Tour Reviews and Other Memories from
LEONARD COHEN WORLD TOUR Spring/Summer 2008
July 5, 2008
Copenhagen, Denmark
Rosenborg Castle |
Set List for July 5, 2008
Photos from Lena Måndotter
B.T. review & photo
Berlingske Tidende review & photo
Photos from Gaffa
Hufvudstadsbladet review
Youtube
Fan reports
|
July 6, 2008
Arhuus, Denmark
Raadhus Parken |
Set List for July 6, 2008
Gaffa review
Youtube
Fan reports
|
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Copenhagen, Denmark
Set List - July 5, 2008
First Set
Dance Me To The End Of Love
The Future
Ain't No Cure For Love
Bird On The Wire
Everybody Knows
In My Secret Life
Who By Fire
Hey That's No Way To Say Goodbye
Anthem
Second Set
Tower Of Song
Suzanne
Gypsy Wife
Boogie Street
Hallelujah
Democracy
I'm Your Man
Take This Waltz
First Encore
So Long, Marianne
If It Be Your Will
First We Take Manhattan
Second Encore
Sisters of Mercy
Closing Time
Final Encore
I Tried to Leave You
Whither Thou Goest
Copenhagen, Denmark
Absolutely lovely photos from Lena Måndotter - Thanks, Lena!
Copenhagen, Denmark
ENGLISH VERSION.
En magisk aften med Cohen
B.T.
- July 6, 2008 by Birgitte Grue (Foto: Lars Rievers)
Leonard Cohens sange lød, som de altid har gjort – enestående men på en ny vemodig måde.
Hvor er han dog lille! Og hvor er han dog stor!
Ørene er blevet meget store – og skjorteflippen. Spøgelses hvid og sunket sammen i sit nålestribede tøj og med sin bløde hat minder Leonard Cohen om mafia-boss parodi på Al Pacino.
Men det er bare indtil han synger. Så er han sig selv mere end måske nogensinde, den 73-årige syngende digter med stemmen, han kan trykke ned under det, vi normalt forbinder med tone-skalaen – helt ned i et kælent kælderdyb.
Cohen er digter, han er komponist og sangskriver. Han er sanger og han er musiker Så jo, muserne må have stået i kø ved han vugge.
Det ved vi godt, vi der er hans fans. Men ikke før lørdag aften fandt vi ud af at også vejrguderne elsker ham! De sørgede for den vidunderligste sommeraften som ramme om hans koncert i København. Den var magisk.
Sexet på en usexet måde
Stilfærdig, beskeden og med en afklarethed, der virker nærmest humoristisk, serverede han det, vi var kommet efter: det hele!
En tre timers koncert med det bedste fra 40 års virke. Og det siger ikke lidt. Koncerten var en totaloplevelse. Bandet og de tre kor-kvinder - der kan meget end deres ju-hu - var top professionel vellyd. Men det er manden selv, der er uforglemmelig.
Alderen har ikke kun gjort Leonard Cohen blidere – den har især gjort ham meget, meget morsommere. Som i ”The Tower of Song”, hvor den gamle filur nyder at synge ”..I was born with the gift of a golden voice..” Jublen fra os, tusinder og atter tusinder, ville ingen ende tage! Han kvitterede med et skævt smil.
Ingen tvivl: han er sexet på en usexet måde – eller måske er det omvendt. Han får blodet til at bruse, når han synger om de gode, gamle frigjorte dage (..”så mange, du var nødt til at møde - uden tøj på!”) Hans sange lød, som de altid har gjort – enestående! Men på en ny, vemodig måde.
Vi takker
I andet sæt gik der – med ”Gipsy Queen” og ”Boogie Street”- lige lovlig meget tilbagelænet ”easy listening” i koncerten.
Men jeg skal lige love for, at der blev samlet op med Hallelujah. Her blev et helt livs afmagt og håb blev brølet ud i sommernatten. Min gåsehud sidder der endnu!
