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
Dopo quindici anni di assenza dalle scene, torna per un tour mondiale in quest'estate del 2008 il poeta, scrittore e cantautore canadese Leonard Cohen. Il 28 Luglio fa tappa a Roma per un concerto alla Cavea dell'Auditorium. Puntualissimo come pochi altri fa il suo ingresso alle 21:00 mostrandosi al pubblico nella magnificenza della sua minuta figura.
Un fascinoso cappello che lo fa sembrare uscito da un film noir nasconde i corti capelli grigi e lascia intravedere il suo sguardo. Le coriste attaccano e Leonard Cohen, inginocchiatosi verso il magnifico strumentista Javier Mas, svela la sua voce d'oro sulle note di "Dance Me To The End Of Love". Il pubblico con un fragoroso applauso saluta questo suo canto che sembra venire da tanto lontano con ancora più entusiasmo rispetto a quando, pochi attimi prima, ha salutato l'ingresso dell’Artista stesso. Si prosegue con la magnifica "The Future" e "Ain't No Cure for Love" e si capisce già che sarà un evento veramente speciale. Con la successiva "Bird on the Wire" (celebrata anche da una riuscita cover di Johnny Cash) si raggiunge uno dei picchi assoluti della serata, impossibile non essere emozionati da Cohen, che sotto un bellissimo cielo stellato estivo sussurra i versi "Like a bird on the wire, Like a drunk in a midnight choir, I have tried… in my way… to be free…".
I capolavori sono tutti serviti e neanche l'errore di ripetere due volte lo stesso verso durante "Everybody Knows" intaccano la poesia e la bellezza del momento. Dopo una pausa di circa venti minuti si ricomincia con Cohen alle keyboards per la sola "Tower of Song" seguita da "Suzanne" accolta, come immaginabile, con tantissimo entusiasmo. Il pubblico romano si mostra affettuosissimo con numerosi applausi e standing ovation quasi dopo ogni canzone. Leonard Cohen è orgogliosamente commosso da tanto affetto che, elegantemente, divide con i suoi musicisti presentandoli con tanto di inchino praticamente ad ogni canzone e durante ogni singolo assolo. Il capolavoro "Hallelujah" mi fa tornare in mente il fatto che per scriverne le due strofe centrali a Cohen sono occorsi ben due anni e che Bob Dylan, innamorato di tale brano, ne fece una cover live con la quale per un periodo era solito aprire i suoi concerti. Altro picco della serata è stata la bellissima "I'm Your Man" ed i vari bis, simpatico l'inizio di "Sisters Of Mercy" durante il quale Cohen interrompe il brano e chiede al pubblico (ormai alzatosi dalle poltroncine e accorso sotto al palco) come continuava la canzone; dopo che, in molti, glielo ricordano, riprende dall'inizio divertito.
I lunghi ringraziamenti finali a chi era presente quella sera e a chi da anni conosceva ed apprezzava le sue canzoni hanno il sapore di un romanticissimo addio. E' stato bellissimo per tutti i presenti aver avuto l'opportunità di salutare in una serata così toccante uno dei massimi cantautori e poeti della Musica.
Setlist: 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, Tower of Song, Suzanne, The Gypsy's Wife, Boogie Street, Hallelujah, Democracy, I'm Your Man, Take This Waltz. So Long, Marianne, First We Take Manhattan, Sisters of Mercy, If It Be Your Will, Closing Time. I Tried to Leave You, Wither Thou Goest.
After fifteen years of absence from the scene, he returned for a world tour this summer of 2008 the poet, writer and Canadian singer-songwriter Leonard Cohen. On 28 July makes stop in Rome for a concert at the Auditorium Cavea. Puntualissimo like few other makes its entrance at 21:00 showing to the public in the magnificence of his tiny figure.
A fascinating hat that makes it seem out of a film noir hides the short grey hair and leaves reveal his eyes. The coriste attack and Leonard Cohen, knelt down to the magnificent instrumentalist Javier Mas, reveals his voice gold on the notes of "Dance Me To The End Of Love." The public with a fragoroso applause greets his hand that seems to come from so far away with even more enthusiasm than when, a few moments earlier, greeted the entrance dell'Artista. It continues with the magnificent "The Future" and "Is not No Cure for Love" and already understands that it will be a very special event. With the subsequent "Bird on the Wire" (also celebrated a successful cover of Johnny Cash) reached an absolute peak of the evening, we could not be excited by Cohen, who under a beautiful starry sky summer whispers verse "Like a bird on the wire, Like a drunk in a midnight choir, I have tried in my way……… to be free. "
The masterpieces are all served and even to repeat the mistake twice during the same direction "Everybody Knows" affect the poetry and beauty of the moment. After a pause for about twenty minutes again with Cohen to keyboards for the sole "Tower of Song" followed by "Suzanne" accepted, as imaginable, with great enthusiasm. The public Roman shows affettuosissimo with numerous applause and standing ovation after almost every song. Leonard Cohen is proudly heartfelt affection that so elegantly, it shares with its musicians, presenting them with a bow to virtually every song and during each solo. The masterpiece "Hallelujah" makes me come back to mind the fact that for the write two verses central Cohen took two years and Bob Dylan, in love with this song, made it a cover live with for a period which was usually open its concerts. Other peak of the evening was the beautiful "I'm Your Man" and various bis, likeable the beginning of "Sisters Of Mercy" during which Cohen interrupted the song and asked the public (now alzatosi from armchairs and come under the stage) as the song continued, after that, in many, I remember, resumed from amused.
