Tour Reviews and Other Memories from
LEONARD COHEN WORLD TOUR Fall 2008
Stockholm, Sweden
Set List - October 15, 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
Heart With No Companion
Hey, That's No Way To Say Goodbye
Anthem
Second Set
Tower Of Song
Avalanche
Suzanne
Gypsy Wife
The Partisan
Boogie Street
Hallelujah
Democracy
I'm Your Man
Take This Waltz
Encore
So Long, Marianne
First We Take Manhattan
Famous Blue Raincoat
If It Be Your Will
Closing Time
I Tried to Leave You
Whither Thou Goest
Stockholm, Sweden
ENGLISH VERSION.
Välbehållen Leonard Cohen
Upsala Nya Tidning
- October 16, 2008 by Andreas Jakobsson (Foto: Scanpix/arkivbild)
Andreas Jakobsson slänger alla analysverktyg överbord och åker med på Leonard Cohens konsert i Stockholm.
RECENSION Publiken är avvaktande vördnadsfull, som om de inte riktigt kan tro på att den generösa hitkavalkaden som spelas upp för dem är på riktigt. Och det är en imponerande samling låtar. Dance me to the end of love, Ain't no cure, Bird on a wire, Everybody knows. Mer tyngd än de flesta artister har i hela sin katalog.
Huvudpersonen själv är oklanderligt klädd i svart kostym och hatt och sjunger med en röst som är uppseendeväckande välbehållen. Den låter lite som 90-talsinspelningarna, fast faktiskt mer nyanserad. Det får man vara tacksam för, liksom att han gav sig ut på vägarna igen efter 15 års frånvaro.
Att humorn är lika välbevarad som rösten visar han inte minst i mellansnacket om hur han har gått omkring i Stockholm och upptäckt att alla är längre och snyggare än han själv.
- Om det inte vore för era artister skulle jag tro att ert välordnade samhälle var helt perfekt, säger han också.
Men det är förstås en spricka i allt (där ljuset kommer in). Det är det även i artisten Leonard Cohen, som att rösten hackar till då och då och att vissa rörelser på scenen ser aningen stappliga ut. Bilden av honom, som ouppnåelig och en folkets man på samma gång, hålls dock intakt den här kvällen.
Låtlistan, som är ett enda långt pärlband av klassiker (lite som att höra en greatest hits-skiva live), ger en känsla av slutsummering.
Trots att Cohen flaggar för att det blir en nästa gång så har jag svårt att tro att det här inte är sista turnén. Det är lätt att misstänka att han låter bli att säga det, för att det inte ska bli för smetigt och nostalgiskt.
Tower of song, Suzanne, Hallelujah, Democracy. Långsamt bryts motståndet (74-åringen borde vara för gammal, för trött, för ovass) ner som Cohens snögubbe i regnet. Mot slutet finns det inget annat alternativ än att slänga alla analysverktyg överbord och bara åka med.
Translated by Google Translate
Safe Leonard Cohen
Upsala Nya Tidning
- October 16, 2008 by Andreas Jakobsson (Foto: Scanpix/arkivbild)
Andreas Jakobsson throw overboard all the analytical tools and go on with Leonard Cohens concert in Stockholm.
CRITIQUE The audience is hesitant reverential, as if they are not quite able to believe that the generous hitkavalkaden who played for them is real. And it is an impressive collection of songs. Dance me to the end of love, Ain't no cure, Bird on a wire, Everybody knows. More weight than most artists have in its catalog.
The main character himself is impeccably dressed in black suit and hat and sings with a voice that is strikingly safe. It sounds a bit like the 90-century recordings, but actually more nuanced. It must be grateful for, as he went out on the road again after 15 years of absence.
The humor is just as well as voice shows he is not at least in between talking about how he has gone around in Stockholm and discovered that all are longer and better than himself.
- If it were not for your artist, I believe that your orderly society was totally perfect, "he says, too.
But it is understood a crack in everything (where the light coming in). It is also the artist Leonard Cohen, who to vote for hacking occasionally, and some movements on the stage looking slightly out steppes. The image of him as unattainable and a people at the same time, however, kept intact this evening.
The song list, which is one long string of classics (a bit like to hear a greatest hits disc live), gives a sense of the final summations.
Although Cohen are encouraging that it will be a next time, I have a hard time believing that this is not the end of the tour. It is easy to suspect that he fails to say it, for it not to be too unctuous and nostalgically.
Tower of song, Suzanne, Hallelujah, Democracy. Slowly breaking the resistance (74-year-old should be too old, too tired, to blunt) down the Cohens snowman in the rain. Towards the end, there is no other option than to throw overboard all the analytical tools and just go with.
Stockholm, Sweden
ENGLISH VERSION.
Mjuka klanger med Cohen i Globen
Svenska Dagbladet
- October 16, 2008 by Dan Backman (Foto: Pär Hugo Kjellén/Rockfoto)
Sällan har försäljningen av öronproppar utanför Globen känts så överflödig. Leonard Cohen sjunger visserligen med en en ytterst sträv stämma, men varken han själv eller de ytterst belevade musiker och sångare som jobbar åt honom torde kunna tillfoga några som helst skador på publikens hörsel. Tvärtom, det är närmast chockerande att höra något klinga så mjukt inne i Globen; det normala är ju annars att ekande trummor studsar runt bland plaststolarna som klättrar uppför väggarna.
Men nu är det alltså den dystra romantikern Leonard Cohen som är här. Med vackra sånger om kärlekens möjlig- och omöjlighet, religionens outgrundlighet och, som han själv uttrycker det vid ett av de fåtal tillfällen som han direkt tilltalar publiken, ”sånger om förtvivlan och undergång”.
Han var i Sverige så sent som i somras, då han förtrollade både publik och kritiker. Nu är han här igen - antagligen uppmuntrad av det goda mottagandet på Sofiero, men också, som det sägs, för att han behöver stålar – med samma musiker, samma låtlista och samma långsamma, närmast ritualiserade framträdande.
Den 74-åriga kostymklädda kanadensaren är medveten om sin förmåga att trollbinda och spelar på det med små men effektiva åtbörder. Han knäböjer, sluter ögonen (det ser man på storbildsskärmarna) och tar ödmjukt av sig den lilla löjliga hatten efter varje sång. En annan återkommande egenhet är det ständiga erkännandet och namngivandet av sina musiker. ”Thank you Dino”, säger han varje gång som träblåsaren och munspelaren Dino Soldo gör ett kort solo. Efter ett tag blir det störande, särskilt som publiken känner sig manad att applådera de egentligen ointressanta inpass som de i och för sig mycket kompetenta musikerna gör. De är där för att understödja Cohens sånger, inte framhäva sig själva, så det vore bättre om fick de göra sitt jobb i lugn och ro.
Då är det likaledes tjatiga namngivandet av de tre vokalisterna mer befogat, de utgör nämligen ett betydande komplement till Cohens sandblästrade stämma. Särdeles betagande är systrarna Webb, Charley och Hattie, deras tolkning av If it be your will, som de gör själva tillsammans med klaviaturspelaren Neil Larsen, tillhör konsertens höjdpunkter. Även Sharon Robinson gör en fin insats när hon framför den mjukt soulfunkiga Boogie street, som hon skrivit tillsammans med Cohen.