- Tak, ikke bare for i aften, men for alle de år, I har holdt liv i mine sange, sagde Leonard Cohen til sit publikum.
Det er os, der takker.
Translated by Google Translate
A magical evening with Cohen
B.T.
- July 6, 2008 by Birgitte Grue (Photo: Lars Rievers)
Where is he, however small! And where is he great!
The ears have been very large - and skjorteflippen. Spøgelses white and sunk into his nålestribede clothes and with his soft hat recalls Leonard Cohen on mafia-boss parody of Al Pacino.
But it is only until he sings. Then he himself perhaps more than ever, the 73-year-old poet with the singing voice, he can press down below what we normally associate with the tone scale - all the way down in a kælent kælderdyb.
Cohen is a poet, he is a composer and songwriter. He is the singer and his musician So of course, muserne must have been queuing at his birthplace.
We know we are his fans. But not until Saturday evening, we found out that vejrguderne love him! They arranged for the vidunderligste sommeraften as the framework for his concert in Copenhagen. It was magic.
Sexy in a way usexet
Stilfærdig, modest and with a settlement that works almost humorous, he served it, we had come for: it all!
A three-hour concert with the best from 40 years of work. And it says not enough. The concert was a totaloplevelse. The band and the three choirs-women - can be very than their ju-hu - was the top professional vellyd. But it is the man himself, is unforgettable.
Age has not only made Leonard Cohen gentler - it has in particular made him very, very morsommere. As in "The Tower of Song", where the old filur enjoy singing ".. I was born with the gift of a golden voice .." Jublen from us, thousands and thousands, would take no end! He receipted with a crooked smile.
No doubt: he is sexy in a usexet way - or perhaps it is vice versa. He will have the blood to roar when he sings about the good old days freed (.. "so many, you had to meeting - with no clothes on!") His songs sounded, as they have always done - unique! But a new, sad way.
We thank
In the second set went - with the "Gipsy Queen" and "Boogie Street" - equal legal very laid back "easy listening" in the concert.
But I must just love for that was picked up with Hallelujah. Here was a lifetime's impotence and hopes were brølet in sommernatten. My goosebumps have yet!
-- Thank you, not just for tonight, but for all the years I have kept life in my songs, said Leonard Cohen to its audience.
It is we who are grateful.
Copenhagen, Denmark
ENGLISH VERSION.
Mænd i sort
Berlingske Tidende
- July 6, 2008 by Mads Kastrup (Foto: Benita Marcussen)
5 af 6 stjerner
Leonard Cohen leverede en smuk og rørende koncert, der fik voksne mænd til at græde på Rosenborg Eksercerplads.
Vi endte i den blå time. Så tog Cohen hatten af og bukkede en sidste gang.
Inden havde overtegnede stået ved siden af en granvoksen mand, der græd. Dertil hørt en midaldrende jysk kvinde holde mobilen op gennem hele »Suzanne« og ved afslutningen fnisende råbe: »Ku’ du hør’ed?«. Samt set en ældre overlægelignende mand med lukkede øjne mumle med på linjen: »I smile when I’m angry/ I cheat and I lie/ I do what I have to do/ To get by« fra »In My Secret Life«.
Man anede, det var stærke sager, da Leonard Cohen og hans orkester trådte ind på scenen foran 11.000 på Rosenbord Eksercerplads. De var sortklædte, iført morfarhatte og lignede en flok bedemænd på vej til en omfattende forretning. Hvilket heller ikke var helt løgn.
Der blev åbnet med »Dance Me to the End of Love«, og derpå »The Future«. Man vidste, hvor mange kendere, der var til stede, da jubel fra publikum satte ind ved linjen »I’m the little Jew who wrote the Bibel«.
Cohen fremstod denne aften som præcis det, han er for sit kernepublikum: Et skriftsted – med tilhørende musik.
Det er Cohens univers, historier om undergang leveret med et djævelsk glimt i øjet samt sange om, at »There Ain’t No Cure for Love«, som også blev leveret i første sæt.