The long final thanks to who was present that evening and who for years knew and appreciated his songs have the flavor of a romanticissimo goodbye. It 'been wonderful for all those present have had the opportunity to greet in an evening so touching one of the greatest songwriters and poets of Music.
Setlist: Dance Me to the End of Love, The Future, Is not 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, Tower of Song, Suzanne, The Gypsy's Wife, Boogie Street, Hallelujah, Democracy, I'm Your Man, Take This Waltz. So Long, Marianne, First We Take Manhattan, Sisters of Mercy, If It Be Your Will, Closing Time. I Tried to Leave You, Wither Thou Goest.
Blog - janie_tangerine - "leonard cohen + paul simon concert reviews" ...one of the most elegant performers I have ever seen my whole life. Apart from the songs which are all great but well, we're talking Leonard Cohen here, he just is so distinct. He puts up an incredible concert and he still has one of the most beautiful voices I've ever heard...
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
Famous Blue Raincoat
Whither Thou Goest
Eleytherotypia
- August 1, 2008 by Dimitris Anastasopoulos
The couples swirling to the waltz rhythm in front of the stage, as Leonard Cohen unfolded the melody of “Dance Me The End Of Love”, were the most fitting introduction to the concert. Precisely at 9pm on Wednesday, Cohen stood in the scene of Terra Vibe in his dark suit and hat as a gentleman from another era. “«I am very happy to be here», he greeted the public in irreproachable Greek and later on was lost in his melodies.
It was not the kind of concert that Terra Vibe has got us used to. It was more like an initiation ceremony, with this lonely poet as its master, who, on stage was transformed to a romantic performer. A singer who passionately released his coarse mumbling, slightly bending his legs and leaning towards the front of the stage, as if it dedicating the songs to those standing on the edge of it.
And the audience of roughly five thousand people that gathered in Malakasa, were attending the ceremony fixated, with little applause at the end of each song, in order not to interrupt the magic. Elderly hippies, who used to learn how to play “Suzanne” on their guitars, were sitting in the grass softly singing next to their grandchildren who were dancing. Nevertheless Cohen had organised the setlist perfectly. He performed “Everybody Knows”, “So Long Marianne”, even “Sisters Of Mercy”, “First We Take Manhattan” and “Hallelujah”, mixing melodies and eras. A journey through his own career in music from the '60’s up to the present, with an excellent band and three amazing ladies in vocals, (the Webb Sisters, as he introduced them), as his fellow travellers. He left them at some point alone to perform “If It Be Your Will”, which, as he introduced it, he wrote in Hydra, staring at the view of the sea from his office.
The concert went on for roughly three hours. Closing with his most personal song, the confessional “Famous Blue Raincoat”. Finally, after all members of his band, bowed to the audience, they sang a farewell Gospel. “It’s been an honour being here”, said Cohen at the end, tipping his hat to the audience. It was him, more likely who deserved the honour. Because at 73 years of age he is not simply one of the most ground-breaking composers. He knows to stand on stage for three hours, much more than any spoilt rock star. He treats the audience and the musicians with a courtesy that’s almost forgotten nowadays – he almost bowed each time one of his musicians performed a solo. And above all, on Wednesday evening, defied the place that was not suited to his melancholic tunes, and the small – for a name of his stature - audience and dominated the concert by creating his own atmosphere, without elaborate stage sets and special effects. Only with his powerful voice and a handful of verses. It was our honour being there Mr. Cohen.
Thanks to papdx for providing a proper translation of this review.
A highly emotional, full of passion and nostalgia, night. Thus was 30 July and will thus remain in the minds of those who attended.
Nobody seemed to be interested in the party, drink or over time. By contrast, there was a sweet serenity of approximately 5,000 people of all ages who gathered at Terra Vibe to honour and the honour of Leonard Cohen. At exactly 21:00 appeared together with commanders of the stage, and a magic tide of enthusiasm kateplixe the audience, which erupted in applause asteirefto. With characteristic restraint and impeccably Greek, expressed sygkinisi, stressing that sarkastika loves Greece but now… nistefei!
