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 (Dedicated to Norwegian author Axel Jensen)
First Encore
So Long, Marianne
If It Be Your Will
First We Take Manhattan
Vi kan kanskje ikke si at det var et stort øyeblikk i rocken - på Deichmanske står Leonard Cohen under «viser». Men et stort øyeblikk var det, på Bislett, drøyt halvveis i en konsert på nesten tre timer: Den 73-årige Leonard Cohen som går ned på kne, vender blikket mot kveldshimmelen og synger «Ha-le-lu-jah», med neven knyttet i intensitet, og med sår bønn i den mørke røsten. Foran ham på gressmatta reiser folk seg og strekker armene i været, gynger med og synger «Hallelujah», og det var rene vekkelsessstemningen på Bislett Stadion, da Leonard Cohen endelig kom til Oslo igjen. Og uten å si et ord om sangens status i Norge tok han «Hallelujah» tilbake, sangen som er blitt hans mest berømte og innspilt i anslagsvis 150 versjoner, men som fortsatt tilhører Leonard Cohen, mest av alt på en kveld som denne.
«Hallelujah» ble et spesielt høydepunkt blant mange store stunder med Leonard Cohen i går kveld. Han har ikke spilt her siden 1993, og nå som han snart fyller 74, er det ikke gitt at han kommer tilbake på scenen. Hvis dette var avskjeden hans med et norsk publikum, kunne det neppe blitt mer storslagent. Han er ute på en tre måneder lang turné, fulgt av et band på seks og tre kvinnelige korister, hvor flere av dem har fulgt Cohen på scenen helt siden slutten av 70-tallet. Ikke minst Susan Robinson, hans medforfatter på albumet «Ten New Songs» fra 2001, hvor flere av låtene var hentet fra (mens det ikke var noen fra hans siste album «Dear Heather», 2004).
Bandet gjorde sangene hans mer enn bare rettferdighet, men fylte dem ut på de rette plassene. Av og til litt stivt og glatt, noen ganger helt perfekt, i et rent og pent lydbilde, såpass høflig at det bare var så vidt det bar over hele stadion. Cohen selv var i smilende storslag, fra han nærmest spratt inn på scenen til stående applaus, hilset med hatten og åpnet med «Dance Me To The End Of Love». Til han blid og rørt velsignet publikum etter sju ekstranummer og nesten tre timer (med 20 minutters pause).
Sist jeg så Leonard Cohen var på Kalvøya sommeren 1988 (se bilder fra Cohen på Kalvøya-festivalen bakerst i bildekarusellen). Da virket han genuint overrasket over popstjernestatusen han plutselig hadde oppnådd i Norge. På scenen bar han hvit dress, blomsterkrans og rødvinsglass, han sang hitene fra «I'm Your Man» to ganger, og solte seg i de beundrende blikkene fra toppløse frikerdamer (Dagsavisen møtte en av damene på konserten i går) foran scenen. Det var topp stemning, men ikke så lett å ta Leonard Cohen alvorlig som poet og artist. 20 år etter har alvoret senket seg over Cohen av så mange slags grunner, og han trer fram som en av de store låtskriverne fra rock-epoken. Han kan øse fra 40 år med sanger om kjærlighet og hat. Og det er en fascinerende kontrast mellom den smilende bestefaren i findress, og mørket i sanger som «The Gypsy's Wife», «Everybody Knows», ja til og med allsangfavoritten «So Long Marianne» («i'm cold as a new razorblade»), for ikke å snakke om beksvarte «The Future». Som han riktignok mildnet litt med å synge «give me crack and careless sex», istedenfor originalens «give me crack and anal sex» (kanskje han var redd noen ville det bokstavelig). Men punchlinen etterpå var den samme - «and take the only tree that's left and stuff it up the hole in your culture». Ikke akkurat vanlig vestkant-visekos. Cohen viser sin klasse som sceneartist ved tyngden og presisjonen han legger i fremføringen av tekstene, den samme tyngden og presisjonen han har lagt i å skrive dem. Alt blir klart og tydelig, særlig i partiet som innledet andre sett, når han fremførte «Tower Of Song» og «Suzanne» helt alene med henholdsvis keyboard og akustisk gitar. Som den undervurderte humoristen han er, får han hele Bislett til å le på den klassiske one-lineren «I was born with the gift of this golden voice». Kledelig beskjedent, men det var gull i fraseringene til Leonard Cohen, som fikk sanger man trodde var slitne til å tre fram i all sin poetiske kraft og enkelhet. Kanskje aller sterkest i siste sang før ekstranumrene, Lorca-hyllesten «Take This Waltz».
Denne kvelden dediserte han sangen til Axel og Marianne Jensen - Oslo-kvinnen som han skrev «So Long Marianne» til, og som også må ha hatt noen store øyeblikk på Bislett denne kvelden.
Cohen takket og bukket for generøsiten han var blitt møtt med, og uttrykte også sin beundring for den menneskelige statuen han hadde sett fra vinduet sitt på Grand Hotel mandag kveld, da han kom til Oslo.