En mildhed syntes at lægge sig over koncerten. Først og fremmest leveret af en rørende Leonard Cohen, der smilede og bukkede taknemmeligt både over for publikum og sine musikere. Dernæst af en varm og dyb sommeraften. Og sidst men ikke mindst af et fænomenalt velspillende band. Her var musikere af den slags, der for længst har været igennem at spille og synge alle de overflødige toner, hvorfor kun de nødvendige står tilbage.
Når »Anthem« leveredes så minimalistisk, kunne man kun bukke tilbage mod Cohen og bandet på scenen. Faktisk havde aftenen kun to forbehold: Det er sjældent, man går til koncert og ønsker, der blev skruet op. Det er lige så sjældent, man ønsker, at der var tale om siddepladser.
I harmoni med sin alder
73-årige Leonard Cohen er én af de få ældre rockartister i verden, hvis alder ikke står som en selvmodsigelse. En mand, hvis udgave af rock’n’roll har karakter af visdom for tilhængerne modsat et lydspor til vildt, ungt blod.
Nu hvor han åbenbart er tvunget ud på landevejen, fordi hans manager er løbet med pengene – i øvrigt ikke for første gang i karrieren – synes alderen blot at matche hans mangeårige profil som en distingveret poet.
Leonard Cohens sange står i nogle af os som nervestrenge. De kan slås an og få hele følelseslivet til at dirre. Hvorfor en koncert med ham som den ved Rosenborg går hen og bliver sakral. Det er linjer med åndelig vejledning tilsat melodier i mol og messestemning.
Det er imidlertid, når andægtigheden bliver størst, når en hellighed opstår, når granvoksne mænd græder og er på vej til at helgenkåre manden på scenen, at Cohen viser sit helt store format. Han punkterer ophøjelsen.
Lørdag aften gjorde han det ikke mindst med at hælde denne afgørende linje ud af hatten i »Hallelujah«: »This is not a Pilgrim who has seen the Light/ It’s a cold and it’s a broken Hallelujah«. Med andre ord: Han var ikke kommet for at blive kåret. Kun for at sige, at han er lige som os. En synder og tvivler snarere end en troende.
Det var, som om han sagde: Det kan godt være »I’m your man«, og vi kan lege med tanken om først at tage Manhattan og derpå Berlin. Men når dagen er omme, leder vi alle efter »Sisters of Mercy«. Spørg bare ham »den overlægelignende mand«.
I en tilstand af mild meditation og marineret i melankoli blev vi afleveret i den blå time efter midnat. Blandt andet med hymne samt »I Tried to Leave You«. Den stod som en overskrift på både Cohens tilbagekomst til scenen efter 15 år og hans generøsitet denne aften. Bandet gav sig selv lov at strække lidt ud i blues’en. En passende sortie for en mand, der ankommer i sort og først går, når alle er blevet blue.
Translated by Google Translate
Men in black
Berlingske Tidende
- July 6, 2008 by Mads Kastrup (Photo: Benita Marcussen)
5 af 6 stars
Leonard Cohen delivered a beautiful and touching concert, there were grown men to cry at Rosenborg Eksercerplads.
We ended up in the blue hour. So Cohen took the hat and bukkede one last time.
Before had oversubscribed stood beside a granvoksen man who wept. It heard a middle-aged woman Jutlandish keep mobile phone for the whole of 'Suzanne' and at the end fnisende shouting: 'Ku' you hør'ed? '. Also seen an older overlægelignende man with closed eyes mumble with the line: 'I smile when I'm angry / I cheat and I lie / I do what I have to do / To get by' from 'In My Secret Life'.
It anede, it was strong cases, as Leonard Cohen and his orchestra came on stage in front of 11,000 at Rosenbord Eksercerplads. They were sortklædte, wearing morfarhatte and looked like a flock bedemænd on the way to a comprehensive business. What was not completely a lie.