Somewhere there the journey began and the history of our paresyre altogether. In peritrigyrizan top musicians in percussion, wind and strings of all kinds, and Mrs Sharon Robinson with Webb Sisters have greatly with regard to the vocals and not only. Zestathikame with "Dance Me To The End Of Love" and saw the future reveals that there is no giatreia for love. Lost in the "dark colors" and "heavy perfume", the public was unprecedented in the streets. The interjections surprise and excitement appeared constantly followed and again the applause, creating a compelling atmosphere. One spark, one word was enough to pyrosei all. Even the golden voice of Canadian when he prologize a piece, agkaliaze storgika space. Introduction by gitefti of chordon, Javier Mas, for "Who By Fire" and Enforcement echose heard us even more deeply in the midline of the time it opened. The "That's No Way To Say Goodbye" and "Anthem" closed the first time and gave a eikosalepto rest break in the band.
The refund was made with Leonard Cohen trechameno and the "Tower Of Song" a continuity of the set.Without losing his appetite and humor, revealed that the meaning of life is not the monasticism but «the Amsterdam Amsterdam Amsterdam, Amsterdam Amsterdam» (remember the backing vocals of the track). People seized the opportunity and started singing paced this point, forcing the only poet / performer / music to grovel, pulling the cap. Top followed moments, such as "Suzanne", "Hallelujah" and "I'm Your Man" and the terra vibe was misled into paths paramythenia. They had spent nearly two hours, but it was too early to apochorisoume. In appearance and only figouras such as gonatizei closed my eyes and explains not only wasteful to give our respect. You ought to adikisoume and other exceptional musicians. How can we forget the leading Neil Larsen (keyboards), with stakes in disks of George Harrison and the Rolling Stones, the Dino Soldo (wind) or Bob Metzger (electric guitar);
As we were successful in the first encore, visibly touched by Cohen said humbly: «you will never forget, it is my honour to be here». Dianyontas the eighth decade of his life remains aploikos and plays almost three hours. What else can ask?
The end epifylasse a huge surprise. Having heard once again in this year's makroskelestati tour, "Famous Blue Raincoat", which both have agapithei by the Greek public, ended the evening with a aperigrapto.I noticed people crying and are psychologically yperfortismena.
The lights anapsan, people left, but the magic remains. It was one of the best concerts of the past - many years-and an example for some circumscribed set of 90 minutes.
First Set: 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: Second Set:
Tower Of Song / Suzanne / The Gypsy's Wife / Boogie Street / Hallelujah / Democracy / I'm Your Man / Take This Waltz
Encores:
So Long, Marianne / First We Take Manhattan / Sisters Of Mercy / If It Be Your Will / Closing Time
I Tried To Leave You / Famous Blue Raincoat / Whither Thou Goest
PS: I read the text second and third time, that I can not express, in poor words, the feeling I wanted to pass. Forgive me.
We need some time. To realize what we have seen and felt, as the songs came one after another to xefloudisoyn our top stories. That is: 73 years Leonard Cohen «working hard for us smile» still is the man we saw our future and was paved with songs.
This is what happens: at a time when most new music marainontai once seen the sun, grow old and are fresh. The time? An illusion. Three hours Cohen on the scene, may have been your entire life and only five minutes. So many great songs from a single person!
«I am happy to be in Athens ...» says with a properly Greek «we are far from Athens» (Malakassa gar) continues. The «Dance Me To The End Of Love» is the choice for the top. Excellent. Persons chamogelane around and you can not miss the public comments that there are too many young people, some of them may not have been born in the mid 80's that Cohen wrote the song.
With koustoymaki, the repoumplika and movements showing first of all politeness, Cohen ypoklinetai musicians in the world, which presents many one too many times. After a series of the «The Future» who says shocking, with kofteri irony of the lyrics to reach us as lepidi. «Ain't No Cure For Love», «Bird on a Wire», «Everybody Knows». «Ain't No Cure For Love», «Bird On A Wire», «Everybody Knows». It is very difficult to say what was the most possible time of the concert. The tone changed when more laountz, when with a little lax fank disposal and somewhere with an a la Dylan approach, like that epifylasse for Marian (in «So long Marianne»).
The second part goes without jacket in the middle of the scene in front buttons. The world sings with him the «I'm Your Man». In «Tower of Song», «I was born with the gift of a golden voice» smile when he says. The voice is not «golden», is deep, dusty, tsakismeni-ultimately wonderful. To «The Hallelujah» - which personally I have not to my favourites-Cohen makes you anatrichiazeis as interpreted. «I didnt come to fool you A thens» ( «not come to your gelaso ...») says just changing the lyrics.
The Leonard Cohen says the great «Closing Time» ... but not leaving. Return to «I Tried To Leave You», selected for the occasion. And then, especially for the night in Athens and Hydra (which said from scene) «Famous Blue Raincoat», merging and other relations of human beings. Both are all simple. Give just a little time to understand that we experienced.
Dear Leonard, The kataferes again. Kataferes to our emotions, let us relax, to our parasyreis and our magepseis.