– Før jeg gikk og la meg - alene! - sto jeg og så på den gyldne statuen av Henrik Ibsen, fortalte Cohen fra scenen:
– Men det var ingen statue, det var en mann som etterlignet en statue. Og han gjorde det så briljant at jeg ble stående og se på ham i timevis. En imponerende disiplin og kontroll! sa Cohen, og det er nesten så vi kan se ham for oss der han gransker statueartisten som en kunstnerisk tvillingsjel. For også Cohen viste en imponerende kunsterisk disiplin, og total kontroll over sitt eget materiale, men i motsetning til Ibsen-mannen får Cohen det gyldne stoffet sitt til å leve. Som når noen kaster en blåklokke opp på scenen, og Cohen griper tak i blomsten og begynner å resitere fra teksten på «Anthem», neste sang på settlista: «Ring the bells that still can ring/forget your perfect offering». Det viste noe om hans evner til ikke bare å skrive sanger, men å gripe øyeblikkene, store som små.
We may not be able to say that it was a great moment in rock - in Deichmanske's Leonard Cohen during the "show". But a big moment, it was, at Bislett, just over half in a concert for nearly three hours: The 73-year-old Leonard Cohen who goes down on the knee, is facing eyes against kveldshimmelen and sings "Ha-le-lu-jah", with never linked in intensity, and with sore prayer in the dark voice. Ahead of him on gressmatta travelling people and extends the arms in the weather, with rock and sing "Hallelujah", and it was pure vekkelsessstemningen at Bislett Stadium, as Leonard Cohen finally came to Oslo. And without saying a word about the song status in Canada, he earned "Hallelujah" back, the song that has become his most famous and recorded in an estimated 150 versions, but that still belongs to Leonard Cohen, most of all on a night like this.
"Hallelujah" was a special highlight among many big moments with Leonard Cohen last night. He has not played here since 1993, and now that he soon fill 74, it is not given that he comes back on stage. If this was dismissed by his American audience, then it could hardly have been more storslagent. He is out on a three-month long tour, followed by a band of six and three female korister, where several of them have followed Cohen on stage ever since the late 70's. Not least, Sharon Robinson, his collaborator on the album "Ten New Songs" from 2001, in which several of the songs were taken from (and there was someone from his latest album "Dear Heather", 2004).
The band made the songs his more than just justice, but filled them out in the right spots. From time to a little stiff and smooth, sometimes quite perfect, in a clean and smart sound, so politely that it was only as far as the bar around the stadium. Cohen himself was smiling in the grand, he almost popping into the scene to the standing applause, hilsen with the Hat and opened with "Dance Me To The End Of Love." To his body and picking blessed the audience after seven encore, and almost three hours (with a 20 minute break).
Last I saw Leonard Cohen was on Kalvøy the summer of 1988 (see photos from Cohen on Kalvøy Festival back in bildekarusellen). Then he seemed genuinely surprised by popstjernestatusen he suddenly had achieved in Norway. On the stage he bar white suit, blomsterkrans and rødvinsglass, he sang hits from "I'm Your Man" twice, and solte in the admired glance from toppløse frikerdamer (Dagsavisen met one of the ladies at the concert last night) in front of the stage. It was the top mood, but not so easy to take Leonard Cohen serious as poet and artist. 20 years after the gravity has lowered over Cohen of as many kinds of reasons, and he will take up as one of the major låtskriverne from rock-era. He can ladle from 40 years of songs about love and hate. And it's a fascinating contrast between the smiling bestefaren in findress, and the dark in songs like "The Gypsy's Wife," "Everybody Knows", yes, even the allsangfavoritten "So Long Marianne" ( "I'm cold as a new razorblade" ), Not to talk about beksvarte "The Future". As he certainly soften a little to sing "give me crack and careless sex", instead of the original "give me crack and anal sex" (perhaps he was afraid that someone would literally). But punchlinen afterwards was the same - "and take the only tree that's left and stuff it up the hole in your culture." Not exactly normal west-visekos. Cohen shows his class as sceneartist by weight and precision, he adds in the presentation of the texts, the same weight and precision, he has added to write them. Everything is clear and obvious, especially in the party which initiated the second set, when he fremførte "Tower of Song" and "Suzanne" at the very alone with the the keyboard and acoustic guitar. As it underestimated humorist he is, he is a total Bislett to laugh at the classic one-lineren "I was born with the gift of this golden voice." Clothing modest, but it was gold in fraseringene to Leonard Cohen, who had songs you thought were weary to three ahead in all its poetic force and simplicity. Maybe the very highest in the last song before ekstranumrene, Lorca-tribute "Take This Waltz."
This evening, he dedicated the song to Axel and Marianne Jensen - Oslo-the woman whom he wrote "So Long Marianne", and that also must have had some great moments at Bislett this evening.
Cohen thanks and bow for the generosity he had been faced with, and also expressed his admiration for the human statue he had seen from his window at the Grand Hotel on Monday night, when he came to Oslo.
