Tour Reviews and Other Memories from
LEONARD COHEN WORLD TOUR Summer 2010

August 12, 2010
Gothenburg/Göteborg, Sweden
Scandinavium

 Set List for August 12
Göteborgs-Posten review & photo
Expressen review & photo
Nordjyske review
Youtube
August 14, 2010
Odense, Denmark
Engen, Fruens Boege

 Set List for August 14
Dagbladet Information review & photo
Fyens Stiftstidende review & photo
Gaffa review & photos
Fyens Stiftstidende article & photo
Youtube
Fan reports
August 18, 2010
Berlin, Germany
Waldbuhne

 Set List for August 18
Original set list
Thanks to Kadir for sharing
Der Tagesspiegel review & photo
Der Tagesspiegel review & photo
Noows review & photo
Sueddeutsche review & photo
Maerkische Allgemeine review
BZ-Berlin review & photos
Welt review
Freiepresse review
Morgenpost review & photo
Youtube
August 20, 21 & 22, 2010
Gent, Belgium
Sint-Pietersplein
(St Peter's Square)

 Set List for August 20
Set List for August 21
Set List for August 22
Nieuwsblad review & photo
Sterren Nieuws article & photos
Nieuwsblad article
Knack Focus review & photo
De Standaard review & photos
Nieuwsblad review & photos
Nieuwsblad article & photos
Nieuwsblad article
De Standaard review & photo
Cutting Edge review & photo
Youtube
Fan reports




Previous
Sligo, Ireland
Malmö, Sweden
Oslo, Norway
Stockholm, Sweden
Helsinki, Finland

Next
Florence/Firenze, Italy
Wiesbaden, Germany
Sankt Margarethen im Burgenland, Austria
Basel, Switzerland
Lisboa, Portugal








Gothenburg/Göteborg, Sweden

Set List - August 12, 2010

Per Liamberney on The Leonard Cohen Forum

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
The Darkness
Heart With No Companion
Chelsea Hotel
Waiting For The Miracle
The Flood (recitation)
Anthem

Second Set

Tower Of Song
Suzanne
A Singer Must Die
Sisters Of Mercy
Gypsy Wife
Feels So Good
The Partisan
Boogie Street
Hallelujah
I'm Your Man
Born In Chains
Take This Waltz

Encores

So Long, Marianne
First We Take Manhattan
Famous Blue Raincoat
If It Be Your Will
Closing Time
I Tried to Leave You
Hey, That's No Way To Say Goodbye










Gothenburg/Göteborg, Sweden

ENGLISH VERSION.

Leonard Cohen

Göteborgs-Posten - August 13, 2010 by Jan Andersson (Photo: Nils Linde/Rockfoto)

Cohen radade upp hitsen

Cohen bjuder på en förtjusande kväll med alla favoriter.

Det brukar heta om Håkan Hellström att han inte kan sjunga. Well. Detsamma har sagts om Leonard Cohen i 40 år. Och precis som i fallet med Hellström är det fullständigt fel. Dessutom handlar det inte ens om det. Det handlar om att förmedla någon slags nerv och närvaro, att kunna famna publiken och fullständigt gå upp i stunden, i musiken, och det gör verkligen Leonard Cohen. Vid flera tillfällen under den (kanske väl) långa konserten i Scandinavium är det en ren njutning att luta sig tillbaks och förundras över hans mullrande baryton. Om Leonard Cohens röst utvecklats åt något håll sedan debuten 1967 så har den bara blivit ännu mer karaktäristisk, ännu mer lämpad att tolka de narrativa texterna om religion och sex, om kärlekens mörker och dess ljus.

Samtidigt önskar en del av mig att snart 76-årige Leonard Cohen fick tillbringa sin tid hemma i hammocken med de andra ålderspensionärerna i stället för att behöva kuska runt i Europa för att dryga ut sin pensionsförsäkring, som hans före detta manager tydligen tömde på fem miljoner dollar. Men en annan, lite cynisk del av mig är väldigt tacksam över möjligheten som bjuds, nämligen att den grånade poeten, sångaren och låtskrivaren från Montreal nu gästar Sverige för tredje gången på tre år.

Och Leonard Cohen verkar inte vantrivas däruppe i strålkastarljuset tillsammans med sitt enastående band (främst gitarristen Javier Mas) och skönsjungande kör. Tvärt om. Han hoppsastegar in på scenen till öppningsnumret Dance me to the end of love, tar emot publikens jubel och lyckas omedelbart och med ett snett leende i mungipan ta in eller snarare bjuda upp hela Scandinavium. Det råder ingen som helst tvekan om att Leonard Cohens svenska fans gärna skulle fortsätta ta emot honom som en årlig sommargäst, insprängd nånstans mellan sillen och kräftorna.

Som väntat artar sig kvällen till en veritabel best-of-föreställning. Vi får alla favoriter. Alla "hits". Alla ballader, där Who by fire är alldeles förtjusande i sin spanska skrud och där Hallelujah alltmer framstår som de senaste 25 årens mest söndertolkade låt, speciellt efter Cohens precisa, sakrala och närmast majestätiska framförande.

Visst hade man kunnat efterlysa en något piggare låttlista, men det känns mest som en gnällig randanmärkning på en i övrigt förtjusande kväll.

FOTNOT: Konserten pågick fortfarande när detta skrevs. Leonard Cohen var inne på sitt tredje extranummer Famous blue raincoat.








Translated by Google Translate

Leonard Cohen

Göteborgs-Posten - August 13, 2010 by Jan Andersson (Photo: Nils Linde/Rockfoto)

Cohen lined up hits

Cohen offers a delightful evening with all the favorites.

It is usually hot on Håkan Hellström that he can not sing. Well. The same has been said about Leonard Cohen for 40 years. And just as with Hellstrom, it is totally wrong. In addition, it is not even on it. It's about conveying some kind of nerve and presence, to embrace the audience and completely go up in the moment, in music, and it really makes Leonard Cohen. On several occasions during the (perhaps too) long concert at Scandinavium, it is a pleasure to sit back and marvel at his rumbling baritone. If Leonard Cohen's voice developed in any direction since his debut in 1967 as it has just become even more distinctive, more suited to interpret the narrative texts about religion and sex, about love, darkness and light.

At the same time want a part of me that soon 76-year-old Leonard Cohen got to spend time at home in the hammock with the other age pensioners, instead of having to groom around Europe to supplement his pension, which his former manager apparently emptied the five million dollars. But another, a bit cynical part of me is very grateful for the opportunity offered, namely that the grizzled poet, singer and songwriter from Montreal, now Sweden is visiting for the third time in three years.

And Leonard Cohen does not seem to feel uncomfortable up there in the spotlight with his superb band (particularly guitarist Javier Mas) and beautiful singing choir. On the contrary. He hoppsastegar onto the stage to the opening number, Dance Me To The End of Love, receiving the audience's cheers and succeed immediately and with a wry smile in his mouth to bring in or rather invite the entire Scandinavium. There is absolutely no doubt that Leonard Cohen's Swedish fans would gladly continue to accept him as an annual summer guest, blasted somewhere between herring and crayfish.

As expected, the evening unfolds into a veritable best-of-show. We may all favorites. All "hits". All the ballads, where the Who by Fire is adorable in its Spanish dress and where Hallelujah increasingly proving the last 25 years, most interpreted the song apart, especially after Cohen's precise, almost sacred and majestic performance.

Sure we might have to call for a slightly more alert låttlista, but it feels more like a whiny rand note in an otherwise delightful evening.

FOOTNOTE: The concert was still on when this was written. Leonard Cohen was in its third encore Famous Blue Raincoat.










Gothenburg/Göteborg, Sweden

ENGLISH VERSION.

Musik som en smekning

Expressen - August 13, 2010 by Kai Martin (Photo: Ulf Ryd)

Han reser med ett långt tåg av låtar i ett långsamt, inkännande tempo. Fjärran tidens jäkt och zappande.

30 låtar som han låter sin publik känna på noggrant och eftertänksamt.

Han glömmer i stor sett ingen av de favoriter som han bjudit under åren. Och när han kommer fram till den definitiva finalen - sjunde extranumret "I tried to leave you" - så räcker det inte för den spelsugne och hyllade Leonard Cohen. Det blir ytterligare mer.