Ekanes 5,000 people of all ages-from young children who do not have time to feel what we prescribe to older people who have lived certainly many-to klapsoun, gelasoun to sing, agkaliastoun, to applaud, chorepsoun. We and our eximeroses enoses. We thymises that love, betrayal, melancholy, friendship, respect, generosity, pain, things are universal and over, are not exclusive of any religion, nation, race or sex, are not susceptible to praise or condemnation, is next us, within us, and whoever does not understand they do not know what clicks and what goes.
We could describe to anyone «eternal teenager», despite the charitomeno way evgaines from the scene, to immediately fly back to the interjections of «Friends» and tight scheduling of the concert you. Not fainosoun particularly touched that tragoudoyses Athens-unless ekryves well. Your voice, however, remains unsurpassed. The way the tragoudises Like a Bird on the Wire was sparaktikos. In Tower of Love milouses for you, for me, and for us all. In The allelujah our esteiles, who say and younger. Sometimes you had said that you were in Royalton otel The New York kathosoun the carpet wearing the esoroucha your kopanouses your head on the floor and eleges: «I can not finish this song». Chreiastikes five years, but teleioses. And not only that but since you wrote isame 80 different versions. Yesterday's was the best. Whatever you had to say it would be better.
Of all thlipseis, most are happy to Leonard Cohen, wrote envoy Figkaro after the concert in Montreal with which started this tour. Somewhat it is. How else to explain that yesterday evening klaigame and chamogelousame together? We prodoses ever, Leonard, all these decades.
Only one detail I would like to clarify, in relation to the Famous Blue Raincoat, the only song you said here except programme because so much demanded. Where apefthynesai to your friend and antizilo and diavevaioneis that if a day passed through the house, either for Tzein either for you, the enemy will sleep she will be free, said «his woman», and not «your woman », As eleges old. I noticed that have changed the word and in your official website. When exactly did? There was a reason? Apafgasma It is the wisdom you have accumulated? All that I had never importance?
Anyway, you I am grateful. So long, Leonard. So long, Leonard.
The Canadian artist and his nine-piece band offered soul-searching groovesat their Terravibe appearance
UNDOUBTEDLY, the crowd of people gathered at the Leonard Cohen concert on July 30 at Terravibe Park, in the Athens suburb of Malakasa, were the most non-hostile, non-threatening, non-aggressive group of human beings I've ever seen collected in one place at one time. The audience was, almost to a person, an amalgam of middle-aged, over-educated, clear-eyed, cafe-society-oriented audiophiles, who appeared to be having a great time doing the mellow-groove, cerebral-connection thing with Canadian poet/prose writer/musician Leonard Cohen.
Cohen is considered by many art critics and social historians to be an icon of both the musical and language art forms. With his nine-piece band behind him, he took the stage like a dark and groovy phantom. All the males in the group were dressed in Tarantinoesque cheap black suits and short-brimmed Borsalino hats. For three hours they played songs with soul-searching and confessional themes that seemed to joyfully mesmerise the show's attendees.
He graciously greeted the crowd in the Greek language and proceeded to play the standard "Dance Me to the End of Love". His voice has a sandy tenor tone, which recalls that of an experienced university professor addressing an adoring graduate school class. Indeed, the show was like spending time with an old, experienced friend who tells good stories.
Cohen is a smart guy and knows his mass-communication human physiological and psychological traits quite well. Like Lou Reed and John Cale, he has a singing/speaking style of presenting his songs, which almost take on a conversational tone and cadence. A great deal of his material is played at a relaxing 2:4 notational speed, a time signature that tends to have a hypnotising effect on listeners. Combine this metrical scheme with his conversational lyrics, a droning Hammond B-3 organ and wailing female background vocals and you have some pretty powerful stuff. He manipulated these elements of subconscious and preconscious mental activity like a master, and the crowd gobbled up every minute of it.
Guitarist Bob Metzger played perfectly reverberated, F-hole Telecaster electric guitar phrases while the Webb sisters (Hattie and Charlie) provided ethereal, yet rock-solid back vocals that complimented Cohen's seasoned vocal styling. All songs had a tough sincerity to them, mixed with a smattering of dark humour and toxic irony. He was a true gentleman during the evening and introduced his band members several times during the performance when they played instrumental breaks or solos. His vocals always seemed genuine and heartfelt in every delivery he gave to us this evening.
The quality of sound mixing was first-class and acoustically clear in every area of the park. Minimalist lighting effects worked nicely with all pieces during the presentation. He played his standards - "Hallelujah", "If It Be Your Will", "Back on Boogie Street" and "Everybody Knows" - with a bold, yet phantasmal presence.
His wizened, world-weary elegance was inspiring to behold. No one left Terravibe Park disappointed that evening, and on the way to the exits many people were quietly humming one of Cohen's tunes to themselves.