Fast den mest förtätade stunden infaller märkligt nog när Cohen till Neil Larsens stråksynt deklamerar delar ur dikten For those who greeted me (med den återkommande mycket cohenska strofen, tillika låttiteln, ”a thousand kisses deep”). Något fint händer när den enahanda harmoniken släpps och orden får klinga fritt.
Problemet med Cohen, för det finns och har alltid funnits ett problem med denna ikon, är hans ovilja (eller oförmåga) att variera sitt musikaliska och textmässiga koncept. Det är förvisso en fin och värdig konsert, men det kan inte hjälpas att drygt tre timmar Leonard Cohen på raken, inkluderande en vilopaus, lyfter fram det jolmiga och melodramatiska draget i såväl musiken som lyriken. Aldrig blir det så tydligt som i den groteskt uttjatade Hallelujah. Den vill jag aldrig höra mer.
Translated by Google Translate
Soft sounds with Cohen in the Globe
Svenska Dagbladet
- October 16, 2008 by Dan Backman (Foto: Pär Hugo Kjellén/Rockfoto)
Seldom has sales of earplugs outside the Globe seemed so superfluous. Leonard Cohen sings albeit with a very gruff voice, but neither he nor the extremely well-bred musicians and singers who works for him should be able to inflict any harm on the public hearing. On the contrary, it is almost shocking to hear any sound so soft in the Globe, the rule is otherwise to ekande drums bounce around plastic chairs to climb the walls.
But now, it is the dreary romantic Leonard Cohen, who is here. With beautiful songs of love possible and impossible, religion INSCRUTABILITY and, as he himself puts it at one of the few occasions that he speaks directly to the audience, "songs of despair and destruction".
He was in Sweden as late as last summer, when he was enchanted both audiences and critics. Now he is here again - probably encouraged by the good reception on Sofiero, but also, as it says, because he needs the money - with the same musicians, same song list and the same slow, almost ritualiserade prominent.
The 74-year suit dressed Canadians are aware of their ability to troll tie and play on it with small but effective gestures. He kneels, close your eyes (this may be seen on the big screens) and humbly take off the little ridiculous hat after each song. Another recurring feature is the constant name recognition and proclamation of its musicians. "Thank you Dino," he says every time he woodwinds and harmonica Dino Soldo makes a brief solo. After a while it becomes annoying, especially as the audience is duty bound to applaud the fact uninteresting fitting that they in and of itself very competent musicians do. They are there to support the Cohens songs, not emphasize themselves, so it would be better if they were doing their job in peace and quiet.
Then it is equally repetitive name proclamation of the three VOCALIST are more justified, they constitute an important complement to the Cohens sand blasted match. CHARMING is particularly sisters Webb, Charley and Hattie, their interpretation of If it be your will, as they do themselves, together with keyboard player Neil Larsen, to konsertens highlights. While Sharon Robinson makes a fine effort when she was in front of the soft soul funky Boogie street, which she wrote with Cohen.
Fixed the most condensed Time falls curiously, when Cohen to Neil Larsen's string synthesizer deklamerar parts from the poem For those who greeted me (with the recurring very cohenska strofen, who låttiteln, "a thousand Kisses Deep"). Something wonderful happens when the grind harmonica released and the words may sound freely.
The problem with Cohen, for there is and has always been a problem with this icon, is his unwillingness (or inability) to vary his musical and textual concepts. It is certainly a fine and worthy concert, but it can not be helped to just over three hours Leonard Cohen in a row, including a rest period, highlighting the MAWKISH and melodramatic feature in the music as well as lyricism. Will never be as clear as in the grotesque uttjatade Hallelujah. The I never want to hear more.
Stockholm, Sweden
Blogs and Other Fan Reports
Blog - Livre d'Or - "Music: Leonard Cohen live (Stockholm 2008) "
Wednesday night I went to the most amazing concert ever ever ever!... I can't really describe how wonderful it was to hear Cohen live. I mean, I know that he has very poetic lyrics and a unique voice (some people hate it, but if you love it it's like nothing else), but it turns out he's also a consummate performer. He carried the audience like noo-ne I've ever seen, and every gesture was perfect (they had video screens showing his face and hands close up, and he does the most amazingly expressive things with his left hand), and it was impossible not to believe that he was actually expressing passion about politics, or regret over lost loves, or just general happy sexiness in a couple of the rare upbeat songs, rather than singing songs he must have performed thousands of times in the past several decades...
Discuss the tour and read fan reviews on The Leonard Cohen Forum and in French on the Leonard Cohen Forum (French site).
Copenhagen, Denmark
Set List - October 17, 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
Heart With No Companion
Anthem
Second Set
Tower Of Song
Suzanne
Gypsy Wife
The Partisan
Boogie Street
Hallelujah
Democracy
I'm Your Man
Take This Waltz
Encore
So Long, Marianne
First We Take Manhattan
Famous Blue Raincoat
If It Be Your Will
Closing Time
I Tried to Leave You
Whither Thou Goest
Copenhagen, Denmark
ENGLISH VERSION.
Leonard Cohen fortryllede Forum
TV2.dk
- October 18, 2008 by Carsten Folke Møller (Foto: Scanpix)
"Here's a man still working for your smile."Ordene var Leonard Cohens i den sidste sang ved fredagens koncert i Forum i København. Og de smil, han arbejdede for i over tre timer, tilhørte et entusiastisk publikum, der overgav sig helt til den 74-årige rockpoet fra Canada, som gæstede Danmark for anden gang i år.
Leonard Cohen er bredt anerkendt som en af historiens absolut største sangskrivere, hans sange er indspillet over 1000 gange af andre kunstnere, og hans katalog af sange rummer et utal af mesterværker. Alligevel har han bevaret ydmygheden over for sit publikum, og fredag tog han gang på gang den bløde hat af og takkede med et buk, når bifaldet igen skyllede ind over ham og hans orkester.
Desværre for koncerten havde Forum igen fundet stolene frem til det overvejende voksne publikum, der ellers klarede at stå op i Århus og København i sommer. Det var en skam, for tilstedeværelsen af stole til en dansk koncert betyder tilsyneladende, at hovedparten af publikum føler sig forpligtet til også at sidde på dem. Selv efter runder af stående ovationer, røg bagenden hastigt i sædet, og det tog lige toppen af stemningen under numrene.
Men heldigvis var der masser af stemning at tage af - og Cohens karakteristiske, evigt stærke bas lød fortrinligt i Forum. Den stemme, som bliver trodsigt stående, når bjergene smuldrer, og havene tørrer ud, og det store dyr i åbenbaringen kryber frem mod Cohens Babylon. "You'll be hearing from me baby, long after I'm gone.I'll be speaking to you sweetly from a window in the tower of song."
Som sidste gang var Cohen iført et nydeligt jakkesæt og blød hat, denne gang suppleret med trendy skægstubbe og en fokuseret og intens optræden, der tydeligt viste, at turnéen er kommet længere rundt og dermed har strammet endnu mere op på samspillet og rutinen.