It opened with "Dance Me to the End of Love 'and then' The Future '. We knew how many connoisseurs, who was present when the jubilation from the audience hit at the line 'I'm the little Jew who wrote the Bible.
Cohen presented this evening as exactly what he is for his kernepublikum: A skriftsted - and its accompanying music.
This is Cohen's universe, stories of doom delivered with a devilish gleam in the eye and the songs on that 'There Ain't No Cure for Love', which was also delivered in the first set.
A clemency seemed to subside over the concert. First and foremost, provided by a touching Leonard Cohen, who smiled and bukkede gratitude to both the audience and his musicians. Then, a warm and deep sommeraften. And last but not least, a phenomenal velspillende band. Here were musicians of the sort that have long since gone through to play and sing all the superfluous tones, why only the left.
When the 'Anthem' supplied so minimalist, it could only turn back to Cohen and the band on stage. In fact, the evening only two reservations: It is rare you go to the concert and wish that were turned up. It is equally rare, we wish that there was no seating.
In harmony with his age
73-year-old Leonard Cohen is one of the few older rockartister in the world, whose age is not as a contradiction. A man, whose version of rock'n'roll in the nature of wisdom for the fans opposed a soundtrack to the game, young blood.
Now that he apparently forced out on the road, because his manager is over with the money - in fact not for the first time in their careers - think age only to match his long-profile as a distinguished poet.
Leonard Cohen songs are some of us as nervestrenge. They can fight and get an entire følelseslivet to waver. Why a concert with him as, by Rosenborg go and be Sakral. The lines of spiritual guidance added melodies in moles and messestemning.
It is, however, when andægtigheden will be highest when a holiness occurs when granvoksne men crying and is on track to helgenkåre the man on stage that Cohen shows its major format. He puncture any imposition.
Saturday evening did he not least to dump this crucial line out of the hat in the 'Hallelujah': 'This is not a Pilgrim who has seen the Light / It'sa cold and it'sa broken Hallelujah'. In other words: He was not here to be chosen. Only to say that he is just like us. A sinner and doubt rather than a believer.
It was as if he said: It may well be 'I'm your Monday', and we can play with the idea first to take Manhattan and then Berlin. But when the end of the day, we look after all the Sisters of Mercy ". Just ask him 'the overlægelignende man'.
In a state of mild meditation and marinated in melancholy, we were delivered in the blue hour after midnight. Among other things, with the anthem and "I Tried two Leave You '. It stood as a title to both Cohen returns to stage after 15 years and his generosity this evening. The band gave itself permission to stretch a little out of blues'en. An appropriate exit for a man who arrives in black and only yesterday, when all was blue.
Copenhagen, Denmark
Photos from Gaffa by Rasmus B.S. Hansen
Copenhagen, Denmark
ENGLISH VERSION.
Drömmaren har funnit ron
I den ljuva danska sommarnatten framförde Leonard Cohen sin gudstjänst till människan och kärleken. Det märks att han lyckats lägga depressionen som plågat honom bakom sig.
Leonard Cohen
Rosenborgs slottsträdgård, Köpenhamn 5.7.
Om den yngre Leonard Cohen var en förförisk klarinett som fick kvinnorna på fall, var den 73-åring som i helgen uppträdde i Rosenborgs slottsträdgård i Köpenhamn en diskret, men inte desto mindre oblyg fagott. Farfarsfiguren som trivdes på scenen i nästan tre timmar var ingen föredetting som rullats fram bara för att publiken skulle få ta ett nostalgiskt avsked. Charm är en bestående kvalitet, och fortfarande vet Cohen hur han ska ta sin publik.
Den som följt med Cohen och hans mentala konjunkturer vet att han på senare år lyckats glida ur depressionen som plågat honom under mestadelen av hans vuxna liv. Den yngre Cohens destruktiva självironi och introspektion är numera bortblåst; det var inte "Field Commander Cohen" som uppträdde här. Den tidigare självproklamerade "desperationens handelsman" har hittat sin själsliga ro i zenklostret i Kalifornien (där kaffe, alkohol, Marlboro Lights och kvinnobesök emellertid inte varit förbjudna).