Despite 73 years of the artist, wearing a suit and hat, traveled the audience for «Tera Vaimp Park» in a musical feast triori
Next to me stands a tourist from Israel, saying the companionship of how the concert is wonderful. How the evening living is «beloved».
The text I want to start it and not with a snapshot from a concert given yesterday evening by Leonard Koen, the «Tera Vaimp Park» in Malakasa, because just thinking that the concerts made here can be «destination» for «foreigners ».
In other ... for what others can imagine that can happen in the constellation of a concert by Israeli was right. The concert given by Koen in «Tera Vaimp Park» was paradise.
The Koen is not the «xefreno» niato. It is 73 years. I want to say in this, because if perhaps eleges before see and hear live, that an artist his age does not have the «right» to be fun with his music, it would be simply wrong.
The last appearance of Koen Athens was of three hours. Essentially included, the first time this has happened to me, essentially a ankor term fifty minutes. What «missing» were «numbers». Three to four thousand spectators for such a literally unique artistic event in Athens, in my opinion, were few.
A picture ... The beginning of the concert was like this. Forontas suit and a cap Koen climbs on the stage. We smile. The convulsions of the person to leave to believe that it feels beautiful. The Koen picking up the microphone. He greets the Greek and immediately after he and his band of entering into a song that would not «melt» ever. The «Dance me to the end of love». The duration is sufficient to travel to our fascination of music that only he can think. Only he can «painted».
«Athens did not come here ... to make fun ». The phrase has a translation. Listening to you could be cases that Koen has learned to occasionally, concert, arpachtes made in Greece and thus wanted to «prepaid» his faith in public. The reality I have witnessed is as follows: when an artist who has overtake age of 70 do concerts deserve time as two other concerts timely and youth assemblies, it is like to give you the spark to think of something «wrong». How can the younger artists, they probably he has inspired, «next» is simply «fireworks» which skane before the time given by the manufacturer.
The «all». The band that travels with Koen to that of the tour is wonderful. During the plithorikou ankor Koen interpreted the classic pieces like «First we take M anhattan» and «Sisters of mercy». What else? Believe me, if you missed this concert, you missed an event that will angize the most sensitive part of your soul.
These are always better when you do not wait. And I waited in the Leonard Cohen to be many things but not so shocking. I confess that I went to see him without specific requirements, as a fan, having spent years (and some difficult nights) spent time with the discography, was somehow a necessary «pilgrimage». I thought, well, 73 years old now, with the last studio album Dear Heather hear several ageing - amfevalla even for trioro show announced. I could not have been more out and I was very much for this.
The Canadian songwriter and poet welcomed us in Greek and joined with "Dance Me To The End Of Love" - and when you enter such a tragoudara can not immediately win the hearts and impressions. Common to note here that these were not just numbers, despite predictions to the contrary from various epaiontes before the concert. Even though the "Dance Me To The End Of Love" showed that Leonard Cohen had come to make jokes: he said, indirectly but clearly, when at some point parafrase the lyrics of "Hallelujah", saying « I didn't come to fool you, Athens ». He joined the time and actually played for 3 hours - with the necessary eikosalepto break - and not sat moment: stayed erect the stage for the duration of the concert. And revealed that he had come to be cashed «past megaleia», but why has this and beyond the past, and that 73 years can be a «heavy» number, but in life count and other things beyond the numbers. The voice, for example, which remains extremely flat or the passion with which sings, deep youthful passion. The aspromallis, kompsotatos (with the suit and cap) chief Cohen remains young, very young, media - and perhaps this is the «secret» behind the achievement of a world tour.
The track list was pretty leaked and many of the attendees at Terra Vibe thus knew what to expect. And with the exception of «dark» "Avalanche", I think that Cohen did not let off any of the (many) great songs. And the "Suzanne" We played in an emotive, introspective, execution and the "I'm Your Man" (which does not dakrysan few eyes) and "First We Take Manhattan" and "Ain't No Cure For Love "(which had to admit that I will dialega as the song of my marriage, if ever apofasiza diapraxo such nonsense) and the" Tower Of Song "and" Gypsy's Wife "and" Who By Fire "-- I could go on and on the track list. If you do not have to choose a time as leader, will dialega the celestial performance that Cohen reserved in anyway great "Hallelujah", while two words have, of course, and the tremendous emotional "Famous Blue Raincoat", which was heard in finale.
Excellent all musicians who syntrofefsan the Leonard Cohen - the predominantly female voices in 3 seconds - and particularly impressive that Cohen ypoklinotan with respect to their side, whenever we recommended. The excellent and anypokriti kindness, indeed, potise every moment of Athenian appearance - not just the songs, but almost every move of musicians on stage, as well as the general aura in Terra Vibe. Leaving, we all felt that we attend to something very important, something that had the strength to cross our reaching deep into sopsycha us, even in the most «difficult» recesses.