"Thank you for your warm welcome. It's a great honor to play for you," sagde Leonard Cohen undervejs, efter at den 74-årige legende igen havde brilleret ved at løbe ind på scenen. "And thank you for keeping my songs alive all these years."
Og nåh ja, sangene: Cohen havde igen taget sine største hits med til Danmark og spillede blandt andet klassiske mesterværker som Suzanne, So Long Marianne, Everybody Knows, Democracy, Bird on the Wire, I'm Your Man, Tower of Song, en ufatteligt stærk Hallelujah og selvfølgelig First We Take Manhattan. Alle fremført af en Leonard Cohen i højt humør og et orkester fyldt med dygtige musikere, der gjorde Cohens tidløse sange ære og skabte en smuk og unik aften for det danske publikum.
Leonard Cohen fyldte 74 i september, men han beviste fredag aften, at magien og stemmen er intakt. Og i modsætning til afskeden ved sommerens koncerter gav han denne gang endda forhåbninger om flere stævnemøder i fremtiden med sin afskedsreplik efter imponerende tre timer og ti minutters koncert kun afbrudt af en halv times pause.
"I hope we meet again, friends. Until then, the best of luck."
Tak i lige måde, det er vi mange, der håber. Og du skal være så inderligt velkommen tilbage, Leonard Cohen.
Translated by Google Translate
Leonard Cohen fortryllede Forum
TV2.dk
- October 18, 2008 by Carsten Folke Møller (Foto: Scanpix)
"Here's a man still working for your smile." The words were Leonard Cohen in the last song at Friday's concert at Forum in Copenhagen. And the smile, he worked for more than three hours, belonged to an enthusiastic audience who surrendered themselves completely to the 74-year-old rock poet from Canada, who visited Denmark for the second time this year.
Leonard Cohen is widely recognized as one of history's greatest songwriters absolute, his songs recorded more than 1,000 times by other artists, and his catalog of songs includes a myriad of masterpieces. Yet he kept humble towards his audience, and Friday he took time and again the soft hat and thanked with a bow when applause washed again against him and his orchestra.
Unfortunately for the concert Forum had again found the seats to the predominantly adult audience, who managed to get up in Aarhus and Copenhagen in the summer. It was a shame, because the presence of chairs for a Danish concert does seem that the majority of the audience feels obliged to sit on them. Even after rounds of standing ovation, smoke rapidly in the rear seat, and it took just the top of the atmosphere under the tracks.
But fortunately, there were plenty of mood to go - and Cohen characteristic, forever strong bass sounded superb in the Forum. The vote, which will be uncompromising standing when the mountains crumbling, and the ocean dries out, and the large animals in the revelation shrinking toward Cohen Babylon. "You'll be hearing from me baby, long after I'm gone.I 'll be speaking to you sweetly from a window in the tower of song."
As last time, Cohen was wearing a nice suit and soft hat, this time supplemented with trendy stubble and a focused and intense action, which clearly showed that the tour has been around longer and thus have tightened up even more on interaction and drill.
"Thank you for your warm welcome. It's a great honor to play for you," said Leonard Cohen underway after the 74-year-old legend again was brilliant at running into the scene. "And thank you for keeping my songs alive all these years."
And oh yes, the songs: Cohen had again taken its biggest hits to Denmark and played among other classic masterpieces as Suzanne, So Long Marianne, Everybody Knows, Democracy, Bird on the Wire, I'm Your Man, Tower of Song, a Hallelujah incredibly strong and of course First We Take Manhattan. All forward by a Leonard Cohen in high mood and an orchestra full of talented musicians who did Cohen timeless songs honor and created a beautiful and unique evening for the Danish audience.
Leonard Cohen age of 74 in September, but he proved Friday night that the magic and his voice is intact. And in contrast to leaving at summer concerts gave him this time even hopes of several series of meetings in the future with his parting reply after impressive three hours and ten minutes of the concert only by a half-hour break.
"I hope we meet again, friends. Until then, the best of luck."
Thank you too, we are many who hope. And you must be so heartily welcome back, Leonard Cohen.
Copenhagen, Denmark
ENGLISH VERSION.
Cohen Classic
Ekstra Bladet
- October 18, 2008 by Henrik Queitsch (Foto: AP)
Mesteren viste endnu engang veloplagt og elegant rundt i sin imponerende sangskat
Leonard Cohen, Forum, København, fredag den 17. oktober.
Da den 73-årige Leonard Cohen et par sommeraftener i juli kom forbi København og Århus på den turne han nærmest var blevet tvunget ud i (uden at man dog kunne mærke dét), da hans eks-manager var rendt med hele pensionsopsparingen, var de fleste nok overbeviste om, at de var vidne til mesterens sidste koncerter på dansk grund.
Men Cohen – der i mellemtiden er fyldt 74 – har forlænget turneen helt frem til slutningen af november, så 7.400 københavnere fik endnu engang fornøjelsen fredag aften i et tætpakket Forum. Og der var i den grad kamp om sortbørsbilletterne foran indgangen helt op til showtime. For nu må det da være sidste gang, man får chancen. Men hvem ved?
Forbløffende intakt
For selv om Cohen godt nok er blevet en gammel mand at se på, så var musikkens kraft uskadt. Og den dybe baryton faktisk forbløffende intakt, på trods af at han, bortset fra en sommerferie, har været på landevejene siden begyndelsen af maj. Noget, der eller nok kunne have tæret på både stemmebånd og sindstilstand hos langt yngre sjæle.
Ja, den omfangsrige sætliste var tilmed blevet tilføjet yderligere to numre i forhold til tidligere. ’Sisters of Mercy’ var (desværre) røget ud, men i stedet fik vi ’Famous Blue Raincoat’ samt to lidt skæve – og ikke helt indlysende – valg fra det store bagkatalog; en lidt fjollet countryversion (med indlagt squaredance) af ’Heart with No Companion’ samt den delvist fransksprogede ’The Partisan’.
Men eller forløb koncerten stort set som en tro kopi af de forrige. Det vil sige en veloplagt, charmerende og tydeligt taknemmelig Cohen, der elegant viste rundt i sin store sangskat – som immervæk hører til blandt de ypperligste i det 20. århundrede – på smagfuld musikalsk baggrund med de tre korsangerinder som klædelig kontrast til den malmfulde røst.
Gyldne strofer
Og så de talløse gyldne strofer, der bliver ved med at ramme én lige i hjertekulen, uanset hvor mange gange man har hørt dem før. Cohen skriver som bekendt ikke blot sangtekster. Det er ren poesi, mine damer og herrer. Og får derfor stedse nye indfaldsvinkler, afhængig af hvor lytteren nu befinder sig henne i livet. Og det er jo aldrig helt samme sted som sidst.
Det er professionelt og nøje indstuderet (selv musikerne blev igen introduceret hele tre gange), men samtidig leveret med så megen patos og varme, at det aldrig føltes hult eller rutinepræget.
Vi bukker dybt og takker endnu en gang. Og lader gerne døren stå på klem til endnu et gensyn- og hør.