Låter sig villigt famnas

Jo, den snart 76-årige legendaren låter sig villigt famnas av den stora Göteborgspubliken. Han kramas tillbaka med innerlighet tillsammans med sitt excellenta band.

Konserten är tillbakalutad med en behaglig ljudvolym. En spelning med en utstuderad perfektionism, men inte klinisk för Leonard Cohen förlorar aldrig inlevelsen eller känslan.

Med körtrion, systrarna Charley och Hattie Webb tillsammans med sin låtskrivarpartner Sharon Robinson, blir det ett extra samspel. Intimt, sensuellt och vördnadsfullt.

De är dessutom något av föreställningens Idlaflickor, som i denna stilla, försiktiga show tar sina danssteg och, gällande systrarna Webb, till och med bjuder på en hjulning.

Leonard Cohen må stå, eller ofta falla på knä, men ändå spritta av framförandelusta.

Det är stor njutning att lyssna på en man som vet hur man förmedlar känslor - från övergivenhet, sorg, kärleksrus till humor - till musik som låter som en viskning och känns som en smekning.








Translated by Google Translate

Music as a caress

Expressen - August 13, 2010 by Kai Martin (Photo: Ulf Ryd)

He travels with a long train of songs in a slow tempo empathetic. Far future hustle and zapping.

30 songs that he makes his audience feel at carefully and thoughtfully.

He forgets the big seen none of the favorites that he commanded over the years. And when he arrived at the definitive finale - Seventh Special Issue "I tried to leave you" - so it is not enough for the spelsugne and acclaimed Leonard Cohen. That would be more.

Sounds willingly embrace

Well, soon the 76-year-old legend lets its willingness to embrace the big Gothenburg audience. He hugged back with fervor along with his excellent band.

The concert is reclined to a comfortable volume. An event with an elaborate perfectionism, but not clinical Leonard Cohen never loses empathy or feeling.

With körtrion, sisters, Charley and Hattie Webb with his låtskrivarpartner Sharon Robinson, will be an additional interaction. Intimate, sensual and respectfully.

They are also one of the show Idlaflickor, which in this calm, conservative show, taking his dance steps and, current Webb sisters, and even offers a wheel tion.

Leonard Cohen may be, and often fall on their knees, but still startle the driving lust.

It is great pleasure to listen to a man who knows how to convey emotions - from the abandonment, grief, kärleksrus of humor - to music that sounds like a whisper and feels like a caress.










Gothenburg/Göteborg, Sweden

ENGLISH VERSION.

Poeten og menig- heden

Nordjyske - August 14, 2010 by Bent Stenbakken

Han står på scenen i lysets spot som en poesiens Humprey Bogart. Ulasteligt klædt i skarpskåret jakkesæt og en sort blød hat.

Poeten, prædikanten og sangeren Leonard Cohen, snart 76 år, og vi er hans lydhøre menighed.

Det tusindtallige publikum her i svenske Scandinaviums mægtige arena tæller unge som gamle, tvivlere som troende, men ét er vi samlet om og hænger ved.

Poetens afgrundsdybe, mørke og hæse basstemme.

Cohen med band lægger ud med "Dance Me To The End Of World", og det er straks at høre, at stemmen er blevet mere rusten, siden vi hørte ham i København for to år siden. Intonationen kan skælve lidt, og ganske rent er det heller ikke.

Men bag ved sig har Cohen et formidabelt band, og på sidelinjen står de tre korsangerinder, Sharon Robinson og søstrene Charley og Hattie Weeb, som ubesværet og uden at aflægge optagelsesprøve kunne gå lige ind i Himlens englekor.

Hvad er det, han kan, og hvad er det, som gør en koncert med Leonard Cohen til både en spirituel, en lattermild og en meget kødelig affære?

Blandt andet hans ydmyghed, som han står der med mikrofonen knuget mellem hænderne og fortæller, at måske kommer han forbi en anden gang, men i aften vil han og bandet give alt, de har i sig.

Og straks beviser det. For skønt tydeligt ældre, tynd og rundrygget, bevæger han sig rundt på scenen som en langt yngre mand.

Går ned på knæ for publikum eller knæler foran den spanske flamencoguitarist Javier Maz for at lokke det ypperste ud af hans dansende fingre på gribebrættet.

Vi - menigheden - er budt indenfor til et perfekt show, med lys og kameramænd, der hele tiden går tæt på og i en stadig billedstrøm kommenterer og udvider sangenes ord. For ordene er lige så vigtige eller måske vigtigere end selve musikken. Disse sange fra 60'ernes uskyldige "Suzanne" frem til dommedags- og terrorprofetien i "First We Take Manhattan". Sange om begær, kærlighed, bitre og hensynsløse. Og sange om sjælens ensomhed og dystre fremtidsvisioner.

- The Flood is Coming, lyder det fra kvindecharmøren, som altid samtidig med, at han har prist kødelig kærlighed, har søgt efter sjælefred og harmoni for sig selv og verden.

Kan være Cohen lyder lidt knirkende gammelmandsagtig i de første par numre, men da han selv tager over på guitar i "Bird On A Wire" står det hurtigt klart, at det bliver en stor aften. Da Cohen begyndte at turnere igen for et par år siden, efter at hans mangeårige kvindelige manager var stukket af med hans formue, var der mere tale om et loyalt band, som backede sangeren op i en slags greatest hits-tilbageblik.

De gjorde og spillede, hvad Cohen ønskede.

Mange af sangene er de samme som dengang. Men nu i nye arrangementer, tempoet er blevet endnu langsommere, intenst uden at slæbe, og der er kommet nye numre til som den bluesrockende "The Darkness" om at bryde ud af et forhold og let kynisk finde, at frihed og en kop morgenkaffe alene er lige så godt.

Der er masser af store stunder i første sæts 12 numre, den fabulerende og elegant febrilske flamencointro til "Who By The Fire", og den ganske renfærdige om nøgterne "Chelsea Hotel", inden vi går til pause med den malmklokkeklingende "Ring The Bells" i ørerne.

Hvad gør det så, at Cohen ind i mellem mere reciterer end synger, fordi stemmen ikke kan, hvad den kunne engang. Intensiteten og nærværet er hele tiden ubesværet til stede.

Andet sæt fortsætter på samme vis, på én gang ydmygt og samtidigt lattermildt overgivent.

- I was born with the gift of a golden voice, synger Cohen i "Tower of Song", mens han står bag keyboardet. Og igen griber han lige som i første sæt guitaren og leder os solo gennem perlen "Suzanne" blot med kor og orgelledsagelse. En flamencofarvet "Sisters of Mercy", mandolinpassion i "Gypsys Wife" og en dramatisk "Partisan" hører blandt højdepunkterne, ligesom Sherman Robinson's gåsehudsfremkaldende version af "Boogie Street", inden vi over "Halleluja", "I'm your Man" og "The Last Waltz" når frem til ekstranumrene.

Hele fire fremkaldelser bliver det til, med det tusindtallige publikum stående og klappende, mens vi græder med i "So long Marianne", husker "Famous Blue Raincoat" og ydmygt knæler indvendigt sammen med Cohen i "If It Be Your Will".

Som han indledningsvis reciterer, inden Weeb-søstrene tager over med pureste korsang, harpe og guitar,

Og til sidst, da vi næsten ikke kan mere efter 40 minutters overtid med ekstranumre, runder Cohen og band af med "Thats No Way To Say Goodbye".

Mesteren forlod os efter tre og en halv times poetisk musik og musikalsk poesi, mættede, efter en verdslig nadver, hvor vi både var i kirke og på kro, til bønnemøde og på bordel.






Translated by Google Translate

Poet and ward unit

Nordjyske - August 14, 2010 by Bent Stenbakken

He stands on stage in the light spot as a poetry Humprey Bogart. Impeccably dressed in a sharp cut suits and a black soft hat.

Poet, preacher and singer Leonard Cohen, now 76 years and we are his attentive congregation.

The thousands audience here in Swedish Scandinavium mighty arena counts young and old, doubters as believers, but one we are united and attached to.

Poet abyss deep, dark and hoarse basstemme.

Cohen with band begins with "Dance Me To The End Of the World" and it is immediately to hear that voice has become rusty since we heard him in Copenhagen two years ago. Intonation may tremble a little, and quite clean, it is not.

But behind him is Cohen a formidable band, and on the sidelines are the three choral Rinder, Sharon Robinson and sisters Charley and Hattie Weeb as effortless and without pay admission test could go straight into heaven englekor.