«Ring The Bells That Still Can Ring, Forget Your Perfect Offering, There Is A Crack, A Crack In Everything - That's How The Light Gets In»…
Dance Me To The End Of Love
The Future
Ain't No Cure For Love
Bird On The Wire
Everybody Knows
Who By Fire
Hey, That's No Way To Say Goodbye
So Long, Marianne
Tower Of Song
Suzanne
Hallelujah
I'm Your Man
Closing Time
First We Take Manhattan
Anthem
Leonard Cohen brought a smile to the faces of festival-goers at The Big Chill Festival on Sunday night.
The 73-year-old lyrical legend drew an enthusiastic crowd for his fantastic set list against a spectacular sunset at Eastnor Castle Deer Park in the Malvern Hills.
He had been the talk of three-day festival and many joked he would depress his audience but though it had rained on and off the skies remained clear throughout as Leonard wowed his fans with classics such as So Long Marianne, I'm Your Man and Susanne to rapturous applause.
He said: "Thank you so much friends, you've been very kind, it's such an honour to play for you. We'd like to play all night but we've been given the word."
Other headline highlights included comedy duo The Mighty Boosh, DJ Norman Jay, Bill Bailey, former Moloko lead singer Roisin Murphy and Martha Wainwright, who all drew huge audiences when they took to the stage.
Along with music and comedy the family-friendly festival also put offered many workshops and activities. At 10pm last night after Leonard's performance a giant Wickerman imitation Pagan pyre was burnt on the hill behind amid a fireworks display.
The hot temperatures during the weekend will have come as a relief to the thousands of Sunrise festival ticket holders who were allowed entry to the Big Chill after flash flooding in Somerset at the end of May forced the cancellation of their event.
Everything from The Flintstones to funk was on parade at The Big Chill festival in the grounds of Eastnor Castle Great Malvern, in Herefordshire at the weekend.
The 30,000 crowd had plucked from a closet full of clothes from different eras and decades; few held back on the fancy dress. As crazy as it sounds, these were people who woke up and and crawled out of their sweaty tents looking like a Lego-man, a cavewoman, a flamenco dancer or Dorothy and The Scarecrow (who got his straw from a pet shop). A couple of dozen fans had dressed as boy scouts and Brownies; others went the Xmas Tree fairy route in tutus and glitter.
James Hervey-Bathurst, the owner of Eastnor Castle estate, shared the spirit of the festival with his family. His daughter Imogen , 22, was ready for all seasons in Brick Lane vintage with wellies and a Cossack hat.
The Mayor of Ledbury, Keith Francis, dropped in on Saturday with the Mayoress, Gill Pitt, in a floral maxi from Zara . “When I bought it, I told the assistant it was for my granddaughter,” she said.
The legendary Leonard Cohen, who sang at the finale, seemed to epitomise the cross-generational divide of The Big Chill. As Cohen, 73, skipped around the stage in his trade mark black suit and Fedora, teenage fans, in hot-pants and minis, their faces daubed with ulttra-violet 'war-paint' by StarGazer, sang along to all the lyrics.
At 73, and with a career spanning four decades, how can Leonard Cohen possibly meet expectations? Quite simply, he doesn't. He surpasses them...
On Sunday, it's hard to think past the fact that the mythic Leonard Cohen, will be serenading the crowd
tonight. But there are plenty of other worthy acts vying for our attention on this final day of the festival, and we have to do something to bide the time. Saturday's bountiful sunshine has been kidnapped by a dirty swathe of cloud, not that this is going to faze Big Chill stalwart Norman Jay, whose Sunday lunch feel-good groove DJ set is a regular festival fixture.
After only 15 minutes on the Castle stage, it all feels a bit tired, and when Jay spins 'Love the Sunshine', despite the fact there clearly isn't any, the crowd's indifferent response is both surprising and embarrassing.
Hopefully this will force him to remember that you can't fake festival feeling, and that he will need to come up with a more imaginative set list if he's to remain King of the Decks next year. By contrast, it's impossible to feel grey watching Orchestra Baobab over on the Open Air stage. They layer Congolese rumba and bossanova beats, with a West African vocal style and haunting, bluesy guitar. On the dance numbers, finger-picked guitar passages and a time-perfect brass section makes for music to burn away the cloud.
It's easy to stick to the main festival stages but part of the Big Chill's appeal is that it offers more than just musical performance and five kinds of falafel. Over in the Words in Motion tent, "recovering brand addict" Neil Boorman is offering a timely answer to dealing with the credit crunch, and reads from his recent book which details how he ceremoniously burnt and battered all his branded possessions and TV to oblivion, in order to break his consumerist addiction.
He's an engaging reader, but unfortunately this kind of event only attracts the ready converts. (The brand bunnies are out on the plains supping Tiger beer in their Cath Kidston wellingtons). Boorman may appear logo-free, but he still looks as though he's stepped straight out of a Shoreditch Saturday night. And as he answers revellers' questions post-reading, he smokes a Marlboro Light, despite having related the moment he decided to give up consuming any labelled substance, tobacco included.