Translated by Google Translate
Cohen Classic
Ekstra Bladet
- October 18, 2008 by Henrik Queitsch (Foto: AP)
The master showed once again enthusiastic and elegant around in his impressive song tax
Leonard Cohen, Forum, Copenhagen, Friday the 17th October.
Since the 73-year-old Leonard Cohen a few summer evenings in July visited Copenhagen and Aarhus on the tour, he almost had been forced into (without, however, could mark something) as his ex-manager was run with the entire pension savings, was the Most probably convinced that they were witnessing the most vulnerable to last concerts on Danish soil.
But Cohen - who in the meantime is filled 74 - has extended tour right up until the end of November, 7400 as Copenhageners were once again the pleasure Friday night in a Densely-packed Forum. And there was so much struggle for black market tickets in front of the entrance up to Showtime. For now must surely be the last time, you get the chance. But who knows?
Amazingly intact
For although Cohen good enough has been an old man looking at, so was the music force intact. And the deep baritone really amazing intact, despite the fact that he, apart from a summer holiday, has been on the roads since the beginning of May. Something that has or could probably have balances on both stemmebånd and mood of much younger souls.
Yes, the bulky sætliste had even been added two more numbers in the past. 'Sisters of Mercy' was (unfortunately) smoked out, but instead we got 'Famous Blue Raincoat' and two slightly crooked - and not entirely obvious - choice from the large backlist; a little silly country version (with inlaid square dance) of the 'Heart with No Companion 'and the partially French-language' The Partisan '.
But the concert or went largely as a faithful copy of the previous. That is to say an enthusiastic, charming and clearly grateful Cohen, who elegantly showed around in his big song tax - which after all are among the excellence of the 20th century - in tasteful musical backgrounds of the three choral Rinder as clothes contrast to the ore full voice.
Golden disasters
And then the countless golden disasters, which will continue to hit just one of hjertekulen, no matter how many times you have heard them before. Cohen writes, as you know not only the lyrics. It is pure poetry, ladies and gentlemen. And will therefore always new approaches, depending on where the listener is now located along in life. And it is never quite the same place as last time.
It is professionally and carefully rehearse (although the musicians were again introduced no fewer than three times), but delivered with so much pathos and warmth, it never felt hollow or routine.
We deep folds and again thank. And like leaving the door ajar for yet another goodbye and flax.
Copenhagen, Denmark
ENGLISH VERSION.
Leonard Cohen: SKØNHED
B.T.
- October 18, 2008 by Steffen Jungersen (Foto: SCANPIX)
Den 74-årige musikalske mester krøb så meget under huden på B.T.s anmelder, at han var på nippet til at råbe 'dumme svin' efter Leonard Cohen.
18. oktober 2008, 11:48 Af Steffen Jungersen
Se, det har jeg alligevel aldrig før prøvet i min godt tyve år lange anmelderkarriere.
'Hvilket?' spørger De så.
Jo, ser De; jeg har aldrig tidligere prøvet at være til en koncert, hvor selve SKØNHEDEN – skønheden i musikken, ordene og stemmen – næsten ikke var til at bære i et omfang, så jeg i 74-årige Leonard Cohens første sæt i Forum fredag aften var ved at udvandre!
Naturligvis ikke i protest. Men simpelthen fordi jeg næsten ikke KUNNE klare det følelsesmæssigt.
Sig mig; hvor smukt er det egentlig tilladt at starte en koncert. Der burde i hvert fald næsten være en lov imod at starte med den guddommelige 'Dance Me To The End Of Love' og følge op én af de bedste desillusions-dramasange nogensinde, 'The Future', og give selv en forhærdet og -benet rock’n’roller som jeg tårer i øjenkrogene allerede i andet nummer.
Og dét i en sang hvor refrænet lyder 'I’ve seen the future/ and it’s murder!'
Og SÅ kom tredje sang. Intet mindre end giganternes gigant blandt alle sange om ulykkelig kærlighed ’Ain’t No Cure For Love’ med disse guddommelige linjer:
’I loved you for a long, long time/ I know this love is real/ It don’t matter how it all went wrong/ that don’t change the way I feel/ And I can’t believe the times/ gonna heal this wound I’m speaking of/ There ain’t no cure/ there ain’t no cure/ there ain’t no cure for love. . .’
Lige dén sang ramte mig så hårdt, og den er så hjertevridende, sønderknusende smuk, og den er faneme næsten ikke til at bære. Så jeg var lige ved at rejse mig op og råbe ’dumme svin!’ efter sangens nydelige, ældre bagmand på scenen.
Nu er der bare lige det ved det, at Leonard Cohen tydeligvis er alt andet end et dumt svin. Faktisk har jeg sjældent – om nogensinde – oplevet en sådan oprigtighed og taknemmelig ydmyghed hos nogen musiker på nogen scene, som jeg oplevede det med Cohen.
For slet ikke at tale om hvor veloplagt den gamle herre var.
’Tusind tak fordi I holder mine sange i live,’ som manden selv såre sympatisk sagde én af de få gange, han henvendte sig direkte til publikum uden for sangene.
Hans klædeligt loyale band spillede numrene, som hovedmanden er. Sympatisk, ydmygt og respektfuldt. Det var i hele første sæt en fryd og en hudløs udlevering af sjæl og sympati, så jeg langt om længe efter alle disse år fik at føle, at klichéen om gåsehud over hele kroppen, faktisk godt kan være hjertevridende præcis.
Uheldigvis for nogle – eller muligvis heldigvis for mit hjerte – blev bandet og Cohen i andet sæt – lige lovlig løsslupne i en koncert, som ellers mest af alt indtil da havde mindet om en regulær højtidelighed.
Da de startede andet sæt med den ualmindeligt præcist betitlede ’Tower Of Song’ (’I said to Hank Williams, how lonely does it get/ Hank Williams hasn’t answered yet’ – for fanden da, det KAN ikke gøres smukkere!) stod de tårer, jeg lige havde fået tørret væk i pausen igen op i øjnene på mig.
At det så alligevel ikke blev nødvendigt at udvandre af helbredsmæssige årsager skyldes, at koncerten derfra faldt i kadence. Ikke musikalsk men emotionelt. Og det var måske godt det samme. Ikke at eksempelvis ’I’m Your Man’, ’Boogie Street’, ’Take This Waltz’ og den mesterlige ’First We Take Manhattan’ (’Remember me, I used to live for music’ – jo tak, Leonard!) ikke fremdeles er uovertrufne sange, men de var måske nok lige lovlig løse i koderne set i forhold til intensiteten i første sæt.
På den anden side; det kan være, det var med vilje, så vi kunne overleve denne magiske magtmanifestation af en koncert.
De små 8.000 i salen teede sig til tider med en andægtighed, som var det selve Vorherre, som stod på scenen. Og uden disrespekt for hverken Dem eller Ham ovenpå, kunne man – koncertens skønhed in mente – i hvert fald med god grund tage udtrykket ’gudbenådet’ i anvendelse.
Således er det i dén grad på sin plads som afslutning på denne anmeldelse at bruge titlen på ét af Leonard Cohens fineste numre:
’HALLELUJAH!’
Translated by Google Translate
Leonard Cohen: Estimates
B.T.