-- Before I went, and let me - alone! -- I stood and looked at the golden statue of Henrik Ibsen, "said Cohen from the stage:
-- But there was no statue, it was a man who counterfeited a statue. And he did it so brilliant that I was standing and looking at him for hours. An impressive discipline and control! Cohen said, and it is nearly as we can see him for us where he is investigating statueartisten as an artistic tvillingsjel. For Cohen also showed an impressive kunsteriske discipline, and total control over their own material, but in contrast to Ibsen-man Cohen get the golden substance to their living. Like when someone throws a Harebell up on the stage, and Cohen grabs hold of flower and begin to resitere from the text on "Anthem", the next song on settlista: "Ring the bells that still can ring / forget your perfect offering." It showed something about his abilities to not only to write songs, but to seize moments, large and small.
Aftenposten
- July 2, 2008 by Arild R. Andersen (Foto: Olav Olsen)
Det er lite som minner om rundetider, maraton eller stram trikot idet Leonard Cohen småløper inn på scenen, iført ledige gevanter med mafiasnitt. Dette kan være den levende legendens siste store turné, og det gir julikvelden et gratis skjær av begivenhet.
Mannen som strengt tatt bare trenger en kassegitar for å kle opp de poetiske tekstene sine, er omgitt av et band med høy profesjonalitet og tendens til glatt musisering. Forestillingen starter med «Dance Me to The End of Love», og publikum er med på hvert trinn som tas på scenen.
Tar av seg hatten.
Det er ikke bare skiltene som peker i retning av 60-tallets slaraffenliv på Hydra som skal følges ikveld. Mye av stoffet skal hentes fra tiden etter at Cohen oppdaget synthesizere og politikk en gang på 80-tallet. Den smilende mannen på scenen tar av seg hatten etter hvert nummer og bukker mot sine tilhengere. Lyden er forbausende medgjørlig helt ned i svingen, og harmoniene fra The Webb Sisters er klistrende tette. 73-åringen sitter på kne og synger, som om han er ute for å fri.
«The Future» mangler karakter i kompet. Det låter anonymt, mykt og gyngende under Cohens kommentarer til historien. Han kommer seg fint gjennom «Aint No Cure for Love» og «Bird on a Wire», og det er såre enkelt å la seg sjarmere. Et par modne damer danser tilsynelatende lykkelige på den ene langsiden.
De seks musikerne kan nok stjele noe av intimiteten fra hovedpersonen, men de beste sangene hans lar seg ikke ryste av en unødvendig saksofonsolo! Aldrende Leonards baryton har modnet med årene, og han bærer stoffet sitt med levd livs kraft.
Ensidighet.
Folk reiser seg i begeistring før bandet fortsetter med «Everybody Knows» og «In My Secret Life». Også disse sangene er bygget opp rundt de kvinnelig koristene, over den samme lesten som så mange rockmusikere med røtter tilbake til 70-tallet lærte seg å bruke. Det besørger en viss ensidighet. Cohen balanserer melankolien med selvironiske kommentarer og spøkefulle utsagn.
Etter åtte låter blir det en kjølig pause, før han fortsetter med «Tower of Song» og bidrar med kveldens enkleste og mest muntre musikalske ytring på keyboards.
Selv om en av musikkens store personligheter har gitt oss sterke smakebiter fra et langt artistliv, så bærer det hele mer preg av å være en hyggelig forestilling en en stor konsert.
Aftenposten
- July 2, 2008 by Arild R. Andersen (Photo: Olav Olsen)
There is little that is reminiscent of laptime, a marathon or tight trikot as Leonard Cohen småløper onto the scene, iført career gevanter with mafiasnitt. This may be the living legend last major tour, and it will have julikvelden a free cut of the event.
Mannen that strictly speaking only need a kassegitar to dress up the poetic lyrics, their, is surrounded by a band of high professionalism and tend to smooth music. The idea starts with "Dance Me to The End of Love" and the audience is involved in every step taken in the scene.
Taking off his hat.
It is not just the signs pointing in the direction of 60-century slaraffenliv in Hydra to be adopted ikveld. Much of the material to be obtained from the post that Cohen discovered synthesizers and policies once in 80 century. The smiling man on the scene takes off his hat after every number and succumb to their fans. The sound is surprisingly manageable all the way down into the bend, and harmony from The Webb Sisters are klistrende lung. 73-year-old sitting on the knee and sings, as if he is out for free.
"The Future" missing character in the backing. The songs anonymously, soft and gyngende under Cohen comments to the story. He comes up fine through the "Aint No Cure for Love" and "Bird on a Wire" and it's hurt easy to be charm. A few mature girl dancing seemingly happy on the one long.
The six musicians might steal some of the intimacy from the main character, but the best songs his release can not shake of an unnecessary saksofonsolo! Aldrende Leonards baryton has matured over the years, and he carries the drug lived with his life force.
Simplex.
People stand in the enthusiasm before the band continues with "Everybody Knows" and "In My Secret Life." Once again, these songs are built up around the female koristene, over the same read as so many rockmusikeren with roots back to the 70's learned how to use. It provides a certain one-sided. Cohen balances melankoli with selvironiske comments and facetious statement.
After eight songs will be a cool break, before he continues with the "Tower of Song" and help with the evening simplest and most muntre musical expression on keyboards.