What is it that he can do and what is it that makes a concert with Leonard Cohen to both a spiritual, a funny and a very carnal affair?

Among other things, his humility, as he stands there with the microphone pressed between your hands and say that maybe he will pass a second time, but tonight he and the band give everything they have in themselves.

And immediately proves it. For although clearly elderly, thin and rundrygget, he moves around on stage as a much younger man.

Goes down on knees to the public or kneel in front of the Spanish flamenco guitarist Javier Maz to entice the best out of his dancing fingers on the fingerboard.

We - the church - is invited inside for a perfect show, with lights and camera men who are constantly going up close and in a still image stream will comment and expand song's words. For words are as important or perhaps more important than the music itself. These songs from the 60s innocent "Suzanne" until doomsday prophecy and terror of "First We Take Manhattan." Songs about lust, love, bitter and ruthless. And the songs of the soul loneliness and bleak future visions.

- The Flood is Coming, says the woman charmer, as always, while he praised carnal love, have searched for soul peace and harmony for themselves and the world.

Can be Cohen sounds a bit oldish creaking in the first few tracks, but when he takes over on guitar in "Bird On A Wire", it soon became clear that it will be a great evening. When Cohen began to tour again for a few years ago, after his many years of female managers were stung by his fortune, there was more talk about a loyal band that backed up the singer in a sort of greatest hits-back.

They did, and played what Cohen wanted.

Many of the songs are the same as then. But now the new arrangements, the pace was even slower, intense without being towed, and there are new numbers for the Blue Rock "The Darkness" about to break out of a relationship and slightly cynical take that freedom and a cup of morning coffee only is just as good.

There are plenty of great moments in the first set, 12 tracks, the imaginative and elegant feverish flamenco intro to "Who By The Fire" and is quite renfærdige on sober "Chelsea Hotel" before we go to break with the ore bell sounding "Ring The Bells" in the ears.

What makes it so that Cohen once in more than recite sings because his voice is not what it once could. Intensity and presence is always easy to present.

Second set continues in the same manner, at once humble and simultaneously laughing mildly exuberant.

- I was born with the gift of a golden voice, sings Cohen in "Tower of Song", while he is behind the keyboard. And again does he like in the first set of guitar solo and leads us through the pearl "Suzanne" only with choir and organ accompaniment. A flamenco colored "Sisters of Mercy", mandolin passion in "Gypsy Wife" and a dramatic "Partisan" are among the highlights, and Sherman Robinson's goosebumps inducing version of "Boogie Street" before we "Hallelujah," "I'm Your Man" and "Take This Waltz" to reach additional numbers.

The entire four prints it becomes, with the thousands audience standing and clapping, while we weep with the "So long Marianne" remembers "Famous Blue Raincoat" and humbly kneeling inside along with Cohen in "If It Be Your Will".

As he first recites before Webb sisters take over with pure choir, harp and guitar

And finally, since we can hardly more after 40 minutes of overtime with extra tracks, rounds Cohen and band with "That's No Way To Say Goodbye". Master left us after three and a half hours of poetic music and musical poetry, saturated by a secular sacrament in which we were both in church and at the inn, at a prayer meeting and at the brothel.










Odense, Denmark

Set List - August 14, 2010

Per setlist.fm

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
Chelsea Hotel
Born In Chains
Anthem

Second Set

Tower Of Song
Suzanne
Sisters Of Mercy
Gypsy Wife
Feels So Good
The Partisan
Boogie Street
Hallelujah
I'm Your Man
Take This Waltz

Encores

So Long, Marianne
First We Take Manhattan
Famous Blue Raincoat
If It Be Your Will
Closing Time
I Tried to Leave You










Odense, Denmark

ENGLISH VERSION.

Denne noble og værdigt aldrende gentlemen

Dagbladet Information - August 15, 2010 by Klaus Lynggaard (Photo: Sonny Munk Carlsen/Scanpix)

At 76-årige Leonard Cohen er i sit livs form, overbeviste en sublim koncert i Odense om lørdag aften - og så havde han to nye numre med i bagagen

Jeg forsikrer Dem, kære læser, jeg tager altså ikke til koncert med den hensigt at stå der og flæbe. Det indgår ikke i hverken mine planer eller forventninger, men i tilfældet Leonard Cohen burde jeg måske være blevet klogere, thi hans koncert på Rosenborgs eksercerplads for et par år siden trak vand hos denne signatur adskillige gange.

Ikke for det - hvad angår vand, frygtede de 13.000 fremmødte i Fruens Bøge lidt uden for Odense lørdag aften mest det, der kom fra oven. Prognoserne havde ikke været for gode og det så til en begyndelse også ret truende ud, men så fik vejrguderne nys om at Leonard Cohen var landet på Fyn og smed alt vandet i hovedet på de frivole sjællændere i stedet. Fair nok.

Så da Cohen og hans ni-mands (m/k) store orkester gik på klokken otte præcis var vejret så godt som klaret op, og de fremmødte kunne koncentrere sig om i de nydeligste omgivelser at nyde det over tre timer lange forløb, hvor de ti på scenen gav alt, de havde i sig; hvad publikum i parentes bemærket lydhørt og medlevende lappede i sig.

For lige at gøre det med vandet færdigt - helt op til koncertstart havde jeg stået og pjattet med min ledsager, men så satte ensemblet i med »Dance Me To The End of Lov«, og da solisten satte i med sangens første linjer, sagde det sping! Og så stod tårerne lige ud på brilleglassene.

Jeg ved ikke hvordan Mr. Cohen lige bærer sig ad, for jeg går til mange koncerter, gerne flere om ugen, og de påvirker mig alle sammen forskelligt, men ligefrem så jeg står og tuder - nej. Det er dog hverken sorg eller noget, der bare ligner, det er nogle fuldstændigt spontant ustoppelige dråber, der lige rydder op i øjenkroge og hjernevindinger. Det er så også meget fedt, at de ikke efterfølges af f.eks. et konvulsisk hulkeanfald, trods alt. Ikke mindst pga. det forbløffende lave lydniveau, der spilles på - og publikums fuldstændigt åndeløse koncentration. En hulkende mand ville blive bemærket, det ville han.

At spille langsomt

Hvad angår lyd og holdning til samme, kunne mange for nu ikke at sige alle lære noget af Cohens crew. Ved at gå mod strømmen og skrue ned i stedet for op lyder alle instrumenter som ved et trylleslag såvel distinkte som godt, med masser af luft til solistens stadigt dybere stemme og ikke mindst de vidunderlige korindsatser fra den mangeårige samarbejdspartner Sharon Robinson og de dårende Webb Sisters, Charley og Hattie.

Fra starten af karrieren har Cohen benyttet sig af vekselvirkningen mellem sit eget noget rustne, men dog også karakterfyldte og udtryksfyldte organ og så de reneste og mest vidunderligt arrangerede kvindekor, hvilket er blevet en så fast bestanddel af hans lyd, at den efterhånden tages for givet. Men når man sådan får lov til at stå og nærlytte til samspillet stemmerne i mellem, er det umuligt ikke at falde lidt i svime over, hvor elegant de taler sammen - og til publikum med, for den sags skyld.

Ja, trak man alt det fra, publikum så åbenlyst kom for at høre - ergo Leonard Cohen - ville man stadig være i selskab med et orkester så udsøgt, at det ikke er for meget at hævde, at vi befinder os helt i toppen af den musikalske fødepyramide. Mere end nogen anden har Cohen ned gennem årene demonstreret hvor effektivt det kan være at spille rigtig, rigtig langsomt. Og han har bestemt ikke sat tempoet i vejret, hvilket er en tilgang, der virkelig kræver noget af de medvirkende. Og det er fascinerende at observere, hvorledes de seks musikere under ledelse af bassisten Roscoe Beck knokler så sveden springer for at spille så langsomt, så lidt og så afdæmpet som muligt.

Det forekommer en smule uretfærdigt at fremhæve én på bekostning af andre, eftersom der så åbenlyst er tale om en holdindsats, men nævnes må altså strengemagikeren Javier Mas, hvis spil i krydsfeltet mellem flamenco, blues og indisk og arabisk musik er lige så unikt som det er fuld af glød og middelhavsgnist. Hans optaktsolo til »Who By Fire« tog ganske enkelt vejret fra én.