Back on the Open Air stage, the Imagined World are trying to warm the ever-dampening crowd with their 10-piece best of British folk collective. Led by Martin and Eliza Carthy, and featuring the Copper family sons, this is voice-quavering, fiddle-playing folk at its best.
The highlight is a modern reworking of a traditional song, 'Tam Lyn', which features Benjamin Zephaniah narrating the tale on video, to a drum and bass beat and flagrant violining from Eliza Carthy. It works brilliantly, and Imagined World turn out to be one of the unexpected festival highlights.
Only one more act before Mr Cohen - and it's a test of our love for Leonard that we stick it out to ensure a prime spot infront of the stage. The cloud has lifted, but Camille is the French bansheeing Bjork imitator up next, and as much as I try to appreciate her post-feminist dress over the head,'Why do you call me a slag' shrieking, it's pretty self-masturbatory stuff.
Camille is at her best when she and the rest of her collective leave off the teenage offence and switch to close-harmonied, high-energy beat-boxing. But forcing the audience to conspire with her mock-psychotic cabaret is the height of performative egotism, and she finishes the set with a gimmick which speaks volumes - turning her back to the audience to reveal a dress cut so low it reveals most of her bottom.
And so to the act we have not dared to anticipate. At 73, and with a career spanning four decades, how can Leonard Cohen possibly meet expectations? Quite simply, he doesn't. Instead, he surpasses them and proves himself a septagenarian dark saint, with an impossible sex appeal, and a humble sincerity of performance that makes him sound as though he bleeds and burns every word he sings.
Most of the favourites are there; 'Tower of Song', 'Suzanne', 'Goodbye, Marianne', 'That's no way to say goodbye', 'Dance me to the end of love', 'Bird on the Wire', and a soul-soaring version of 'Hallelujah' which has the unusually tuneful crowd serenading Cohen himself with the chorus.
His delivery of 'I'm your man' is so erotic, he could still have his pick of the female audience (and probably some of the male), irrespective of age. Cohen the man may have an ego, but the Cohen the performer certainly doesn't. And it's this generosity, this willingness to share his capacity for rendering human experience in lyrical song that makes for an utterly spell-binding performance and the unquestionable highlight of the Big Chill.
Big Chill Festival 2008: Gigwise Photo Review Featuring Leonard Cohen
Gigwise
- August 4, 2008 by Jason Gregory (Photos: WENN)
It was one of the most anticipated festival appearances of the summer and, when called to the stage on Sunday, Leonard Cohen didn't disappoint.
Currently enjoying a new burst of enthusiasm for his music, Cohen's performance at the Big Chill Festival stunned crowds in much the same way he did at the recent Glastonbury festival.
The one and only Leonard Cohen – arguably the biggest draw of the entire festival – proved to be his memorising self with an unforgettable headline set on Sunday.
WHEN the announcement came that ‘a living legend is on stage in about half an hour’ the average age of the Big Chill main stage audience went up a couple of decades.
But few matched the legendary Leonard Cohen’s 73 years and none equalled his vitality in a staggering 90-minute set.
And, no matter that the wrinklies had arrived to hear him, this extraordinary performer had captured the ‘Now’ generation too, who knew all the words and were as exuberant in their participation as their grandparents….
He held his audience enthralled as he proved why it’s so hard to define him.
From an era that produced Bob Dylan and the Beatles, he is neither and both: troubadour/poet and pop musician, conjuring so many magical moments for so many people.
Stunning musicianship from singers and backing instrumentalists surrounded his performances of all the great favourites from 'Dance Me to the End of Love' to 'Hallelujah', 'Marianne' to 'Bird on a Wire' and so many more.
“Thank you so much for coming tonight,” he said with a doff of the trilby and typical courtesy: “It’s so kind of you” before setting off on – of course - 'I’m your Man'.
The roar of approval showed he was, indeed, our man. No one seemed in a hurry to return to the cosy tented villages at Eastnor, as the master defied organisers’ deadlines.
Leonard Cohen has been dubbed the voice from a thousand gloomy bed-sits.
As we eventually made our way out of the arena a young, 20-something steward commented: “So many happy, shiny faces…”
It sparkles like a rare diamond and its contents are sought after by millions. Yes, ladies and gentleman, Noel Fielding's jumpsuit has landed. It was not a musical act that filled the Saturday night slot of this family-friendly musical festival in Herefordshire, but a surrealist comedy duo who were greeted with as many bamboozled silences as outpourings of laughter. But if there was an element of the emperor's new clothes to 10,000 people standing around slightly confused to watch Fielding and Julian Barratt's Mighty Boosh take us through a "musical journey", then it was just one stop on an otherwise successful weekend.