Even if one of the major music personalities have given us strong stories from a long artistliv, so it carries a total of more feel to be a pleasant one performance a major concert.
...Jeg har tråkket en del festivaler og konserter opp igjennom karrieren, med større og mindre utbytte, men tirsdagens messe med Leonard Cohen i Oslo matcher det aller beste. Selv der jeg ikke lenger trodde det vokste hår, reiste det seg når vaganten og vismannen på 73 gikk ned på Elvis-kne og danset hele veien fra «the End of Love» til «Closing Time» med en sensuelt forførende kjellerrøst som sjelden har vært bedre.
I tre stive timer holdt pensjonisten, poeten og profeten det gående på denne Canadas nasjonaldag. Dette var magisk formidlingskunst med glimt i øyet, ydmyk kjærlighet og sjenerøs tilstedeværelse som varmet og virket. Mye melankoli og kjærlighet, selvsagt, og enkelte apokalyptiske visjoner og brokker av ren desperasjon. Men også oppbyggelige bønner og hymner som gjør at noen av oss fremdeles evner å se stjernene her vi ligger i rennesteinen:
Ring the bells that still can ring./ Forget your perfect offering. /There is a crack in everything. /That's how the light gets in./
Jepp! Man kan få til et liv ut fra slike linjer. Dvs. om man evner å glemme jakten på det perfekte og skjerpe blikket om de sprekkene der lyset kommer inn.
Men også på en Cohen-opptur av de sjeldne må man på flere måter glemme den perfekte gaven («offering»). Personlig hadde jeg riktignok lite å utsette på arrangementet og avviklingen. I motsetning til hva tilfellet er på skrekkens arena, Valle Hovin, vartet som nevnt Bislett opp med både mat og malt, sete og storskjerm, samt en superb lyd som vinden ikke tok...
... I have trampled a number of festivals and concerts over the career, with both large and small yield, but on Tuesday booth with Leonard Cohen in Oslo match the very best. Even where I no longer believed it grew hair, traveled there himself when vaganten and sage on 73 went down on the Elvis-knee and danced all the way from "the End of Love" to "Closing Time" with sensuelt a seductive kjellerrøst rarely have been better.
In the three hard hours held senior citizens, the poet and prophet the running for this Canada Day. This was the magical formidlingskunst with the hint in the eye, humble love and generous presence that is heated and worked. Much melankoli and love, of course, and some apocalyptic visions and brokker of pure desperation. But also edifying prayers and hymns that allows some of us still capable to see the stars, here we are located in rennesteinen:
Ring the bells that still can ring. / Forget your perfect offering. / There is a crack in everything. / That's how the light gets in. /
That's right! It is possible to achieve a life out of such lines. Thats. if one capabilities to forget the hunt for the perfect, and sharpen the eyes of the crack where the light reaches us.
But also on a Cohen-up of the rare you have to forget in many ways the perfect gift ( "offering"). Personally, I was admittedly little to postpone the event and the winding-up. Contrary to what the case is on skrekkens arena, Valle Hovin, was mentioned Bislett up with both food and malt, seat and a big screen, along with a superb sound as the wind did not ...
Blog - The Troll Tidings - "A visit in the Tower of Song ...If I was worried that my dad was still weakened from his bypass operation some months ago, seeing him jump up and down like ... well, like a boy in a candy store, really, when the first notes of "First we take Manhatten" rang out, laid my fears dead as a drunk dodo. And he kept jumping all through the song, too...
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 (Dedicated to Göran Tunström)
First Encore
So Long, Marianne
First We Take Manhattan
Sisters of Mercy
Aftonbladet
- July 4, 2008 by Per Magnusson (Foto: Niklas Carlsson)
Leonard Cohen är en gentleman på scen
I dubbelknäppt kavaj och hatt joggar Leonard Cohen, 73, in på scenen. Och får fem minuters ovationer för sin smarta klädsel. Samt för att han är Leonard Cohen. Vilket är helt på sin plats, förstås.
Det är första gången på femton år som han är, för att citera honom själv, ”back on Boogie Street”.
Cigaretter och viagra
Charmoffensiven är total. Han lyfter på hatten, går ner på knä, tar små, men naggande croonercoola danssteg. Det låter som sjöng han genom en miljon Marlboro lights med filter av sammet.
”Ain’t no cure for love” är en viagra. ”Bird on a wire” ett tystande finger på tusentals läppar. ”Hallelujah” förutsägbart nog själva definitionen av ett ”Hallelujah”-moment.
Stolt leende
Att lyssna till Cohens tonsatta poesi är att lyssna till din berättarlystna favoritfarfar. Nu, efter år av zenbuddhistiska spabehandlingar kan han så till slut sjunga med ett stolt leende på läpparna.
Jag har ingen aning om vi får se denna gentleman igen. Men Gud vet att dessa sånger kommer att leva för alltid.
Aftonbladet
- July 4, 2008 by Per Magnusson (Photo: Niklas Carlsson)
Leonard Cohen is a gentleman on stage
In dubbelknäppt jacket and hat jogger Leonard Cohen, 73, into the scene. And if five-minute ovation for his smart dress. And because he is Leonard Cohen. Which is entirely appropriate, of course.