Tvivlaren som slutat söka
Det som blev tydligt i Köpenhamnsnatten var att frånvaron av själsvåndor inte reducerat Cohen till en dussinartist utan nerv och närvaro, och att han som tolkare av sina egna verk fortsättningsvis håller lika hög standard som förut. Cohen står inte på scenen för att försöka vrida klockan tillbaka, eller för att rädda sitt eftermäle. I stället kan man se Cohen som en tvivlare som slutat söka, och som därför kunnat börja turnera igen; en drömmare som slutat att jaga sig själv utan att för den skull slutat att iaktta. Och det han ger oss är det han ser – med handen på hjärtat, och ett mångtydigt leende på läpparna.
Denna nya Cohen spelar till perfektion sin roll som den något timida judiska gentlemannen och åldrande kvinnotjusaren, och upprepade gånger tackar han publiken för dess välvilja med hatten i hand. Den gamle Cohen är lika underbart avväpnande och självmedvetet skämtsam som den yngre var storslagen och gäckande i sin desperation.
Spänningsmomentet ligger i sammanhanget: att Cohen med ett skälmskt leende sjunger "I'm crazy for love but I'm not coming on", nu tjugo år äldre än när låten kom ut på skiva, är lika självutlämnande som det är förrädiskt. Men trots att han verkar ha lagt sig till rätta i sitt (elfenbens)torn har han inte stagnerat, och varken han eller vi kan någonsin veta var detta Tower Of Song finns: "Now I bid you farewell, I don't know when I'll be back/ They're moving us tomorrow to that tower down the track."
Banalt och sakralt
Mot bakgrund av Cohens nya livsbetingelser är det ingen överraskning att låtlistan domineras av de vackra och de maffiga låtarna, medan de desperata och de cyniska inte ryms med. Mycket från Recent Songs, I'm Your Man och The Future således, medan bara två låtar finns med från New Skin For The Old Ceremony och Death Of A Ladies Man inte får en enda träff.
Medan det klockrent spelande bandet kompar är det gamle poeten-playboyen-predikanten som ges allt utrymme. Det är ett överraskande starkt paket: svängrummet mellan de lågmälda Bird On A Wire och If It Be Your Will, till krafturladdningarna Boogie Street, Democracy och First We Take Manhattan är enormt. Att den gyllene rösten, trots att den med åren tappat några frekvenser, ännu håller för vansinnesgalopperande renderingar av Closing Time är lika förvånande som det är imponerande.
Men Cohens allra största styrka ligger, som den alltid gjort, i förmågan att syntetisera det banala och det sakrala i en och samma erfarenhet: trots att Suzanne för länge sedan blivit en kliché, är de tusentals mednynnande rösternas ljudmassa en hårresande upplevelse. Detta är post-ironi när det är som bäst: det är skönt att tilllåta sig översköljas av de djupa känslorna utan att känna skam i kroppen. Och senast vid en avväpnande mäktig tolkning av Hallelujah kommer tårarna, också för de stora karlarna.
Som ingen annan i branschen förmår Cohen gestalta människans inre kamp genom att vara klichéaktig och profetisk – samtidigt. Därför kan rader som "I did my best, it wasn't much/ I could not feel so I learned to touch" (Hallelujah) och "I smile when I'm angry./ I cheat and I lie./ I do what I have to do/ To get by" (In My Secret Life) bli till något som kunde kallas för den fullvuxna mannens tystgråtna böner. Bara med den skillnaden att den rediga karln bredvid som såg ut som en fiskare från Esbjerg hulkar och snörvlar öppet.