- October 18, 2008 by Steffen Jungersen (Foto: SCANPIX)
The 74-year-old musical master crept so much under the skin of BTS declare that he was about to shout 'stupid pigs' after Leonard Cohen.
18th October 2008 11:48 For Steffen Jungersen
See, I have never tried before in my good twenty years long career reviews.
'What? " The author then.
Well, do you, I have never tried to be a concert, which itself ESTIMATED - the beauty of music, words and voice - almost was not to wear the extent that I in the 74-year-old Leonard Cohen first set in Forum Friday night was about to emigrate!
Of course, not in protest. But simply because I hardly COULD handle it emotionally.
Tell me, how beautiful it is actually allowed to start a concert. There should at least be almost a law against starting with the divine 'Dance Me To The End Of Love' and follow up one of the best-drama disillusioned songs ever, 'The Future,' and give themselves a forhærdet and leg-rock 'N'roller as tears in my eye hooks in the second number.
And that in a song where refrænet says' I've seen the future / and it's murder! "
And SO came third song. Nothing less than the giant among giants all songs about unhappy love 'Ain't No Cure For Love' with those divine lines:
'I loved you for a long, long time / I know this promise is real / It do not matter how it all went wrong / that do not change the way I feel / And I can not believe the times / gonna heal this wound I'm speaking of / There ain't no cure / there ain't no cure / there ain't no cure for laws. . '.
Ever the song hit me so hard, and it is so heart-wringing, chopped fine crushing and faneme is almost not to wear. So I was just about to trip me up and shout 'stupid pig! "After the song pretty, older man behind the scenes.
Now there are just so by the fact that Leonard Cohen has clearly been anything but a stupid pig. In fact, I rarely - if ever - seen such sincerity and grateful humility in any musician at any stage, as I saw it with Cohen.
Not to mention on how enthusiastic the old gentleman was.
'Thank you very much because I keep my songs alive,' as the man himself very sympathetic said one of the few times he turned directly to audiences outside of the songs.
His dress is loyal band played the numbers, which is the principal. Nice, humble and respectful. It was throughout the first set of a joy and an hudløs extradition of soul and sympathy, so I at long last, after all these years got to feel that cliché goosebumps all over the body, indeed can be heart-wringing accurate.
Unfortunately for some - or perhaps fortunately for my heart - was the band and Cohen in the second set - wee unbridled in a concert, which most of everything until then had been reminded of a regular ceremony.
When they started the second set with the exceptionally accurate betitlede 'Tower Of Song' ( 'I said to Hank Williams, how lonely does it get / Hank Williams has not answered yet' - to hell because it COULD not be more beautiful!) Was the tears, I just had dried out during the break up again in his eyes at me.
The fact that it still was not necessary to emigrate for health reasons because the concert then fell in cadence. Not musically but emotionally. And it was perhaps good right away. Not that example, 'I'm Your Man,' 'Boogie Street', 'Take This Waltz' and the masterful 'First We Take Manhattan' ( 'Remember me, I used to live for music' - of course, thanks Leonard!) Does not still is unbeatable songs, but they were perhaps wee solve the codes in terms of intensity in the first set.
On the other hand, it may be, it was on purpose so we could survive this magical power manifestation of a concert.
The small room in 8000 teede themselves at times with a andægtighed, which was the very God who stood on the stage. And without disrespekt for either you or him upstairs, we could - the concert beauty in mind - at least for a good reason to take the word 'gudbenådet' in use.
Thus, it is in so much of its space at the conclusion of this review using the title of one of Leonard Cohen's finest numbers:
"Hallelujah!"
Copenhagen, Denmark
ENGLISH VERSION.
Leonard Cohen - Forum, København
GAFFA
- October 17, 2008 by Torben Holleufer (Foto: Morten Rygaard)
I sommer var der tårer. Her godt 100 dage senere var Leonard Cohen i fin form, og udelukkede ikke et gensyn. Man må håbe, at det bliver med canadieren, som det var med Ol’ Blue Eyes Sinatra. Nemlig at afskedskoncerter nærmere er en begyndelse frem for et farvel.
På denne aften var Forum fyldt til randen med siddende gæster. Det udelukkede, at arenaen viste sig fra sin værste side, som da Bob Dylan var her, og man stod i klynger og løb frem og tilbage til fadølsbaren, mens hver gruppe havde adskillige af de højtrøstede til at spolere oplevelsen for de nærmeste. Til Leonard Cohen var publikum begejstrede, men kunne også være musestille, og resultatet var en overdådig koncert, hvor hjerteligheden mellem kunstner og publikum ikke var til at tage fejl af. Cohen har et sjældent velsmurt orkester, som har rigtigt mange nuancer at spille på, og vi fik set det meste på denne aften, som bød på to lange sæt og to hold ekstranumre.
Leonard Cohen har blandt sine musikere adskillige virtuoser, eksempelvis spanske Javier Mas, som tidligt i koncerten markerede sig på den cubanske lut – kaldet laud – som blev spillet med distinkt arabisk feel som indgang til "Who By Fire". Det var her allerede klart, at Leonard Cohen her havde en mand, som kunne illudere mellemøstlige og græske stemninger, hvis der var brug for det. Koncerten var startet stærkt med "Dance Me To The End Of Love" og "The Future", og da vi fik første store hymne med rødder i de gyldne år med norske Marianne på Hydra i Det græske øhav, "Bird On A Wire", spillet som en herlig blues, var vi ved at være helt oppe på det forventede niveau i selskab med en af de største sangskrivere.
Det fossede ømt fra Cohens og bandets hjerte, og de tre uhyggeligt kompetente korsangerinder lagde hele tiden bunden, over hvilken Leonard Cohens raspende vokal messede sangene af sted. Ti numre henne blev vi præsenteret for bandet, hvorefter Cohen sendte os ud til pausen. Der skulle komme meget mere. "Tower Of Song" er et brag af en sang at lægge ud med, og humoren var udtalt, da zenmunk Cohen lod sangerinderne synge deres da-doo-dam-dam, mens han forberedte os på livets mening, som han var kommet frem til gennem et langt liv. Det var selvfølgelig: Da-doo-dam-dam. Ud af Sharon Robinsons og Webb-søstrenes munde var denne zenmystik til at forstå.
Hvorefter vi fik historien om Suzanne nede ved floden i Montreal, sangen der startede det hele i 1967 og som Cohen stadig synger ømt, så det forslår. Det samme gjaldt hymnen "Halleluja", som jo er cohen’sk, men hvor man selvfølgelig forholder sig til Jeff Buckleys version og oplever, at mesterens egen modne bøn holdt hele vejen, ligesom han ikke kunne lade være med at kalde på latteren med sætningen ”..I didn’t come here to Copenhagen to fool ya!”.