Indeed, if anybody consistently pulled in the numbers over the three-day festival then it was the comics. Earlier on Saturday, Bill Bailey's highly oversubscribed set was broadcast via the festival's radio station. "Hello hippie scum," was his opening jaunt, before he tickled his way through pastiches of Oasis ("There are many snacks that I would like to make for you but I don't know how") and The Killers ("I've got ham but I'm not a hamster").
Later that night, the British Film Institute transplanted its sold-out BUG music video showcase to the Media Mix tent, although not without technical hitches. Host Adam Buxton gallantly sprang to the rescue with an improvised comedy set after the work of Battles and Grizzly Bear had attacks of the gremlins.
Musically on Saturday, Lykke Li took on the Castle Stage, rattling through her hot tunes, such as "Dance, Dance, Dance", "I'm Good I'm Gone" and "Little Bit". Beth Orton acoustically moved through numbers from her 2006 album, including the bittersweet ballad "Conceived" and "Katie Cruel". On Sunday, Brian Eno-derived Swedes Tape recalled Mogwai and a late Radiohead, before the weekend finished spectacularly, with Camille, The Buzzcocks, then the great man himself, Leonard Cohen.
The poet-cum-20th century oracle steered the assembled throng through a sing-along of any of his hits that you could hope for, finishing with a flamboyant bow that summed up the weekend's timeless theatricality. As exhausted people drifted home on Monday morning, wistfully pining for more, the overwhelming sentiment was a wish for everything to vaunt such effortless effervescence as Cohen. Jumpsuits just aren't necessary.
After the squalid indignities of Glastonbury, It felt like a bit of a homecoming to attend the Big Chill.
Fifteen years old next year, the festival is now firmly established in its niche in rural Herefordshire. Where The Big Chill succeeds is in its attention to detail.
Good food, beautiful surroundings, smiling, happy people and a first-rate musical bill. It’s a simple formula and it helps promote a sense of communal ownership in the event.
Nothing’s perfect of course, but the Big Chill has a policy of listening to feedback and implementing good suggestions.
It’s the music that concerns us here and the highlights were many.
Sunday night’s star was Leonard Cohen who was on superb form. His recent bout of touring has allowed the band to loosen up since the early dates in Manchester.
Although the show features the same songs, Cohen’s voice has transformed into a soulful burr that captivates from the first word.
Attracting the biggest crowd of the weekend, the sight of thousands of blissed out people raising their hands in supplication for the chorus of Hallelujah was an almost religious experience.
Sunday also saw a brilliantly ramshackle set from Jilted John, an earlier alter-ego of the beloved John Shuttleworth. His one-hit career from 1978 produced a single, Jilted John and an album, based on the trials of puberty.
There was something endearing about watching the 40-something John singing songs about the school disco. Despite frequently forgetting the words, the audience helped out by filling in the gaps.
One new song about Keira Knightley (Keira Knightley eat your dinner) signalled a possible comeback.
Also on Sunday, French singer Camille proved to be the year’s instant star.
Already popular at home, she’s now out to conquer the world.
Impossible to pigeon-hole, Camille’s astonishing voice could tackle everything from opera to gospel, to punk and torch-singing. Her sheer personality and energy will carry her through. Backed by a group of beat-boxers, her sound often strayed into pure avant garde territory but was never less than compelling.
She makes Amy Winehouse seem like Hilda Ogden.
Friday night was about nostalgia with The Orb and The Grid reminding us why ambient house was once such a big deal, while the Thievery Corporation played a solid set of ethno-tinged dance dub on the main stage.
Saturday’s treats fell in the middle of the afternoon with Rachel Unthank and the Winterset proving why they’re the biggest thing on the nu-folk scene. Their album has been nominated for the Mercury prize and it’s a dark and doomy affair. On an outdoor stage on a hot Sunday afternoon, it was perfect and the display of clog dancing at the end was just the icing on the cake.
Be sure to catch them at the Moseley Folk Festival at the end of the month.
These few highlights were just the tip of an iceberg. The only way to truly experience the Big Chill is to go there yourself.
Leonard Cohen is just one of several rock veterans returning to the stage this week. In Herefordshire for the Big Chill music festival, the 73-year-old Canadian singer songwriter and poet was introduced as a 'living legend' as he prepared to take to the stage.
Wearing his trademark suit and fedora, the Montreal-born musician belted out hits including I'm Your Man and Dance Me To The End Of Love as he helped bring the festival in the grounds of Eastnor Castle to a close...
On Sunday, it's hard to think past the fact that the mythic Leonard Cohen, will be serenading the crowd
tonight. But there are plenty of other worthy acts vying for our attention on this final day of the festival, and we have to do something to bide the time. Saturday's bountiful sunshine has been kidnapped by a dirty swathe of cloud, not that this is going to faze Big Chill stalwart Norman Jay, whose Sunday lunch feel-good groove DJ set is a regular festival fixture. 
Fifteen years old next year, the festival is now firmly established in its niche in rural Herefordshire. Where The Big Chill succeeds is in its attention to detail.