I den ljuva och löftesrika danska sommarnatten framförde Cohen sin gudstjänst till människan och kärleken. Och att han förmår tilltala en publik som till snittåldern är närmare tre decennier yngre än han själv, och där en överraskande stor del av den yngre publiken närmast scenen har armband från den samtidigt pågående Roskildefestivalen, är ett belägg för att hur länge Cohen än besjunger det sexistentiella mysteriet kan vi någonsin komma "to the end of love". Kanske är det därför han inleder kvällen med den låten.
Translated by Google Translate
The dreamer has found peace
In the delightful Danish Summer night, Leonard Cohen performed his
worship service to mankind and love. It is evident that he has managed
to put the depression that plagued him behind.
Leonard Cohen
Rosenborgs slottsträdgård, Copenhagen 5.7.
If the young Leonard Cohen was a seductive clarinet whom women fell
for, then the 73-year-old who performed in the Rosenborg castle
gardens in Copenhagen this weekend was a discreet, but nevertheless
unabashed bassoon. The grandfather figure who enjoyed the stage for
almost three hours was no has-been, rolled out just so that the
audience could bid a nostalgic farewell. Charm is a lasting quality,
and Cohen still knows how to receive his audience.
Anyone who has followed Cohen and his mental conditions knows that he
in recent years has managed to slip out of the depression that plagued
him during most of his adult life. The younger Cohen's
self-destructive self-irony and introspection have now disappeared; it
wasn't "Field Commander Cohen" who performed tonight. The former
self-proclaimed "merchant of desperation" has found spiritual
tranquillity in a Zen monastery in California (where coffee, alcohol,
Marlboro Lights and female visits, however, were not banned).
The sceptic who stopped searching
What became clear in the Copenhagen night was that the absence of
spiritual torment hasn't reduced Cohen to a run-of-the-mill artist
lacking nerve or presence, and that he as an interpreter of his own
works continues to hold the same high standards as before. Cohen
doesn't get up on stage to try to turn back the clock, or to try and
salvage his obituary. Instead, you can see Cohen as a sceptic who gave
up his quest, and therefore became able to start touring again, a
dreamer who ceased to chase himself, however without stopping to
observe. And what he gives us is what he sees – hand on heart, and an
ambiguous smile on his lips.
This new Cohen plays his role as the somewhat timid Jewish gentleman
and ageing ladies' man to perfection, repeatedly thanking the audience
for its kindness, hat in hand. The old Cohen is as wonderfully
disarming and self-consciously humorous as the younger Cohen was
magnificent and elusive in his desperation.
The tension lies within the context: that Cohen with a mischievous
smile sings "I'm crazy for love but I'm not coming on", today twenty
years older than when the song came out on disc, is as self-revealing
as it is treacherous. But although he seems to have become comfortable
in his (ivory) tower, he has not stagnated, and neither he nor we can
ever know where this Tower Of Song lies: "Now I bid you farewell, I do
not know when I'll be back / They're moving us tomorrow to that tower
down the track."
Banal and sacred
Against the backdrop of Cohen's new living conditions, it comes as no
surprise that the set list is dominated by the beautiful and the
groovy songs, while the desperate and cynical ones don't fit in. Thus
we get much material from Recent Songs, I'm Your Man and The Future,
but only two songs from New Skin For The Old Ceremony, while not a
single one is picked from Death Of A Ladies Man.
With the band, playing spot-on, as accompaniment, the old
poet-playboy-preacher is given all the room. It is a surprisingly
strong package: the range spanning between the low-key Bird On a Wire
and If It Be Your Will, to the outbursts of force Boogie Street,
Democracy and First We Take Manhattan, is enormous. The fact that the
golden voice, although it has lost some frequencies over the years,
still bears the insanely galloping Closing Time, is as surprising as
it is impressive.
But Cohen greatest strength lies, as it always did, in the ability to
synthesize the banal and the sacred in the same experience: despite
the fact that Suzanne long since has become a cliché, the sound of
thousands of voices humming along is a hair-raising experience. This
is post-irony at its best: it feels good to allow oneself become awash
by the deep emotions without feeling shame. And the tears come, even
for the big men, with a disarming and powerful interpretation of
Hallelujah.