Endnu et par numre, hvor specielt "I’m Your Man" var klar kommunikation med publikum, og man anede, at for erotikeren Cohen er der bestemt liv efter de 70, hvis han bliver i København. Specielt når man kan vende tilbage med ekstranumre som "So Long, Marianne" og "First We Take Manhattan", samt en helt uimodståelig "Famous Blue Raincoat", hvorefter vi oven i købet fik en smagsprøve på de engelske Webb-søstre, der opførte "If It’d Be Your Will" med nestor selv som stolt lytter på scenen. De to piger har det hele, som deres smukt nuancerede vokaler vinkede til keltiske aner og de spillede på guitar og harpe. Hvorefter bandet endnu engang vendte tilbage og lukkede butikken for denne gang. Leonard Cohen udelukker altså ikke et gensyn. Og som han dansede ud af scenen, var det også tydeligt, at energien til at møde publikum er usvækket. Pragtfuld aften i Forum.
Translated by Google Translate
Leonard Cohen - Forum, Copenhagen
GAFFA
- October 17, 2008 by Torben Holleufer (Foto: Morten Rygaard)
In summer, there were tears. Here some 100 days later, Leonard Cohen was in fine form, not excluding a return. One can only hope that it will be with Canadians, as it was with Ol 'Blue Eyes Sinatra. Namely, that farewell concerts closer is a beginning rather than a goodbye.
On this evening Forum was filled to the brim with seated guests. It excluded that the arena showed its worst side, as when Bob Dylan was here, and we stood in clusters and ran back and forth to draft the bar, while each group had several of the højtrøstede to pamper experience for the next. For Leonard Cohen was enthusiastic audience, but could also be whisper-quiet, and the result was a overdådig concert where the heart similarity between artist and audience was not to be mistaken. Cohen has a rare well-oiled orchestra, which has many shades to play on, and we had seen most of the evening, which offered two long sets and two encores hold.
Leonard Cohen has among its several virtuoso musicians, such as Spanish Javier Mas, who early in the concert marked on the Cuban lute - called laude - which was played with the distinct Arabic feel as input to the "Who By Fire". It was here already clear that Leonard Cohen here was a man who could illudere Middle Eastern and Greek moods, if there was a need for it. The concert was started strong with "Dance Me To The End Of Love" and "The Future", and when we got the first great hymn with roots in the golden years with Norwegian Marianne on Hydra in the Greek archipelago, "Bird On A Wire" played by a lovely blues, we were to be as high as the expected level in the company of one of the greatest songwriters.
It fossede sore from Cohen and the band's heart, and the three grim competent choral Rinder was always bottom of the Leonard Cohen rasping vocals chanted songs of place. Ten numbers down, we were presented with the band, after which Cohen sent us out to recess. There would come a lot more. "Tower Of Song" is a bump of a song to start with, and humor was pronounced, as zenmunk Cohen let singers sing their da-doo-pond-pond, while he was preparing ourselves for life's meaning, as he had arrived at through a long life. It was, of course: Da-doo-pond-pond. Out of Sharon Robinson and Webb Sisters result was this zenmystik to understand.
After which we got the story of Suzanne down by the river in Montreal, the song that started it all in 1967 and Cohen still singing sore, so it suggests. The same applied anthem "Halleluja", which is cohen'sk, but which obviously is related to Jeff Buckley version and find that mesterens own mature prayer held all the way, like he could not help but recall the laughter with the phrase ".. I did not come here to Copenhagen to fool ya!".
Even a few numbers, especially when "I'm Your Man" was a clear communication with the audience, and it anede that the eroticism offender Cohen is certainly life after the 70, where he will be in Copenhagen. Especially when you can come back with extra tracks as "So Long, Marianne" and "First We Take Manhattan" and a totally irresistible "Famous Blue Raincoat 'and we even got a taste of the English Webb sisters, who behaved "If It'd Be Your Will" with Nestor himself as a proud listening on the stage. The two girls have it all, as their beautifully nuanced vocals beckoned to Celtic recognized and they played on guitar and harp. After which the band once again returned and closed the shop for this time. Leonard Cohen does not rule out a return. And as he danced out of the scene, it was also clear that energy to meet the audience is unabated. Splendid night in the Forum.
Copenhagen, Denmark
ENGLISH VERSION.
Leonard Cohen (Forum)
Jyllands-Posten
- October 18, 2008 by Peter Schollert (Arkivfoto: Laurent Gillieron, AP)
Leonard Cohen gav fredag aften sin tredje koncert i år i Danmark. For første gang optrådte han indendørs - og oplevelsen var forrygende.
Da Leonard Cohen tidligere i år tog af sted på en stor turné, forlød det, at han oprindeligt havde sat koncertrækken i værk af nød.
En nærtstående rådgiver havde efter sigende snydt ham for flere millioner dollars, og Cohen havde set det som eneste udvej til at rejse ny kapital at tage af sted med sin lange række af sange fra en karriere, der havde været mere eller mindre i gang siden sidste tredjedel af 1960’erne.
Heldigvis endte den berømte canadiske sanger, sangskriver og forfatter aldrig som en stakkels nødlidende livekunstner.
Tværtimod.
Fem og seks stjerner
Uanset hvor i verden Leonard Cohen har optrådt, er hans koncerter som regel blevet hyldet med fem eller seks stjerner, og hovedpersonen er blevet beskrevet som både høflig, charmerende, veloplagt og ikke mindst forrygende velsyngende.
Lad mig lige minde om, at Cohen var 73 år, da han indledte sin turné i foråret. Ydermere havde han levet en meget tilbagetrukket tilværelse i en årrække – med fokus på andre ting end musik.
Med andre ord kunne ingen vide, om han stadig havde noget magisk eller meningsfyldt over sig. Faktisk havde han alderen til at stille op uden stemme og en hukommelse som en si.
Men nej, ikke Cohen anno 2008.
Under åben himmel
Jeg oplevede ham i begyndelsen af turneen til to koncerter under åben himmel et smukt beliggende sted lidt uden for Dublin, Irland. Den ene aften var vejret smukt, mens det til den næste koncert var regnvejr det meste af tiden.
Begge gange var Cohen fremragende.
Det var han også til koncerten i Forum i aftes.
Dermed ikke sagt, at Cohen blot kopierede sig selv. Nej, man fornemmede tydeligt, at han og det dygtige musikalske hold havde planlagt showet på en anderledes måde.
Mens hans under åben himmel mange gange benyttede lejligheden til at takke tilhørerne, økonomiserede han denne efterårsdag mere med taksigelserne. Det samme med anekdoterne. Der var færre af dem.
I stedet gjaldt det teksterne, musikken og arrangementerne.
Nye elementer
Måske overdriver jeg, men jeg oplevede det, som om der blev skruet på hvert eneste arrangement. I større eller mindre grad, selvfølgelig.
Der var et lidt anderledes strejf af blues i aftenens første højdepunkt, ”Bird On The Wire”.
Der var en ekstra skønhed over ”Who By Fire”, mens der blev skabt et stærkt bånd til countrymusikken med ”Heart With No Companion”.
Årsagen til, at det hele kunne gøres anderledes, var indlysende: Leonard Cohen var en ny slags hovedperson.
Da jeg så ham på den udendørs turné, levede han sig hundrede procent ind i rollen som sanger, som formidler af sine enestående tekster og som entertaineren med sit comeback.
Mere end det
I Forum var han også alt det.
Men han var ydermere spillemanden, som flere gange lavede strengeleg på sin lyse guitar. Godt nok yderst diskret med håndfladen og fingrene. Men han gjorde det dog. For eksempel skete det, da han leverede en stemningsfyldt og let genkendelig version af sit store gennembrud fra 1960’erne, ”Suzanne”.