Trodser tyngdeloven

Ja, ja, siger De nu til Dem selv. Det er meget godt alt sammen, men hvordan var Mesteren selv, manden for hvis skyld togturen hed Odense tur/retur? Levede han op til forventningerne? Var der noget nyt under solen?

Ja, nu De spørger: Han var fantastisk. Fokuseret og ydmyg må man spørge sig selv, om Cohen egentlig nogensinde har sunget bedre, end han gør på nærværende turne, hvor han i øvrigt også trodser tyngdeloven med en kropslig smidighed, de færreste i hans alder kan mønstre? Han elsker åbenlyst publikums hyldest og modtager den med taknemmelighed, men lader det aldrig blive en hovedpude, for han er i hver eneste intonation sindsbilledet på total koncentration. Efterhånden er der kommet så meget fylde i hans nedre register, at de der bastoner simpelthen rammer lytteren lige i solar plexus. Og hvad enten han for gud ved hvilken gang afsynger egne standards som »Suzanne« eller »Bird On The Wire« eller afsøger fjernere egne af sangbogen, gør han det så fokuseret og intenst som var det første gang. Og modsat f.eks. Bob Dylan, der jo også synger de samme sange igen og igen, holder han sig til melodien, hvilket nu ikke er nogen uskik. Der er ikke skyggen af udbrændt ringvrag over denne noble og værdigt aldrende gentlemen, der synes fuldstændig afklaret omkring såvel alder som skæbne.

Har man oplevet ham tidligere på turneen eller er den heldige ejer af dobbelt-cd'en Live In London fra 2009, vil de fleste af sætlistens 28 sange (fordelt på to sæt og tre fremkaldelser) være bekendte, men der var dog overraskelser. Udgaverne af sjældent spillede kvad som »The Partisan« (aftenens eneste cover-version) og »Heart With No Companion« lunede, men den helt store overraskelse var dog at sættet inkluderede to spritnye numre, gospelsangen »Born In Chains« og den arketypiske »Feels So Good«; sidstnævnte med så klassiske enkeltlinjer som »In a while I won't remember what I promised you I never would forget« og »Oh baby, who'd ever guess that there's a side of loneliness as sweet as this ...«

Jow tak, det kan nok være der var gang i papirslommetørklæderne på Fruens Bøge i lørdags.

Leonard Cohen m/ orkester, Fruens Bøge, Odense, lørdag








Translated by Google Translate

This noble and dignified aging gentleman

Dagbladet Information - August 15, 2010 by Klaus Lynggaard (Photo: Sonny Munk Carlsen/Scanpix)

The 76-year-old Leonard Cohen is in his life-form, convinced a sublime concert in Odense on Saturday evening - and then he had two new tracks with the baggage

I assure you, dear reader, I say no to a concert with the intent to stand there and blubber. It is not part of either my plans or expectations, but in the case of Leonard Cohen I should perhaps have been wiser for his concert at Rosenborg drill ground for a few years ago drew water from this signature several times.

Not so - in terms of water, fearing the 13,000 attendees in Fruens beech just outside Odense on Saturday evening most that which came from above. The forecasts had not been too good and then for a beginning also quite intimidating, but so was the weather gods wind of that Leonard Cohen had landed on Fyn and threw all the water in the head on the frivolous Zealanders instead. Fair enough.

So when Cohen and his nine-man (m / f) large orchestra went at eight o'clock exactly the weather was almost cleared up, and the attendees to concentrate on in the pretty surroundings to enjoy it more than three-hour courses in which ten on the stage gave everything they had in themselves, what audience Incidentally, responsive and enthusiastic patched into it.

Just to make it with water ready - right up to the concert start, I had been going and crazy with my companion, but then put the ensemble in the 'Dance Me To The End of Law', and as soloist sat in with the song's first lines, said it sping! And so were the tears right out of his glasses.

I do not know how Mr. Cohen also behaves, because I go to many concerts, often several a week, and they affect me all together different, but even so I stand and crying - no. However, it is neither grief or something that just looks like it's some completely unstoppable spontaneously drops to just clean up eye hooks and brain windings. It is also so much fat that they have not followed the example. a konvulsisk hulkeanfald, after all. Not least because of the amazingly low sound level, played on - and the audience completely breathless concentration. A sobbing man would be noticed, he would.

Playing slowly

As for sound and attitude to same, for now, many if not all learn something from Cohen's crew. By going against the flow and turn down instead of up sounds all the instruments as if by magic and distinct as well, with plenty of air to the soloist's deepening voice, and not least the wonderful korindsatser from the longstanding collaborator Sharon Robinson and the bad Webb Sisters , Charley and Hattie.

From the start of his career has Cohen used the interaction between his own somewhat rusty, but also character-filled and expression-filled body and as the cleanest and most wonderfully arranged kvindekor, which has become so integral to his sound that gradually taken for granted . However, when such is allowed to stand and nærlytte the interaction between the votes in, it's impossible not to fall slightly in swoon at how elegant they are talking together - and to the audience, for that matter.

Yes, chose to everything from the audience so obviously came to hear - ergo Leonard Cohen - would still be in the company of an orchestra so exquisite, that it is not too much to claim that we are completely at the top of the musical food pyramid. More than anyone else has Cohen down through the years demonstrated how effective it can be to play very, very slowly. And he certainly has not speeded up, which is an approach that really require some of the performers. And it is fascinating to observe how the six musicians led by bassist Roscoe Beck slave away so sweat pops in to play so slowly, so little and so low-key as possible.

It seems a bit unfair to highlight one at the expense of others, since so obviously this is a team effort, but mention must therefore strengemagikeren Javier Mas, whose stake in the intersection between flamenco, blues and Indian and Arabic music is as unique as it Full of glow and Mediterranean spark. His prelude solo to "Who By Fire" was simply breath away.

Defying gravity

Yes, yes, you say now to you. It is very good all along, but how was the master himself, the man for whose sake train journey called Odense return? He lived up to expectations? Was there anything new under the sun?

Yes, now you ask: He was fantastic. Focused and humble one must wonder whether Cohen really has ever sung better than he does on this tour, where he also also defy gravity with a bodily agility, the fewest in his age can muster? He loves obvious audience homage and receive it with gratitude, but let it never be a pillow, because he is in every intonation mental picture of total concentration. Gradually, there have been so much filling in his lower register, the bass tones are simply frames the listener right in the solar plexus. And whether he is for God knows what time singer's own standards as "Suzanne" or "Bird On The Wire" or scanning the distant regions of the songbook, he is so focused and intense as it was the first time. And the opposite example. Bob Dylan, who also sings the same songs over and over, keeps himself to the melody, which now is not a bad habit. There is no shade of burnt ring wreck over this noble and dignified aging gentleman who seems completely cleared around both age as fate.

If you have seen him earlier in the tour or are the lucky owner of the double CD Live In London from 2009, most of the setlist 28 songs (divided into two sets or three prints) will be familiar, but there were surprises. Versions of the rarely played ballads as "The Partisan" (the evening's sole cover version) and "Heart With No Companion" warmed, but the big surprise was, however, that the kit included two brand new tracks, gospel song "Born in Chains 'and the archetypal' Feels So Good ', the latter with such classic simple lines as "In a while I will not remember what I promised you I would never forget"and"Oh baby, who'd ever guess that there's a page of loneliness as sweet as this ...'

Jow you, it can probably be had once in paper handkerchiefs in Fruens Beech on Saturday.

Leonard Cohen w / orchestra, mistress beech, Odense, Saturday










Odense, Denmark

ENGLISH VERSION.

Monotoniens mester fik hjælp af mørket

Fyens Stiftstidende - August 15, 2010 by Simon Staun (Photo: Brian Karmack)

Den første halvdel af Cohens koncert var en søvndyssende katastrofe. Andet sæt samt ekstranumre havde magiens og mørkets skær over sig

At den 75-årige canadier løber ind på scenen, tegner godt for koncerten, der, hvis rygtet taler sandt og setlisten fra de foregående koncerter nogenlunde holder stik, bliver på mere end tre timer.