Silently wept prayers
As no one else within the business, Cohen is able to interpret the
human internal struggle by being cliché and prophetic – all at once.
Therefore, lines such as "I did my best, it was not much / I could not
feel so I learned to touch" (Hallelujah) and "I smile when I'm angry.
/ I cheat and I lie. / I do what I have to do / To get by "(In My
Secret Life) become something that could be called silently wept
prayers of grown men. With the only difference that the stout man next
to me, looking like a fisherman from Esbjerg, sobs and sniffs openly.
In the sweet Danish summer night, full of promise, Cohen performed his
worship service to mankind and love. And that he is able to appeal to
an audience on average nearly three decades younger than himself, one
in which a surprisingly large proportion of the younger audience
closest to the scene wearing bracelets for the ongoing Roskilde
festival, proves the fact that no matter how long Cohen besings the
sexistential mystery, we can never come "to the end of love". Perhaps
that is why he introduces the evening with that song.
Thanks to Torsten Fagerholm. for providing and translating this article.
Copenhagen, Denmark
youtube.com
Copenhagen, Denmark
Blog, Photos and Other Fan Reports
Marvelous photo presentation by Harry.
Blog - Mariis Mills - "Leonard Cohen in SL"
On July 5th I had the immense pleasure of seeing Leonard Cohen in concert in Copenhagen. It was a very emotional experience that I will not forget...
Discuss the tour and read fan reviews on The Leonard Cohen Forum and in French on the Leonard Cohen Forum (French site).
Arhuus, Denmark
Set List - July 6, 2008
First Set
Dance Me To The End Of Love
The Future
Ain't No Cure For Love
Bird On The Wire
Everybody Knows
In My Secret Life
Who By Fire
Hey That's No Way To Say Goodbye
Anthem
Second Set
Tower Of Song
Suzanne
Gypsy Wife
Boogie Street
Hallelujah
Democracy
I'm Your Man
Take This Waltz
First Encore
So Long, Marianne
First We Take Manhattan
Second Encore
Sisters of Mercy
If It Be Your Will
Closing Time
Final Encore
I Tried to Leave You
Whither Thou Goest
Arhuus, Denmark
ENGLISH VERSION.
Leonard Cohen - Rådhusparken, Århus - Live
Gaffa
- July 7, 2008 by Lars Löbner Jeppesen)
* * * * * *
Krystalklar elegance på en grå aften
Som forventet var den brummende barytons anden koncert på dansk grund i denne omgang så godt som identisk med gårsdagens i København. Det var de samme 24 sange (med en minimal rokade i rækkefølgen) og de samme historier mellem numrene. Så hvorfor se den samme koncert to dage i træk? Well, hvis man ikke har fået lasagne i 15 år, så er man godt dum, hvis man ikke mæsker sig i det, mens der er serveret.
Igen var der tale om en forførende fejlfri aften, hvor selv ikke den lette regn og den grå himmel kunne ændre ved den krystalklare elegance, der blev lagt for dagen. Sangudvalget var intet mindre end rent nirvana, og selvom vi hver kunne nævne en forsømt favorit, var der vist ingen, der gik skuffede hjem, ellers må de have været kolde som det der nye barberblad.
De mange vægtige visdomsord blev nænsomt, men målrettet leveret til vores kollektivt åbne hjerte på en aften, hvor en sjælden set andægtighed herskede. Da det bliver sværere og sværere at gå til lytte-koncerter uden at få oplevelsen ødelagt af en eller anden fuld idiot, må det være på sin plads at takke publikum for deres nærvær, for der herskede ikke særligt meget tolerance over for de enkelte snakkende individer blandt publikum før jazzpolitiet fik irettesat med et bestemt ”schhh!”