Han var også mere løssluppen i sit bevægelsesmønster.
Således kom han, pænt klædt i jakkesæt og med hat på, løbende ind på scenen ved koncertens begyndelse. Og herefter foregik hver eneste afsked med publikum og hver eneste ankomst tilbage til spotlyset i løb.
Ja, til sidst var det nærmest dansetrin, som han leverede.
Var han mere veloplagt i Forum, end til de indendørs koncerter han forinden havde givet i bl.a. Sverige?
Det bilder jeg mig ikke ind.
Til stede i nuet
Til gengæld fornemmede jeg, at Cohen virkelig var til stede i koncertens nu og på de præmisser, som publikum opstillede udelukkende ved deres måde at reagere efter et nummer og agere på under en sang.
I Dublin blev klassikere som ”Hallelujah” og ”So Long, Marianne” straks gjort til synge-med-numre.
I Forum nøjedes størstedelen af tilhørerne i stedet med at lytte – for bagefter at samles om et brag af en hyldest.
Sådan er det danske publikum, ikke mindst det lidt ældre af slagsen.
Respekt for en kunstner
Respekt for en kunstner er for danske tilhørere lig med tavshed under nummeret - med mindre at en af musikerne kaster sig ud i en solo.
Dem var der en del af under Cohen-koncerten.
Heldigvis virkede hver eneste som et element i arrangementet, som man ikke ville have været foruden. De kom nemlig til at farve sangene med nuancer fra såvel græsk som spansk musik og give numre et tilhørsforhold til f.eks. jazzen, soulmusikken eller folkemusikken.
Syv år ældre
Det er en måneds tid siden, at Leonard Cohen fyldte 74 år.
Han er dermed omkring syv år ældre end Bob Dylan, otte år ældre end Paul McCartney og 12 år ældre end Neil Young.
Men derfor er der bestemt ikke nogen grund til, at Cohen trækker stikket til turnélivet, når hans igangværende efterårsturné slutter.
Han er tydeligvis i sit rette element.
Som sanger. Som musiker.
Og så virkede det i Forum, som om han med stort overskud viderebragte hvert eneste af de mange ord i sine poetiske sangtekster.
Jo, jo, selvfølgelig er det Cohen, som til hver en tid kender ordene bedst!
Men han har ikke desto mindre været væk fra gloserne i et stykke tid, og det ville aldrig gå, hvis han blot stod og lirede dem af fra et stykke papir.
Alvor og kærlighed
De skal viderebringes med fortrolighed, selvironi, alvor og kærlighed.
Og det kunne Cohen sagtens finde ud af.
Hvert eneste nummer virkede vedkommende, hvad enten det var hans politiske sang til USA, ”Democracy”, eller hans på en gang alvorlige og sjove nummer til både manden og kvinden, ”I’m Your Man”.
Og det er han jo, Leonard Cohen. Manden.
Det mest glædelige er, at han er det, fordi han har lyst til det.
Translated by Google Translate
Leonard Cohen (Forum)
Jyllands-Posten
- October 18, 2008 by Peter Schollert (Photo: Laurent Gillieron, AP)
Leonard Cohen gave Friday night's third concert this year in Denmark. For the first time he acted indoors - and the experience was tremendous.
As Leonard Cohen earlier this year went on a big tour,, it stated that he originally had set concert series operationalized by distress.
A close adviser had reportedly cheated him of millions of dollars, and Cohen had seen it as the only way to raise new capital to go with his long series of songs from a career that had been more or less ongoing since last third-1960s.
Fortunately ended the celebrated Canadian singer, songwriter and author, never as a poor needy live artist.
On the contrary.
Five and a half stars
Wherever in the world Leonard Cohen has acted, his concerts usually been hailed by five or six stars, and the main character has been described as both polite, charming, enthusiastic and especially tremendous velsyngende.
Let me just remind you that Cohen was 73 years old when he began his tour in the spring. Furthermore, he had lived a very withdrawn life in a number of years - focusing on things other than music.
In other words, no one could know whether he still had something magical or meaningful about it. In fact, he had aged to stand outside voice and a memory as a sieve.
But no, not Cohen anno 2008.
Under the open sky
I saw him at the beginning of the tour at two concerts under the open sky, a beautiful place located just outside Dublin, Ireland. One evening, the weather was beautiful while it for the next concert was rainy most of the time.
Both times were excellent Cohen.
It was also the concert in the Forum last night.
That does not mean that Cohen simply copied itself. No, one felt clearly that he and the talented musical team had planned the show is different.
While his under open skies many times used the occasion to thank the audience, economics, he more this autumn day with thanksgiving. The same with anecdotes. There were fewer of them.
Instead it was the texts, music and events.
New elements
Perhaps I exaggerate, but I saw it as if it were screwed in every event. In varying degrees, of course.
There was a little different touch of blues in tonight's first climax, "Bird On The Wire".
There was an extraordinary beauty of "Who By Fire", while the creation of a strong relationship to country music with "Heart With No Companion".
The reason why it could be done differently, was obvious: Leonard Cohen was a new kind of protagonist.
When I saw him on the outdoor tour, he lived to a hundred percent into the role of a singer, as a facilitator of its unique texts and entertainers with his comeback.
More than
The Forum, he was also everything.
But he was, moreover, the musician, who repeatedly made strengeleg on its bright guitar. Although extremely discreet with your palm and fingers. But he did it nevertheless. For example, it happened when he delivered an atmospheric and easily recognizable version of his big breakthrough from the 1960s, "Suzanne".
He was also more unbridled in his motion.
Thus he came, neatly dressed in suits and with a hat on, going on stage at concerts beginning. And then made every parting with the audience and every arrival back into the spotlight in the race.
Yes, finally, it was almost dansetrin, which he delivered.
Was he more enthusiastic in the Forum, than for the indoor concerts he had given in particular Sweden?
The imagery I am not in favor.
Present in the moment
On the other hand I felt that Cohen really was present at the concert now and on the premise that audiences identified only by their way to react after a track and act upon during a song.
In Dublin, became classics as "Hallelujah" and "So Long, Marianne" immediately made to sing-with-numbers.
The Forum simply majority of the audience instead of listening - on afterwards, to sit on a bump of a tribute.
How is the Danish audience, especially the older ones.
Respect for an artist
Respect for an artist is to Danish audiences equal to silence under the number - unless one of the musicians engages in a solo.
There have been a part of sub-Cohen concert.
Fortunately worked each as an element in the event that you would not have been as well. They came namely to color the songs with shades of both Greek and Spanish music and numbers give a sense of belonging, for example. jazz, soul music or folk music.
Seven years older
It is a month ago that Leonard Cohen age of 74 years.
He is thus about seven years older than Bob Dylan, eight years older than Paul McCartney and 12 years older than Neil Young. But why is there not any reason why Cohen pulling the plug for the tour life when his current autumn tour ends.
He is clearly in his element right. As a singer. As a musician. And then, it seemed the Forum, as he passed by a large surplus brought every single one of the many words in its poetic lyrics.