It is the first time in fifteen years that he is, to quote him, "back on Boogie Street."
Cigarettes and Viagra
Charmoffensiven is total. He puts on the hat, go down on their knees, taking small, but whittle away croonercoola danssteg. It sounds like he sang by one million Marlboro lights with filters of velvet.
"Is not no cure for love" is a Viagra. "Bird on a wire" a tacit finger on thousands of lips. "Hallelujah" predictable enough very definition of a "Hallelujah" moment.
Stolt smile
To listen to Cohen tonsatta poetry is to listen to your berättarlystna favoritfarfar. Now, after years of zenbuddhistiska spa treatments can he so in the end to sing with a proud smile.
I have no idea whether we will see this gentleman again. But God knows that these songs will live forever.
GP:s recensent såg Leonard Cohen leverera två och en halv timmes mys på Sofiero i Helsingborg.
Samtidigt som Göteborg laddar för Bossen så gör en av de andra Stora ett oerhört sällsynt nedslag på svensk mark. Och visst är det väldigt lätt att bli sådär förblindat starstruck när den våldsamt coole 73-åringen smyger in och bjuder på sina första djupa baryton-toner. Men om sanningen ska fram så är det två och en halv timmes mys snarare än storartad musikalisk underhållning han och bandet ger oss. Högst vördnadsfullt mys, ska tilläggas. Orkestern spelar stilfullt, mjukt och säkert och även om hela tillställningen osar väl mycket 1984 och dess ljud-, arrangemangs- och modemässiga ideal, så låter det i det stora hela bra. För att inte tala om rösten, denna avgrundsdjupa och mäktiga stämma som inte tagit nämnvärt mycket stryk med åren. Ta Hallelujah till exempel. En låt som blivit fullkomligt söndersjungen på idolauditions världen över. Här får vi originalet, så den ska låta och tillsammans med andra godbitar som Who by fire, en finstämd Suzanne och Take this waltz så ger Leonard Cohen oss alla lön för vår långa väntan.
GP's reviewer saw Leonard Cohen deliver two and a half hour's cozy on Sofiero in Helsingborg.
While Gothenburg loads of Boss so doing one of the other large one extremely rare characters on American soil. Of course, is very easy to be like that blinded starstruck when the violent coole 73-year old sneak in and bidding on their first deep baritone tones. But if the truth be presented, it is two and a half hour's cozy, rather than great musical entertainment he and the band gives us. Up to respectfully cozy, to be added. The orchestra plays stylish, soft and safe, and although the entire tillställningen osar very well in 1984 and its sound, arrangements and modemässiga ideal, so it sounds on the whole a good thing. To say nothing of speech, this avgrundsdjupa and powerful voice that has not taken a very significant strike over the years. Take Hallelujah, for example. A song that has become quite söndersjungen on idolauditions around the world. Here we get the original, so it should be and, together with other goodies as Who by fire, a subtle and Suzanne Take this waltz, it is giving Leonard Cohen all of us pay for our long wait.
SvD
- July 4, 2008 by Magnus Eriksson (Foto: Reuters)
Det är en både uppsluppen och ytterst ödmjuk Leonard Cohen som angör Sofieros slottsträdgård för den enda konserten i Sverige på hans första turné på femton år. Den här gången backas Cohen av ett sexmannaband och tre sångerskor: Sharon Robinson som länge arbetat med honom och systrarna Charley och Hattie Webb, presenterade som ”the sublime Webb Sisters”.
Leonard Cohen inleder med Dance me to the end of love och The future. Javier Mas hanterar sin tolvsträngade gitarr med glad virtuositet, Dino Soldo förstärker det uppsluppna anslaget med distinkta solon på flöjt och klarinett, medan gitarristen Bob Metzger plockar snärtiga entonssolon av klassiskt bluessnitt. Leonard Cohen själv pratsjunger med sin numera djupa baryton som gärna övergår i bas, energiskt pådriven av Robinson och systrarna Webb som förutom vackra harmonier också förstärker konsertens visuella kvaliteter med fräck och lätt ironisk koreografi.
Så skapas en musikalisk ram för Leonard Cohens sånger, en ram där jublande gospelharmonier förenas med romska tongångar och centraleuropeisk kabaretmusik, men också jazziga mellanspel i några senare sånger.
Glädjen och den musikaliska livsbejakelsen är av ett slag jag inte kunde drömma om när jag började lyssna på Cohen i början av 70-talet. Och ändå handlar det till en del om samma sånger. Metaforerna i Bird on a wire manar fram en förstelnad och dödsmärkt bild av kärleken, men sångersketrion lyfter den till hymniska höjder medan Leonard Cohen dramatiserar texten. Det ger en vacker spänning mellan lyrik och framförande som lägger textens gestaltade erfarenhet än naknare inför oss.
Leonard Cohen uppträder i närmare tre timmar; sju extranummer bildar nästan ett separat set. Han väljer ur hela sin katalog och tolkar sångerna på ett sätt som både framhäver deras lyriska egenart och ger konserten en känslomässig konstans. Sånger som Suzanne, Everybody knows, Hallelujah och Democracy har aldrig låtit så bra.
