dream Home A Heartache, Jealous Guy, Do The Strand, Editions
Of You, and A Song For Europe were especially gratifying to hear live.
Avalon was deliberately wistful; Love Is The Drug, naughty. The finish,
For Your Pleasure, was deliciously classy, each member of the tribe
fading from the stage in turn like ghosts into obscurity. A fallen satin
curtain faintly hides the brooding reverberation rising from the cooling
sound equipment and lights. Driving home, I recollect distant, unforgiving
revelries, exquisite in their instance.
Sadness and joy are for a moment indistinguishable.?
Review: - I'm grateful
to Brian Lapp for this personal review.
A storm was blowning in as
they began, and thought Whirlwind would be an approriate opener. But,
alas, they started from the where they started, with Remake/Remodel.
The crowd seemed a little clueless in the beginning and seemed to sit
rather listlessly for the first few songs, as if they were at an Opera,
but considering it was a thirty or forty something crowd one cannot
be surprised. Finally about the time the dancing girls came out for
Both Ends Burning, the crowd stood to attention and seemed very entertained
and entralled for the rest of the evening. A bit as if they had discovered
jewels in the performance by these rather obscure but masterful musicians.
By the end Bryan could simply swirl his arm and the crowd would swoon.
Speaking of swooning, the most touching part of the show was seeing
women breaking down and crying during Song for Europe, I myself, though
a man deeply devoted, included. It wasn't out of sadness, but sheer
beauty overwhelming one's heart. It was a perfected performance with
every musician on stage adding to the total majesty of grandiloquence
to an unforgettable dream. It is true that though great emotion went
into the art of Roxy Music over the years, which seemed to nearly drain
them of their vitality, so deep and sorrowful their music can be, they
have in the end cultivated a great and lasting happiness in their hearts,
and in mine, and in every fan who has felt the greatest happiness and
sorrows with Roxy Music playing in their stereo.
I never will lay down...while my heart is still beating...... I hope
they never do.
Review: - I'm grateful
to Jay Emersonfor this personal review.
Wow. I didn't think it could be
this good. The DTE Energy Theater is about thirty-five miles north of
Detroit, Michigan. It is an outdoor theatre with seating for 9,000 in
the pavilion and a large hill in back where another 6,000 can sit on
the grass and watch the show. It was almost full except for some space
on both ends of the hill. Amazing, considering the summer's worst storm
was brewing as Rufus played his set. The sky turned funky yellow in
the north and charcoal black to the south. Big thunder and a spectacular
lightning show entertained the crowd during the intermission. Then the
rain started about ten minutes before Roxy took the stage. Plastic and
umbrellas made for a wonderfully colored collage on the hill as people
scrambled to stay dry. "Re-make/Re-model"started as the curtain vanished,
and thankfully the corner curtains had been removed for this show so
we had a great view of the band. (We were fifteenth row, left side.)
The band sounded good but I could tell the rain had put a damper on
their enthusiasm. Bryan didn't talk or smile before Street Life and
I could see he was straining to see the soaking wet people up on the
lawn between the songs. (Still dusk when the show started.) He looked
like he felt their painand I think he did as the bass and percussion
mix was lost halfway through Street Life, (did that sound weird!) but
everything was back up for Ladytron. The crowd went crazy and I think
this is the first time Bryan even noticed how much the audience was
into the show. He finally broke into that familiar smiling face, white
teeth sparkling.
Just as "Out of the Blue" started the rain began pelting the first thirty
seats under the pavilion. It was raining diagonally and the wind was
gusting through at forty knots. It was great. Everybody started dancing
with the rain pelting their faces and Bryan went side to side of the
stage, encouraging the crowd as Lucy wailed on her violin. The song
ended and the crowd went ballistica five minute standing ovationand
I swear to God the band looked surprised. (WAY different than the show
in Toronto.) "A Song for Europe" (was so tight again,) kept the crowd
on their feet, swaying, singing the French words perfectly even though
most of crowd have no idea what they mean. Another thunderous ovation...and
I know this may sound weirdbut I could feel the band begin to feed
on the energy from the crowd. They didn't look tired anymore. "My Only
Love" was good for Kareokee fodderbut then"In Every Dream-Home a Heartache."
Fantastic to watch Bryan dance with a microphone when he's having a
good time, isn't it? "Oh Yeah" had everybody singing againand then
the go-go girls during "Both Ends Burning."
It seems the Detroit audience likes to participateit was hilarious.
The entire pavilion seemed to follow the lead of the dancers through
the fish and the swim and hold your nose and all the other disco moves
the girls performed. Bryan came to the left side of the stage to watch
the crowd and joined in the fun for a few seconds before returning to
center stage to finish the song. The band was having a blast and I felt
good for them. (I'm not sure if they'd had this kind of crowd or reception
in North America yet.) "Tara" brought Bryan back the stage dressed in
"Silver" this time, pants as well as jacketthen something we didn't
expect The first notes of "Mother of Pearl" sent me leaping into the
air, (others followed as they realizedit was) - and I don't know who
to thank - but it was incredible. Note for note and tight - unbelievable-
I'm thankful I got to see it one last time.
The rest of the concert was a succession of extended standing ovations.
Phil actually cupping his eyes and looking into the crowd in disbelief
several times. "Jealous Guy" was wonderful with Bryan performing an
extended whistle solo, then thanking the crowd when the applause would
not die down. The band members actually swung their instruments to their
sides and applauded the audiencevery special. After "Editions of You,"
the band spent five minutes blowing kisses to the crowd before exiting
the stage. The red-feathered show girls graced the stage for the first
two encores. Bryan flung his hand over his head and did a short mamba
with one of the girls during "Do the Strand"laughed our asses off.
(He was having fun.) "For Your Pleasure," seemed the perfect send-off
into the night. The rain had stopped and so had, "My Roxy Tour." But
it was great - hope I don't have to wait another eighteen years. |