Well, yes, of course, it is Cohen, who at any time know the words best!
But he has nevertheless been away from the vocabulary in a while, and it would never go if he just stood and lirede of them from a piece of paper.
Severity and love
They must be placed with confidence, self, seriousness and love.
And that Cohen could easily find out.
Every number he worked, whether it was his political song to America, "Democracy", or he at once serious and fun number for both man and a woman, "I'm Your Man".
And it is he, after all, Leonard Cohen. The man.
The most gratifying is that he is because he has a taste for it.
Copenhagen, Denmark
ENGLISH VERSION.
Mesterlig Cohen
Berlingske
- October 19, 2008 by Jeppe Krogsgaard Christensen (Foto: Martin Rosenauer)
Livet, døden og alt derimellem var i spil, da Leonard Cohen fredag aften tryllebandt Forum.
Når det hårde scenelys falder på ansigtet, ses det, hvor nådesløs tiden er. Huden er grå, øjenlågene tunge, og furerne om munden dybe.
Leonard Cohen er 74 år, og det er tydeligt for enhver. Men udtrykket bag årenes sløringer, er nu det samme, som det altid har været. Fuld af skønhed, sværmeri og et aldrig vigende strejf af sørgmodighed.
Og beskrivelsen af hans ansigt passer forunderligt nok også på de sange, han har bjergtaget en hel verden af poetisk stemte sjæle med over fem årtier – fra den sublime albumdebut »Songs Of Leonard Cohen« fra 1968 over den storsælgende »I’m Your Man« fra 1988 og frem til den let resignerende »Dear Heather fra 2004.
Alle ved det
Da Leonard Cohen fredag aften træder ind i et udsolgt Forum, vil klapsalverne ingen ende tage. Og med et ti musikere stort orkester bag sig begiver den altid ydmyge canadier sig ind i »Dance Me To The End Of Love«, der lig mange af aftenens øvrige numre gives i et righoldigt arrangement.
Klassikere som »First We Take Manhattan«, »Ain’t No Cure For Love« og »Take This Waltz« falder således også i versioner, hvor saxofon, lut, klarinet, orgel, mundharmonika og 12-strenget spansk guitar får lov at male med i lydbilledet.
Men det er i de helt enkle øjeblikke, Leonard Cohen står allerstærkest. Og hjertet springer simpelthen et slag over i mødet med »Suzanne«, »Famous Blue Raincoat« og ikke mindst »Everybody Knows«, der rammer sjælen ret mellem øjnene med sine lap steel-klange og de tre korsangerinders krystallinske harmonier.
Små sprækker
Sharon Robinson og søstrene Charley og Hattie Webb er i det hele taget en oplevelse i den tre en halv time lange seance, der dog først og fremmest vil huskes for Leonard Cohens mørke, monotone og på alle måder mageløse vokal.
»I was born with a gift of a golden voice«, synger han i gamle »Tower Of Song«, og hvor giver ordene mening i munden på den gamle mester, der ikke har gjort sig nævneværdige anstrengelser for at ændre sætlisten i forhold til den, der blev spillet efter ved sommerens koncert på Rosenborg Eksercerplads.
Men med så stærke sange er den slags også inderligt ligegyldigt, ligesom man fint lever med, at guitarist Javier Mas udstyrer den iskoldt tænkte »First We Take Manhattan« med en noget malplaceret omgang eksotisk strengeleg.
Og pyt med at Leonard Cohen introducerer sit band hele tre gange. Det er blot menneskelige sprækker i en noget nær fuldendt koncertopvisning.
»There’s a crack, a crack in everything/That’s how the light gets through«, som han synger i »Anthem«, der som alle andre sange i hans lyriske bagkatalog rummer træffende betragtninger. Om livet, døden og kærligheden.
Tre ord, der alle spiller med i denne bevægende oktoberaften, hvor en forelsket sal til sidst tager afsked med den syngende poet med det aldrende ansigt.
Måske for sidste gang. Inden nutid for alvor bliver til datid. Gud bedre det.
Men i så fald en værdig afsked.
Translated by Google Translate
Mesterlig Cohen
Berlingske
- October 19, 2008 by Jeppe Krogsgaard Christensen (Foto: Martin Rosenauer)
Life, death and everything in between was in the game, as Leonard Cohen Friday night magic tied Forum.
When the hard scenelys fall on your face, seen it when the time is merciless. The skin is gray, eyelids heavy, and furerne of mouth deep.
Leonard Cohen is 74 years, and it is obvious to everyone. But the words behind the veil over lecture, is now the same as it always has been. Full of beauty, sværmeri and a declining streak of never sad.
And the description of his face match amazing enough even on those songs, he has taken an entire mountain world of poetic souls voted by more than five decades - from the sublime debut album "Songs Of Leonard Cohen" from 1968 to the big-selling 'I'm Your Man' from 1988 onwards to the easy resignation "Dear Heather" from 2004.
Everybody knows it
As Leonard Cohen Friday evening enter a sold out Forum, will take klapsalverne no end. And with a ten musicians large orchestra behind them moves, the always humble Canadian into the "Dance Me To The End Of Love ', which equals many of tonight's other numbers provided in a rich event.
Classics such as' First We Take Manhattan "," Ain't No Cure For Love "and" Take This Waltz "is also in versions where saxophone, lute, clarinet, organ, mouthorgan and 12-stringed Spanish guitar will be allowed to paint with the sound stage.
But it is in the simple moments, Leonard Cohen is strongest of all. And the heart skips simply a battle over the meeting with "Suzanne", "Famous Blue Raincoat 'and especially' Everybody Knows', which affects the soul right between our eyes with his lap steel-sounds and the three korsangerinders crystalline harmonies.
Small cracks
Sharon Robinson and sisters Charley and Hattie Webb is at all an experience of the three half-hour sitting, however, first and foremost will be remembered for Leonard Cohen dark, monotonous and in all ways alike solve vocal.
'I was born with a gift of a golden voice, he sings the old "Tower Of Song', and which gives words meaning in the mouths of the old master, who has failed to make significant efforts to change sætlisten compared with the , Which was played after the summer concert at the Rosenborg drill.
But with such strong songs is this sort of thing very much matter, just as well live with the guitarist Javier Mas equips the ice-cold thought 'First We Take Manhattan "with a somewhat misplaced exotic game strengeleg.
And 'sod to Leonard Cohen introduces his band across three times. It is just human cracks in a near-perfect concert show.
'There'sa crack, a crack in everything / That' s how the light gets through, "as he sings in" Anthem ", which, like all other songs in his lyrical backlist includes træffende considerations. About life, death and love.
Three words that are all playing in this moving October night when a smitten floor to the last to leave the singing poet with the aging face.
Perhaps for the last time. Within contemporary serious preterite become. God is better.
But in this case a worthy farewell.
Copenhagen, Denmark
Photos and Other Fan Reports
Photos - Professional photographer Martin Rosenauer shares his incredible photo array.
Discuss the tour and read fan reviews on The Leonard Cohen Forum and in French on the Leonard Cohen Forum (French site).
Speaking Cohen Home
Archives - Search Engine
Backgrounds provided by Eos Development
|