Det står dog hurtigt klart, at tre timer i denne dvaletilstand, vil være det rene tortur, selv om Cohen er en af de største sangskrivere nogensinde og har en stemme, der trods en markant falmen, stadig byder på nogle dybder og nuancer, de færreste sangere tør drømme om.For det første er lydniveauet alt, alt for lavt. Selv 10 meter bag lydtårnet, eller hvad der må være små 100 meter bag scenen, kan man høre folk hviske på 10 meters afstand. Og der er ellers ikke, fordi folk småsnakker som normalt. Der udvises ekstrem høflighed og respekt for den karismatiske bedstefar på scenen, der i de fleste tilstedeværendes øjne må være noget nær en afgud.Leonard Cohen er ikke rock and roll. Det er poesi på et meget højt niveau tilsat musik på knapt så højt et niveau. Musikerne på scenen er hver og en knaldhamrende, teknisk dygtige. Men de har desværre ikke få meget plads at boltre sig på, så selv om især strengespecialisterne imponerer, ender langt de fleste soli med at lyde omtrent lige så spændende, som en bakke bestik, der falder på jorden.

Publikums jubler højest under første afdeling, da to af korsangerne slår flikflak. Det beskriver vist meget godt, at der blot er et "r" til forskel mellem begavelse og begravelse. Cohen har skrevet bunkevis af fantastiske sange, men for dælen hvor bliver de spillet kedeligt de første fem kvarter, hvor begivenheden minder om en jordpåkastelse.

Selv om Cohen bruger lidt af tangoens mystik og trin i sin optræden, benytter han ikke nok af dramaet og sensualiteten. Derfor forbliver det alene teksternes lod at trække den del af showet.

Mørket hjælper

Efter pausen sker der noget. Mørket sænker sig og såvel udvalget af sange som Cohens engagement ændrer karakter. Det bliver intenst, indlevende og netop til noget, der minder mere om en religiøs seance. Min sidemand kalder da også en Cohen-koncert for en religion, og når man fornærmer de rettroende, risikerer man som bekendt at blive brændt på bålet. Det er en anmelders lod.

Så her lidt positivt at formilde de inkarnerede fans med. Cohens stemme lyder af evighed og tusind slægter. Når den folder sig fuldt ud som i "Ain't No Cure For Love", er den i særklasse. Mesterklase. Og heldigvis holder han et langt højere niveau under sidste halvdel af koncerten, hvor også de mere kendte numre afleveres. Den sidste halvanden time er i en helt anden liga end første del, dermed ender monotoni og mesterklasse med at give en fornem koncert, der dog sagtens kunne have været mere intenst spillet. Og en time kortere.








Translated by Google Translate

Monotony champion got through the darkness

Fyens Stiftstidende - August 15, 2010 by Simon Staun (Photo: Brian Karmack)

Cohen's concert was a sleep-inducing disaster. Second set and encores had magic and darkness glow over him

That the 75-year-old Canadian run onto the stage, bodes well for the concert, which, if rumors are true and Setlist from previous concerts roughly hold true, is more than three hours.

However, it is quickly apparent that three hours of this sleep mode, it will be pure torture, although Cohen is one of the greatest songwriters ever, and has a voice that despite a significant fading, still offers some depths and nuances, the fewest singers dare to dream om. For the first volume level is much too low. Even 10 meters behind lydtårnet, or what may be small 100 meters behind the scenes, you can hear people whispering at 10 meters. And there is otherwise no, because people chatting as usual. There exercised extreme politeness and respect for the charismatic grandfather on stage, in most present eyes may be somewhat near a afgud. Leonard Cohen is not rock and roll. It's poetry at a very high level with added music almost as high a level. The musicians on stage, each and a thumping percussion, technically proficient. But they unfortunately do not have much space to romp in, so although particularly strict specialists impresses, ends most solos to sound about as exciting as a cutlery tray, which falls on the ground.

Audience cries highest during the first division, as two of the choir are proposing flipflap. It describes some very good that there is only one "r" for the difference between gifts and funeral. Cohen has written piles of amazing songs, but for the heck where they will play boring the first five minutes in which the event resembles a graveside.

Although Cohen uses a bit of tango mystique and step into his performances, he uses not enough of the drama and sensuality. Therefore remains the only texts allowed to withdraw the portion of the show.

The darkness helps

After the break something happens. Darkness descends and both choice of songs like Cohen's commitment to change character. It will be intense, empathetic and just to something more akin to a religious ceremony. My neighbor called indeed a Cohen-concert for a religion, and when you offend the orthodox, there is a danger, as we know to be burned at the stake. It is a notifier ticket.

So here a little positive to appease the avid fans. Cohen's voice sounds like eternity and a thousand generations. When it unfolds fully as in "Ain't No Cure For Love" is second to none. Mesterklase. And fortunately, he carries a much higher level during the last half of the concert, where also the more familiar numbers returned. The last half hour is an entirely different league than the first part, thus ending monotony and master class to give a grand concert, however, easily could have been more intense game. And one hour shorter.










Odense, Denmark

ENGLISH VERSION.

LEONARD COHEN - ENGEN, FRUENS BØGE

Gaffa - August 14, 2010 by Ole Rosenstand Svidt (Photo: Morten Rygaard)

Kvaliteten og lydniveauet var omvendt proportionale ved smuk skovkoncert

Det var med høje forventninger iblandet en let frygt, undertegnede begav sig til Leonard Cohens koncert i landsbyen Fruens Bøge få kilometer syd for Odense. Sidst jeg så ham, i Rådhusparken i Århus i 2008, var nemlig en af mine allerstørste koncertoplevelser nogensinde. Så hvis Cohen kunne levere noget på bare tilnærmelsesvis samme niveau, ville aftenen blive flot. På den anden side ville det være utopi at tro, at Cohen ville kunne overgå den smukke sommeraften for to år siden. Og dengang var det jo hans første Danmarksbesøg i 15 år, og både Cohen og publikum var derfor sultne. Nu føles det, som om han lige har været her, og lidt hurtig ret-research viste, at bandet var det samme, og sætlisten rummede mange gengangere. Så måske ville det hele føles som en fattig gentagelse?

Nuvel da, scenen var i hvert fald sat til en vellykket aften. Engen i Fruens Bøge er et mindst lige så smukt koncertsted som Rådhusparken i Århus eller for den sags skyld festivalpladsen i Skanderborg, med masser af bøgetræer på alle fire sider. Og trods meteorologernes spådomme om det modsatte kunne de truende skyer holde sig, og undertegnedes medbragte blå regnfrakke var altså overflødig. Alt åndede derfor fred og idyl, da Leonard Cohen og hans ni musikere indtog scenen og vanen tro lagde ud med "Dance Me To The End Of Love" foran de cirka 11.000 publikummer på den udsolgte festivalplads.

Lige lovlig lav Lenny

75-årige Cohens gravkammerstemme syntes en anelse mere slidt end under hans sidste Danmarksbesøg, men stadig hæderlig, og han virkede veloplagt på scenen, ligesom sidst klædt i jakkesæt og fedora-hat. Hans musikere var fremdeles fremragende. Især brillerede spanske Javier Mas på spansk guitar og Dino Soldo med sin "eletric woodwind", en slags elektrisk saxofon. Lydkvaliteten var fremragende, men lydniveauet en anelse for lavt til, at musikken rigtig trængte ind under huden, selv hvis man stod tæt på scenen. Heldigvis kunne publikum, med et par enkelte uheldige undtagelser, godt holde inde med sniksnakken.

Cohen takkede ydmygt for publikums kraftige klapsalver og fortsatte med "The Future", hvor han under linjerne "there'll be fires on the road / and the white man dancing" gav et par friske dansetrin til publikums store jubel. Senere i sangen slog de to korpiger Charlie og Hattie Webb flik-flak på scenen, hvilket igen gav et begejstret brøl fra engen.

Cohen gik videre med "Ain't No Cure For Love", og sådan fortsatte koncerten med det ene højdepunkt efter det andet fra hans over 40 år lange karriere. Cohen takkede høfligt mellem hver sang, men forholdt sig ellers lidt mere tavs end dengang for to år siden, hvor han blandt andet nærmest ustandseligt præsenterede sine musikere. Ligesom dengang var han ofte nede på knæ, men om det var for at være inderlig, hente nogle toner op fra det dybeste af sit register og/eller for at læse eventuelle tekster på scenen, skal være usagt. Er der tale om sidstnævnte, skal det være ham vel undt: Hans tekster er mere ordrige - og bedre! - end de flestes, og han er som bekendt ikke længere nogen årsunge.