Det svänger sanslöst. Leonard Cohen själv är numera en utsökt sångare. Där han på sina tidiga skivor lät texten tala, dramatiserar han gärna lyriken, åskådliggör dess tolkningsmöjligheter med tonfall och gester. Det är lyrik av högsta karat, fantastisk musik och en underbar show.
SvD
- July 4, 2008 by Magnus Eriksson (Photo: Reuters)
It is a both high spirits and extremely humble Leonard Cohen as angör Sofiero slottsträdgård for the only concert in Sweden on his first tour in fifteen years. This time Cohen backed by a sexmannaband and three female singers: Sharon Robinson who long worked with him and the sisters Charley and Hattie Webb, presented as "the sublime Webb Sisters."
Leonard Cohen will start with Dance me to the end of love and the future. Javier Mas manage their tolvsträngade pleased with the guitar virtuosity, Dino Soldo reinforces uppsluppna envelope with distinct solos for flute and clarinet, while guitarist Bob Metzger picks catchy entonssolon of classic bluessnitt. Leonard Cohen himself pratsjunger with his deep baritone who now feel free to move in the base, energetically driven by Robinson and sisters Webb who, besides the beautiful harmonies also reinforces the concert visual qualities with impudent and slightly ironic choreography.
To create a musical framework for Leonard Cohen songs, a framework in which jubilant gospelharmonier reconciled with Roma noises and Central European kabaretmusik, but also jazzy interlude for a few songs later.
Joy and the musical life is of a kind I could not dream of when I started listening to Cohen in the early 70th century. And yet, it is a part of the same songs. Metaforerna in Bird on a wire calls up a förstelnad and dödsmärkt picture of love, but sångersketrion lifts it to hymniska heights while Leonard Cohen dramatizing the text. It gives a beautiful tension between poetry and performance that puts the text character's experience than naked before us.
Leonard Cohen appears in nearly three hours, seven encores form almost a separate set. He chooses from its catalog and interpret the songs in a way that highlights both their lyrical individuality and give the concert an emotional konstans. Songs Suzanne, Everybody knows, Hallelujah and Democracy has never been so good.
It turns unconscious. Leonard Cohen himself is now an excellent singer. There he was in his early discs let the text speak, he dramatizes happy lyriken, illustrate its interpretation by the tone and gestures. It is poetry of the highest carat, great music and a wonderful show.
Fulländat.
Inte ens det ordet beskriver den här nära-KÄRLEKEN-upplevelsen fullt ut.
Det blir liksom inte bättre.
Alla som var där vet.
Ingen av oss utvalda tvivlar. Gissa vad? Ni andra var på fel plats. Oavsett var ni än befann er.
Han är 74 och ser ut som en sådan där hattfarbror som bara hamnar i tidningen när han blivit rånad.
Men Leonard Cohen är värd löpsedlar av helt andra skäl. Han har aldrig varit bättre, aldrig mer kär och galen. Det är nästan så att man skickar en tacksamhetens tanke till den där managern som stack med pengarna. Annars hade inte Cohen gjort den här turnén. Men han behöver stålarna. Och vi behöver sannerligen honom. Han lär inte ha varit ute på någon större turné under de 15 senaste åren. Och det här är sista gången.
Det börjar direkt med magi extra allt.
"Dance me to the end of love" och en delvis omarbetad "Future".
Killeröppning. Cohen omger sig med glimrande musiker med den formidable gitarristen Javier Mas i spetsen. Allt serverat på perfekt volym. Och med kärlek och värme mellan varje sträng, i varje skiftning.
Cohen kryper ihop som ett litet barn, kommer oerhört nära och förför och frälser.
Och den numera rökfria rösten är klar och tydlig, men ändå så där djup, eftertänksam och uttrycksfull. Man hör varje kommatecken. Och rösten gifter sig så fint med den musikaliska partnern Sharon Robinsons souliga motstämma.
Och en låtlista att dö för:
"Everybody knows", "I'm your man", "Take this waltz" och "So long, Marianne" och framför allt "Tower of song".
Tre timmar höll gubben på! Tre timmar!
Vad var bättre? Van '73? Nej. Dylan '66. Kanske. Eller Elvis '55. Möjligen det.
Min mest givna femma någonsin under mina 20 år som recensent.
Fulländat.
Not even the word describes this close-LOVE-experience the full.
It will be like no better.
All who were there know.
None of us selected have no doubt. Guess what? You other was in the wrong location. No matter where you were than you.
He is 74 and looks like one of those people hattfarbror which only end up in the newspaper when he was robbed.
But Leonard Cohen is worthy of headlines quite different reasons. He has never been better, never more beloved and crazy. It is almost in order to send a tacksamhetens given to the manager where the stack of money. Otherwise, Cohen had not done this tour. But he needs steel. And we certainly need him. He teaches not have been out on a major tour in the last 15 years. And this is the last time.
It starts directly with magic, extra everything.
"Dance me to the end of love" and a partially recast "Future".