At få lov at opleve Leonard Cohen to dage i træk er en gave, der ikke kan gøres op i penge, men det var så sandelig også en udsøgt fryd at høre holdet bag ham endnu engang. Sjældent, eller lad os bare få konstateret aldrig, har man oplevet ni så velafbalancerede og talentfulde assisterende artister finde sammen i så smuk en syntese.
Det var rent ud sagt rent manna for sanserne at opleve kapelmester og bassist Roscoe Beck, tangentspiller Neil Larsen, strengeekvilibristen Javier Mas, guitaristen Bob Metzger, trommeslager Rafael Gayol, saxofonist Dino Solde og de tre korsangerinder, søstrene Charley og Hattie Webb og Sharon Robinson (hvor har lothario-Leonard dog bare et misundelsesværdigt flair for at vælge kvinder.)
Selvom det gang på gang var Cohen, der tog hatten af og holdt den over sit enorme hjerte som tak for publikums devote applaus, så var det os, der havde taget hatten af for ham, hvis det ikke lige var, fordi man ikke tager hat med i kirke. For i en alder af 73 og efter så mange års koncertfravær var der vist ingen, der havde forestillet sig hele tre timers seance. Men når den ydmyge poet giver af sig selv, gør han det nu engang så helhjertet, at vores svælg strammes og øjnene fugtes. En sådan form for generøsitet eksisterer simpelthen ikke i et ungt hjerte.
Af hjertet tak for denne gang, Saint Cohen, og må du igen blive en holden herre – og her tænkes ikke i sangskat, for der er du i forvejen en ren Joakim von And.
Translated by Google Translate
Leonard Cohen - Rådhusparken, Århus - Live
Gaffa
- July 7, 2008 by Lars Löbner Jeppesen
* * * * * *
Crystal-clear elegance in a grey evening
As expected, the brummende barytons second concert on Danish soil in this game almost identical to yesterday in Copenhagen. It was the same 24 songs (with a minimal change around in the order) and the same stories between numbers. So why seeing the same concert two days in a row? Well, if you do not have been lasagne for 15 years, one good stupid if you do not mæsker in it, while it is served.
Again there was a seductive flawless evening, where even the light rain and gray skies could change the crisp elegance, which was posted for the day. Sangudvalget was nothing less than pure nirvana, and although we each could name a favorite neglected, it was shown, no one went home disappointed, otherwise, they must have been cold as that new razor blade.
The many important visdomsord was nænsomt, but targeted delivered to our collective open heart on a night when a rare set devotion prevailed. As it becomes harder and harder to go to listen to concerts without getting the experience ruined by some idiot full, it must be appropriate to thank the audience for their presence, for there was not much tolerance of the individual talking to individuals in the audience before jazzpolitiet was reprimanded with a "schhh!"
To be able to experience Leonard Cohen two days in a row is a gift that can not be calculated in money, but it was indeed an exquisite joy to hear the team behind him again. Rarely, or let me get never found, has experienced nine so well balanced and talented junior artists come together in so beautiful a synthesis.
It was, quite frankly, pure manna for the senses to experience kapelmester and bass-player Roscoe Beck, tangentspiller Neil Larsen, strengeekvilibristen Javier Mas, guitaristen Bob Metzger, drummer Rafael Gayol, sax player Dino Solde and the three korsangerinder, the sisters Charley and Hattie Webb and Sharon Robinson ( which has lothario-Leonard, however, just an enviable flair to select women.)
Although it time and time again was Cohen who took the hat and held it over his enormous heart, as thanks for the audience devote applause, it was us who had taken my hat off to him if it was not just because it does not take hat with the church. For at the age of 73 and after so many years koncertfravær had shown no one could have imagined the entire three-hour session. But when the humble poet gives of himself, he does it now so wholeheartedly that our throat tightened and eyes moisten. That kind of generosity is simply not in a young heart.
Of the heart thank you for this time, Saint Cohen, and you may again be a holden gentleman - is to say not in sangskat, for which you are already a clean Scrooge McDuck.
Arhuus, Denmark
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