Fugletræk over scenen

Sidstnævnte fakta kom han selv ind på i "In My Secret Life", hvor han under linjerne "from the latest hit / to the wisdom of old" kom ned i det helt dybe leje ved ordet "old", hvilket skabte begejstring i engen. Lydniveauet var stadig det laveste, men efterhånden havde ørerne vænnet sig til det, og heldigvis var publikum overvejende stille, undtagen når de brød ud i jubel. "Who By Fire" fulgte, med en lang intro fra den fortrinlige akustiske guitarist Javier Mas, hvis smukke spil på den spanske guitar gav associationer til flamenco.

Under "Heart With No Companion" sås et fugletræk i smuk formation pludselig lige over scenen, hvilket næsten gav en klump i halsen. Ellers var aftenens højdepunkter især, når nogle af Cohens poetiske guldkorn resulterede i jubel og latter fra publikum. Eksempelvis i "Chelsea Hotel No. 2", hvor linjer som "You told me again you preferred handsome men / but for me you would make an exception" og "We are ugly but we have the music" gik rent hjem.

Herefter fulgte en ny sang med titlen "Born In Chains". Et smukt nummer, der med linjer som "I was born in Chains / but I was taken out of Egypt" tilsyneladende er inspireret af Cohens jødiske ophav og giver store forventninger til det album, han ifølge pålidelige kilder arbejder på, når han ikke er på sin lange turné. Her markerede de tre korsangerinder Charlie og Hattie Webb og Cohens mangeårige samarbejdspartner Sharon Robinson sig i øvrigt stærkt som lead-vokalister.

"Anthem", med de bevingede ord "There is a crack in everything / That's how the light gets in" fulgte, inden der var pause - efter et sæt på 75 minutter. Cohen kan ikke ligefrem beskyldes for at være nærig.

Korpige besvimer

Efter en halv time var det til til andet sæt, som blev åbnet med "Tower Of Song" med de udødelige linjer "I was born like this, I had no choice / I was born with the gift of a golden voice", som igen udløste kraftige klapsalver. Kort efter opstod et dramatisk, uplanlagt højdepunkt, da Hattie Webb pludselig besvimede. Musikken fortsatte dog ufortrødent, og Hattie kom hurtigt på benene igen efter at have været ude at vende backstage. The show must go on.

Klassikeren "Suzanne" fulgte, med Cohen på akustisk guitar, tangentspilleren Niel Larsen på klaver og korsangerinderne, og ellers ingen. Et stort, lavmælt øjeblik.

Senere fulgte endnu en ny sang, "Feels So Good", et glimrende, blues-orienteret nummer, som viser, at Cohen stadig har et solidt greb om sangskrivningens ædle kunst. Siden kom fællessangen for alvor frem under "Hallelujah", og appalausen var stor under "I'm Your Man", hvor Cohen selvironisk ændrede linjerne "If you want another kind of love / I'll wear a mask for you" til "I'll wear this old mask for you" og pegede på sit ansigt. Han holder sig nu godt.

Andet sæt sluttede efter en time med "Take This Waltz" og valsetrin både på scenen og i engen. Cohen og kumpaner lod sig dog hurtigt lokke tilbage til en hel stribe ekstranumre, hvor især "So Long, Marianne" og "First We Take Manhattan" fik singalongen frem. Et andet højdepunkt var "If It Be Your Will", hvor Cohen indledningsvist reciterede teksten, inden de to Webb-søstre på englesang og henholdvis akustisk guitar og harpe helt overtog nummeret. Endelig sluttede Cohen, efter i alt to timer og 55 minutters koncert, eksklusive pause, selvironisk aftenen af med "I Tried To Leave You" med linjen "Goodnight, my darling, I hope you're satisfied". Og det var publikum tydeligvis også.

En helt igennem smuk aften med et fremragende band og en solist, der stadig er på toppen en måned før sin 76 års fødselsdag. Aldeles overbevisende, og kun det lidt lave lydniveau trak en smule ned i helhedsoplevelsen. Nu mangler vi bare et nyt album fra manden, der heldigvis synes at mene, at han holdt sin pension, dengang han gik i kloster i 90'erne. Jeg kan næsten ikke vente.




















Translated by Google Translate

LEONARD COHEN - ENGEN, MISTRESS BEECH

Gaffa - August 14, 2010 by Ole Rosenstand Svidt (Photo: Morten Rygaard)

The quality and noise levels were inversely by beautiful forest concert

It was with high expectations mixed with a slight fear, the undersigned went to the Leonard Cohen concert in the village mistress beech few miles south of Odense. Last time I saw him in City Hall Park in Aarhus in 2008, was one of my greatest concert experiences ever. So if Cohen could deliver anything even remotely on the same level, would be nice evening. On the other hand, it would be utopian to believe that Cohen could surpass the beautiful summer evening two years ago. And then it was indeed his first visit to Denmark 15 years, and both Cohen and audience was therefore hungry. Now it feels as though he has just been here, and a little quick right-research showed that the band was the same and set list contained many ghosts. So might it all feels like a poor repetition?

Well then, the scene was certainly set for a successful evening. Meadow in Beech mistress is just as beautiful concert venue in City Hall Park in Aarhus or for that matter in Skanderborg festival site, with lots of beech trees on all four sides. And despite the meteorologist predictions to the contrary to the threatening clouds remain, and signed packed blue raincoat was therefore unnecessary. Everything breathed therefore peaceful and idyllic as Leonard Cohen and his nine musicians took the stage and true to form, began with "Dance Me To The End Of Love" in front of the approximately 11,000 spectators at the sold-out festival space.

All legal low Lenny

75-year-old Cohen tomb voice seemed a bit more worn than during his last visit Denmark, but still respectable, and he seemed enthusiastic on stage, just lately dressed in suit and fedora hat. His musicians were still outstanding. Especially spectacle won Spanish Javier Mas on Spanish guitar and Dino Soldo with his "eletric woodwind", a sort of electric saxophone. Sound quality was excellent, but the sound level a bit too low for that music truly pushed into your skin, even if you stood near the stage. Fortunately the audience, with a few unfortunate exceptions, good stop with Fiddlesticks neck.

Cohen thanked the audience humbly strong applause and continued with "The Future" where he outlines "There'll be fires on the road / And the white Mon dancing" gave a few fresh moves to large audiences cheering. Later in the song struck the two corps Charlie and Hattie Webb patched-bottles on stage, which again gave an enthusiastic roar from the meadow.

Cohen went on with "Ain't No Cure For Love", and so continued the concert with one climax after another from his over 40 year career. Cohen thanked politely between each song, but remained otherwise little more silent than it was then two years ago, where he among other almost constantly presented his musicians. Just then, he was often down on their knees, but if it were to be intense, download some tones up from the depths of its register and / or to read any text on the stage, must be unsaid. In the case of the latter, it must surely exclude him: his texts are more verbose - and better! - Than most, and he is as we know, no longer a youngster.

Bird migration over the scene

The latter fact, he even enter into "In My Secret Life," where he outlines "from the latest hit-to the wisdom of old" came down in the very low part of the word "old", which created excitement in the meadow. The sound level was still the lowest, but gradually had their ears become accustomed to it, and fortunately had the audience mostly quiet, except when they erupted in cheers. "Who By Fire" followed, with a long intro from the excellent acoustic guitar player Javier Mas, whose beautiful game on the Spanish guitar gave associations to flamenco.

In "Heart With No Companion" was seen a bird migration in beautiful formation suddenly just above the stage, which almost gave a lump in his throat. Otherwise the evening's highlights especially when some of Cohen's poetic gems resulted in cheers and laughter from the audience. For example, in "Chelsea Hotel No.. 2" where lines like "You told me again you preferred handsome men / but for me you would make an exception" and "We are ugly but we have the music" went clean home.

Then came a new song titled "Born in Chains". A beautiful number with lines like "I was born in Chains / but I was taken out of Egypt" apparently inspired by Cohen's Jewish author and gives high hopes for the album to him, according to reliable sources working on when he is not on his long tour. This marked the three choral Rinder Charlie and Hattie Webb and Cohen longstanding collaborator Sharon Robinson is also strong as lead-vocalists.

"Anthem", with the winged words "There is a crack in everything / That's how the light gets in" followed, before there was a break - after a series of 75 minutes. Cohen can not even accused of being stingy.