Killeröppning. Cohen surround themselves with glimrande musicians with the formidable guitarist Javier Mas at the forefront. All served on the perfect volume. And with love and warmth between each string, in any tinge.
Cohen creeps up as a small child, the extremely close and seduces and Saviour.
And the now non-smoking voice is clear and precise, but still there so deep, thoughtful and expressive. We hear every comma. And voice marries so nicely with the musical partner Sharon Robinsons soul motstämma.
And a song lists to die for:
"Everybody knows", "I'm your man", "Take this waltz" and "So long, Marianne" and, above all, "Tower of song."
Three hours were jack-in! Three hours,
What was better? Van'73? No. Dylan'66. Maybe. Or Elvis'55. Possibly it.
My most given five ever in my 20 years as a reviewer.
Helsingin Sanomat
- July 6, 2008 by Veli-Pekka Leppänen
Leonard Cohenin konsertti Helsingborgin Sofieron linnanpuistossa.
HELSINGBORG. Montrealin pieni suuri mies Leonard Cohen, 73, on kantanut vuosikaudet myös Laughing Lennyn pilkkanimeä. Pitkään depressiosta kärsineen taiteilijan mielialat helpottuivat ratkaisevasti jokin vuosi sitten, ja itse asiassa Laughing Lenny kuvaa nykyistä Cohenia varsin osuvasti.
Helsingborgin vehreässä Sofierossa Cohen suorastaan juoksi lavalla, tuttu charmööri liituraitaisessa mittapuvussaan ja hatussaan, heitti huulta ja vitsaili yleisön kanssa, oli täynnä säteilevää hyväntuulisuutta.
Bändi löi alkutahdit 70-luvun Dance me to the End of Love -hittiin, ja puiston 8000 kuulijaa oli oitis mukana. Cohenin ääni on alkujaankin ollut matala ja iän myötä baritoni on vain syventynyt, ja se pysyi kunnossa läpi pitkän illan.
Kolmituntinen esitys rakentui mietittyyn, edustavaan läpileikkaukseen miehen yli 40 vuoden laulajanurasta. Kaikkiaan 23 laulusta, yhdessä Cohenin pienten puheiden ja muisteluksien kanssa, ryydittyi mieleenpainuva yhdistelmä.
Tunnetuimmista kappaleista kajahtivat vakuuttavina esiin tyrmäyksenomainen Hallelujah, uhkaava svengibiisi First we take Manhattan ja yksinkertaisuudessaan pysäyttävät Tower of Song ja Everybody knows.
Hidastempoisina balladeina kuultiin muun muassa klassikkoja kuten Bird on a Wire, Suzanne ja So long, Marianne. I'm your Manin Cohen vetäisi elähtäneen yökerhodemonin varmoin elkein, joihin sotkettiin vähäeleistä itseironiaa ja kolmen laulajattaren please- kiljahduksia.
Peräti maailmanhistoriallisiin mittoihin Cohen ylsi Democracyssa, jonka kertosäkeen "Democracy is coming to the U.S.A." Cohen lauloi äärimmäisen painokkaasti. Profetiaa ja ironiaa, yhdestä tuutista. Ja seuraavassa hetkessä hän taas hätkäytti mitä henkilökohtaisimmin sävyin.
Cohenia säestää kiertueella kuusi multi-instrumentalistia , kuten jo kauan mukana seurannut kitaristi Bob Metzger sekä taustalaulajina Sharon Robinsonin ja Webbin siskosten trio. Robinsonhan on tehnyt Cohenin kanssa myös lauluja, kuten Everybody knows -klassikon.
Helppo uskoa, että Cohen harjoitteli muusikoiden kanssa kiertueen alla täysipainoisesti kolme kuukautta.
Yhtyeen loistotuokioksi nousi eritoten 70-luvun Who by Fire -laulun sovitus, jonka vaativimmatkin kohdat kontrabasisti selvitti suvereenisti. Yhtyeen hallitsemien soittimien luku meni kepeästi yli kahdenkymmenen.
Illan mieleenpainuvimmaksi hetkeksi tuli Cohenin muisto 60-luvun Kreikan Hydran saarelta, jolla hän ja ruotsalainen Göran Tunnström kirjoittivat kumpikin ensiromaaniaan saman pöydän ääressä. Tarinan jälkeen hän esitti Take this Waltz -laulun tuon hiljattain kuolleen ystävänsä muistolle.
Vasta kun Leonard Cohen aloitti viidennen encoren, laulun sanoin I tried to leave You, I don't deny, yleisö hyväksyi konsertin päättyvän.
Song is gone, Cohen is back.
Pitkältä tauolta tien päälle
Kiertueensa jälkeen 1993 Leonard Cohen oli läpikotaisin uupunut mies. Hän muutti Los Angelesin lähelle Mount Baldyn buddhalaisluostariin, jossa askeettinen elämänrytmi ja keskustelut munkkiystävä Kyozan Joshu Roshin kanssa palauttivat voimia ja antoivat uutta suuntaa.
Cohen asui luostarissa kuutisen vuotta, mietiskeli, kirjoitti ja sävelsi.