Showgirl faint

After half an hour it was for the second set that opened with "Tower Of Song" with the immortal lines "I was born like this, I had no choice / I was born with the gift of a golden voice", which again triggered strong applause. Soon after came a dramatic, unplanned climax when Hattie Webb suddenly fainted. The music continued, however, undeterred and Hattie came quickly on their feet again after having been out to go backstage. The show must go on.

The classic "Suzanne" followed, with Cohen on acoustic guitar, keyboard player Neil Larsen on piano and choir Indians, otherwise no. A large, silent moment.

Later came another new song, "Feels So Good", a brilliant, blues-oriented number which shows that Cohen still has a solid grip on songwriters meaning noble art. Afterwards he shared the song really is the "Hallelujah" and appalausen was great in "I'm Your Man" in which Cohen self-ironic changed the lines "If you want another kind of love / I'll wear a mask for you" to "I 'll wear this old mask for you "and pointed at his face. He keeps himself well now.

The second set ended after one hour of "Take This Waltz" and rolling steps both on stage and in the meadow. Cohen and cronies did, however, quickly lure back to a whole series of encores, especially when "So Long, Marianne" and "First We Take Manhattan" got singalongen forward. Another highlight was "If It Be Your Will" in which Cohen initially recited the text before the two Webb sisters of angelic vocals and acoustic guitar respectively and harp completely took over the number. Finally ended Cohen, after a total of two hours and 55 minute concert, exclusive break, self-ironic evening with "I Tried To Leave You" with the line "Goodnight, my darling, I hope you're satisfied." And it was the audience clearly also.

A truly beautiful evening with an excellent band and a soloist, is still on top a month before his 76 birthday. Utterly convincing, and only a little low noise level drew a bit into a whole experience. Now we just need a new album from the man who thankfully seems to think that he kept his pension when he walked into a monastery in the 90s. I can hardly wait.










Odense, Denmark

ENGLISH VERSION.

Folk i kø efter glimt af Cohen

Fyens Stiftstidende - August 14, 2010 by Bjarke Vestesen (Photo: YILMAZ POLAT)

En hob af mennesker har taget opstilling foran Grand Hotel i det indre Odense

De står der måske i timevis for at få bare få sekunders glimt af den canadiske stjerne Leonard Cohen.

Foran Grand Hotel på hjørnet af Vindegade og Jernbanegade har en hob af mennesker lørdag eftermiddag taget opstilling. Alle stirrer mod indgangen til hotellet i håb om, at han vælger at forlade sin midlertidige base ad denne dør og ikke ud ad en bagdør i gården.

Deltag i debatten

Imens render sikkerhedsvagter rundt og ser betydningsfulde ud og tjekker, at de to små busser er klar til senere på lørdagen at køre stjernen til Fruens Bøge, hvor han i aften giver koncert på Engen.

Den 75-årige sanger og poet blev allerede fredag aften spottet af Fyens Stiftstidende, mens han sad på en lille café tæt på sit hotel. Da han var opdaget forsvandt han dog hurtigt tilbage i retning mod Grand Hotel.








Translated by Google Translate

People queued for glimpse of Cohen

Fyens Stiftstidende - August 14, 2010 by Bjarke Vestesen (Photo: YILMAZ POLAT)

A mob of people have taken up positions in front of Grand Hotel in the inner Odense

They are perhaps for hours to get just a few seconds glimpse of the Canadian star Leonard Cohen.

In front of Grand Hotel on the corner of Winding Road and Railway Street has a crowd of people Saturday afternoon taken up. All stare at the entrance to the hotel in the hope that he chooses to leave its temporary base at the door and not go through a back door into the yard.

Join the debate

Meanwhile, security guards running around and looking important in and check that the two small buses are ready for later on Saturday to drive the star to the lady's books, where this evening he will give a concert at the meadow.

The 75-year-old singer and poet was already Friday night spotted by Fyens Stiftstidende while he sat at a small cafe near his hotel. When he was discovered he disappeared, however, quickly back towards the Grand Hotel.










Odense, Denmark

Blogs and Other Fan Reports

Blog - "Between Development And Project Management" - "Leonard Cohen in Odense"
"In my book a perfect concert with perfect sound..."


Discuss the tour and read fan reviews on The Leonard Cohen Forum and in French on the Leonard Cohen Forum (French site).











Berlin, Germany

Set List - August 18, 2010

Per Lenny Rules on The Leonard Cohen Forum

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
The Darkness
Chelsea Hotel
Born In Chains Waiting For The Miracle
Anthem

Second Set

Tower Of Song
Suzanne
Sisters Of Mercy
Gypsy Wife
Feels So Good
The Partisan
Boogie Street
Hallelujah
I'm Your Man
Take This Waltz

Encores

So Long, Marianne
First We Take Manhattan
Famous Blue Raincoat
If It Be Your Will
Closing Time
I Tried to Leave You
Lover Lover Lover










Berlin, Germany

ENGLISH VERSION.

Leonard Cohen öffnet Herzen

Der Tagesspiegel - August 19, 2010 by Rüdiger Schaper (Photo: DAVIDS/HUEBNER)

Er ist bald 76 Jahre alt, aber Leonard Cohen spielt noch immer - im September kommt sein neues Livealbum in die Plattenläden. Und bei seinem Konzert in der Berliner Waldbühne bereitet er sich und seinen Fans ein großes Fest.

Spät in der Nacht haben sie ihn damals auf die Bühne geschickt, 1970, beim chaotischen Festival auf der Isle of Wight. Eine halbe Million Menschen soll auf und beim Gelände gewesen sein, Zäune wurden eingedrückt, Künstler steckten fest, an einen halbwegs geordneten Ablauf war nicht zu denken. Es war ein großes Wunder, dass es keine Toten gab, und ein kleines, wie der damals 35-jährige, noch nicht so berühmte Sänger die Gitarre nahm und die Wogen glättete. Die erschöpfte, erzürnte Masse ließ sich von der „golden voice" des Kanadiers besänftigten - aber wie sarkastisch, aggressiv und rau klingt heute der Leonard Cohen der Frühzeit!

Eine CD mit dem Isle-of-Wight-Auftritt ist letztes Jahr erschienen, darauf „Suzanne", „Bird on the Wire" und „Famous Blue Raincoat". Im September kommt ein neues Livealbum, „Songs from the Road", aufgenommen während der Comeback-Tour 2008 und 2009. Es geschehen neue Wunder. Leonard Cohen, bald 76, singt im Alter weich und weise, seine Phrasierung ist phänomenal, der narzisstische Schmerz einer kosmischen Gelassenheit und Heiterkeit gewichen.

Wie anders soll man seinen Auftritt in der nicht ganz ausverkauften Waldbühne beschreiben? Er gibt sich dem Publikum. Es ist das dritte Cohen-Konzert in Berlin in zwei Jahren, und wer diese dreieinhalb (!) magischen Stunden erleben durfte, wird noch lange davon sprechen. Und wiederkommen, wenn er einmal wiederkommt. Und was heißt Alter? Diese Spannkraft, diese Konzentration, diese Musikalität! Jahrzehntelang hat der Poet - nachzulesen in der Cohen-Biografie von Ira B. Nadel - um seinen Sound gerungen, er empfand sich selbst als unsicherer Kantonist. Nun hat er eine Band aus alten Wegbegleitern und neuen Instrumentalisten um sich, die seine Songs auf Virtuosenhänden tragen. Javier Mas spielt auf der zwölfsaitigen Gitarre und der Mandoline Intros und Soli, als erhöbe sich ein Schwarm Paradiesvögel über der Waldbühne. Dino Soldo bläst mit zarter Leidenschaft die Regenwolken weg, und die „sublime Webb Sisters", wie Cohen seine beiden blonden Engel aus England mit einer Verbeugung vorstellt, hauchen ihr hypnotisches Schubiduh in Cohens bevorzugten Dreivierteltakt, das einen noch im Schlaf nicht loslässt.

Leonard Cohen hat für jeden seiner Musiker eine anrührende Begrüßung, er gibt ihnen mehr und mehr Raum. Wie da Spielfreude und Routine zusammengehen, ist eine Kostbarkeit, das Verdienst von Cohens musical director Roscoe Beck am Bass. Und wenn Sharon Robinson, die mit Cohen etliche Songs geschrieben und arrangiert hat, „Boogie Street" singt, steht er beim Schlagzeug und ist ihr Back-up-Sänger.