Mount Baldyn jätettyään hän on tehnyt levyjä harvakseltaan, lähtemättä kuitenkaan kiertueelle ennen tätä kevättä, ensimmäiselleen 15 vuoteen.
Kanadan ja USA:n jälkeen kiertue on risteillyt Eurooppaa, ja tahti pysyy tiukkana elokuun alkuun asti. Kesäkierros ei ulotu Suomeen, jossa Cohen esiintyi kolmesti: 1985, 1988 ja 1993, Helsingin Kulttuuritalossa ja Jäähallissa.
Tämän kesän suurmenestys on avannut mahdollisuuksia jatkaa kiertuetta syksyyn.
Cohenin tuntevan tahon mukaan on toiveita, jopa realistisia odotuksia, että maestro konsertoisi loppuvuodesta myös Suomessa.
Kiertue totta kai koettelee pian 74-vuotiaan laulajan fysiikkaa, mutta mikäli Helsingborgissa todettu taso yhtään pitää, suomalaisfanit voinevat merkitä allakkaansa Cohenin nimen joulukuun kohdalle.
The master hits again, with love and irony as his weapons
Helsingin Sanomat
- July 6, 2008 by Veli-Pekka Leppänen
Leonard Cohen in concert in the Sofiero Castle Park in Helsingborg, Sweden
HELSINGBORG. Montreal’s small big man, Leonard Cohen, 73, has for years borne also the nickname “Laughing Lenny”. The long-term depression he had suffered so long of stepped aside significantly some years ago, and, in fact, Laughing Lenny comes up to the current Cohen quite rightly.
In Helsingborg in the green Sofiero, Cohen actually ran on stage, the familiar charmer in his tailor-made pinstripe suit and hat, and cracked the lips with the public, full of radiant, good mood.
The band opened with Dance me to the End of Love from the 70’s, and the park's audience of 8000 was instantly sold. Cohen’s voice was low also in his early years, and with age his baritone has only deepened, and it remained in good form throughout the long evening.
The three-hour concert was built on well thought-out, representative cross-section of his career that extends to more than 40 years. A total of 23 songs, together with Cohen’s small speeches and memories, created a memorable combination.
The best-known songs rang out convincingly with the devastating Hallelujah, threatening First we take Manhattan; Tower of Song and Everybody knows were touching in their simplicity.
The audience also heard the slow-tempo classical ballads Bird on a Wire, Suzanne, and So long, Marianne. Cohen interpreted I'm your Man with the confident gestures of a night-club demon past his prime, mixing unassured self-irony and “Please” yelps of three female singers.
Cohen reached world-historical dimensions with Democracy, and he sang its refrain "Democracy is coming to the U.S." extremely strongly. Prophecy and irony, from one tube. And in the next instant, he again startled with the most personal tones.
Cohen is accompanied in this tour by six multi-instrumentalists, like the guitarist Bob Metzger who has followed Cohen for long time, as well as three back-ground singers Sharon Robinson and the Webb Sister. Robinson has also made classical songs with Cohen, such as Everybody knows.
It is easy to believe than Cohen had rehearsed with the musicians for three months, full-time, before the tour.
The band had shining moments especially with the arrangement of the song Who by Fire from the 70’s. The double bass player was sovereign also in its most demanding points. Number of instruments the band controlled easily exceeded twenty.
The evening’s most memorable moment was Cohen’s memory from the Greek island of Hydra in the 60’s, where Cohen and the Swede Göran Tunnström both wrote their first novels at the same table. After the story he dedicated the song Take this Waltz to his friend who recently passed away.
Only when the Leonard Cohen started the fifth encore with the lines of the song “I tried to leave You, I do not deny”, the audience accepted that the concert had come to its end. Song is gone, Cohen is back.
After a long pause on the road again
After the 1993 tour Leonard Cohen was a thoroughly tired man. He moved to the Zen monastery on Mt Baldy near Los Angeles, where the ascetic life and the discussions with his monk friend Kyozan Joshua Roshin brought back his energy and gave a new direction.
Cohen lived in the monastery for about six years, meditated, wrote and composed.
After leaving Mount Baldy he has released albums rarely, not going on tour before this spring, his first in 15 years.
After Canada the tour has cruised around Europe, and the pace will remain tight until the beginning of August. The summer tour does not extend to Finland, where Cohen has appeared three times: 1985, 1988 and 1993, in the Helsinki House of Cultures and the Ice Hall.
This summer's great success has opened up opportunities to continue the tour in the autumn.
According to a quarter who knows Cohen, there are hopes, even realistic expectations, that the maestro would give concert in Finland as well, later this year.
The tour of course of course is a strain on the physics of the soon 74-year-old singer, but if the quality experienced in Helsingborg is maintained, Finnish fans may mark Cohen’s name in their calendars.
A great selection of concert photos from Helsingborg.
Blog - "Celebrating the wonders of Leonard Cohen in Sweden!" ...It was especially good as dusk fell (after 10), he played a number of encores, and the crowd sometimes sang, danced, swayed and generally enjoyed the experience. One of my big highlights!