Ihn zu beobachten, öffnet das Herz. Er rennt auf die Bühne, er kniet vor jedem Song, lauscht in sich hinein, er zieht den Hut vor seinen Fans und den höheren Mächten dieser Welt, wer immer sie sein mögen, und er hüpft nachher lächelnd davon wie ein junger Dachs. Seine Professionalität hat etwas wundervoll Integres. Bei Cohen muss man sich vor Wiederholung nicht fürchten, im Gegenteil. „Suzanne" macht die Last und Lust der Jahre leicht, und wie er die zweite Strophe singt, von Jesus, dem ertrinkenden Seemann, gleiten die Verse über das Wasser, und allein wie er das Wort stone moduliert, klingt es wie nie zuvor gehört. So tief, so menschlich sinkt dieser Messias in die Seelen ein. Beim „Hallelujah" traut sich die Waldbühne noch nicht, aber bei „So long, Marianne" singt sie aus vollen Kehlen mit. „First we take Manhattan (then we take Berlin)" wird rhythmisch mitgeklatscht. Der Name Berlin taucht auch noch einmal in „The Future" auf; „Give me back the Berlin Wall ...". Über Berlin sagt Cohen, die einst so kriegslüsterne Stadt sei heute einer der friedlichsten Orte auf der Welt.

Mit Ansagen hält er sich an diesem Abend zurück. Er genießt das zuweilen ironische Zwiegespräch mit seinem Liedschatz. Wie in einer großen Familie, der Liebe nicht fremd ist, ist keines herauszuheben oder mehr geliebt. Doch man möchte aus dem überreichen Set „Chelsea Hotel" erwähnen, jenes der Legende nach Janis Joplin zu verdankende melodramatische New Yorker Tete-à-Tete. Und „Waiting for the Miracle", das pulsierte wie ein arabisches Märchen. Und natürlich den berühmten blauen Regenmantel: Er erinnerte an die alten Wunden und Liebesdramen mit all ihrer Süße und Schwüle.

Die Historisierung des Pop bringt es mit sich, dass die Dinge sich klären. Leonard Cohen ist ein begnadeter Rezitator und Sänger, und er hat einige der schönsten Liebeslieder des 20. Jahrhunderts geschrieben. Seine „golden voice" trägt sie mit frischem Firnis durch die Welt. Die Tour führt weiter nach Wiesbaden, Hannover, Dortmund und Stuttgart und im Herbst nach Australien und Kambodscha. „Bird on the Wire" - wir hörten den unsterblichen Vogel gleich zu Beginn - ist Cohens „My Way". Dieser Dichter ist ein Entertainer, der nicht müde wird, seinen Zuhörern zu danken. Ja, es war in der Waldbühne wie Weihnachten und Geburtstag auf einmal: Wir waren glücklich, und im Ritual lag ein großes Geschenk.






Translated by Google Translate

Leonard Cohen opens the heart

Der Tagesspiegel - August 19, 2010 by Rüdiger Schaper (Photo: DAVIDS/HUEBNER)

He is now 76 years old, but still plays Leonard Cohen - in September, his new live album is in the record stores. And at his concert in the Berlin forest stage he prepares himself and his fans a big party.

Late at night they have then sent him to the stage in 1970, when chaotic festival on the Isle of Wight. Half a million people should have been on and the grounds, fences were pushed in, put down artist, was at a reasonably orderly flow of the question. It was a miracle that there were no deaths, and a small, as the then 35-year-old, not so famous singers took up the guitar and the waves smoothed. The exhausted, angry mass was from the "golden voice" of the Canadian appeased - but how sarcastic, aggressive and rough today sounds of the early Leonard Cohen!

A CD with the Isle-of-Wight-site appeared last year that "Suzanne," "Bird on the Wire" and "Famous Blue Raincoat." In September, comes a new live album, "Songs from the Road", recorded during the comeback tour in 2008 and 2009. It happened to new wonders. Leonard Cohen, now 76, sings softly aged and wise, his phrasing is phenomenal, given way to the narcissistic pain of a cosmic calmness and serenity.

How else to describe his performance in the not entirely sold-out forest stage? He gives himself to the audience. It is the third Cohen concert in Berlin in two years, and who is three and a half (!) Was allowed to do magic hours is a long talk about it. And again, if he comes back again. And what does old age? This tension, this concentration, this musical! For decades, the Poet - read in the biography of Ira B. Cohen-pin - struggled to his sound, he felt himself as unreliable. Now he has a band of old companions and new instrumentalists around, take the songs on his virtuoso. Javier Mas played on twelve string guitar and mandolin intro and solos, as if a flock of birds of paradise would rise above the forest stage. Dino Soldo blows away the rain clouds with tender passion, and the "sublime Webb Sisters," as Cohen presents his two blond angel from England with a bow breathe, her hypnotic Schubiduh in Cohen's preferred three-quarter time, the one still does not let go in my sleep.

Leonard Cohen has for each one of his players touching welcome, it gives them more and more space. As enthusiasm and go together as routine, is a treasure, the merit of Cohen's musical director Roscoe Beck on bass. And if Sharon Robinson, who has written several songs with Cohen and arranged, "Boogie Street" sings, he stands at the drums and is their back-up singers.

Watching him, opens the heart. He runs onto the stage, he kneels before every song, listening to himself, he tips his hat to his fans and the higher powers of this world, whoever they may be, and he jumps after it with a smile like a young roof. His professionalism is something wonderful with integrity. When Cohen is necessary to be afraid of repetition is not the contrary. "Suzanne" makes the burden and joy of years easily, and as he sings the second verse of Jesus, the drowning sailor, the verses glide over the water, and alone as he modulates the word stone, it sounds like never heard before. So deep, so human that drops a messiah in the soul. In the "Hallelujah", the forest stage dares not yet, but at "So Long, Marianne" sings it with full throats out. "First We Take Manhattan (then we take Berlin)" is mitgeklatscht rhythmically. The name also appears again in Berlin "The Future on", "Give me back the Berlin Wall ...." About Berlin says Cohen, the once belligerent city today is one of the most peaceful places in the world.

With the announcements, he holds back on this evening. He enjoys the sometimes ironic conversation with his song treasure. As in a large family, the love is not strange, none is particularly relevant, or more loved. But we would like to give the set "mention Chelsea Hotel," that according to legend Janis Joplin to thank New York's melodramatic tête-à-Tete. And "Waiting for the Miracle", which pulsated like an Arabian fairy tale. And of course the famous blue raincoat: He recalled the old wounds and love dramas with all its sweet and sultry.

The historicizing of Pop brings it about that things are clarified. Leonard Cohen is a talented lyricist and singer, and he has writtensome of the most beautiful love songs of the 20th Century. His "golden voice carries" them with fresh varnish throughout the world. The tour continues to Wiesbaden, Hannover, Dortmund and Stuttgart and in the fall to Australia and Cambodia. "Bird on the Wire" - the immortal bird we heard at the beginning - Cohen's "My Way" is. This poet is an entertainer who does not tire of thanking his audience. Yes, it was in the forest stage, such as Christmas and birthday all at once: We were happy, and the ritual was a great gift.










Berlin, Germany

ENGLISH VERSION.

Leonard Cohen in der Waldbühne

Der Tagesspiegel - August 19, 2010 by H.P. Daniels (Photo: DDP)

Leonard Cohen verströmt bittersüße Melancholie, singt die Welt düster und macht vielleicht gerade dadurch Mut und Hoffnung. Mit fast 76 Jahren rührt und verzaubert er weiter seine Zuhörer.

Pünktlich um halb sieben sprintet Leonard Cohen zu seiner Band aufs Podium der Waldbühne, drahtig schlank im eleganten schwarzen Dreiteiler, mit Fedora-Hütchen und einem Texas-Schlips, zusammengehalten von einer silbernen Spange mit Kreuz, Herz und Anker. Glaube, Liebe, Hoffnung sind in unterschiedlichen Varianten auch immer wieder Motive der Songs des großen 75-jährigen Songpoeten aus Montreal, der sich in seinen jungen Jahren mehr als Schriftsteller in der Nachfolge der "Beat-Generation" gesehen hatte, und der eher beiläufig zur Musik gekommen war.

"Dance me to the end of love" singt er mit tiefem, gegerbtem Bariton, den das Leben mit den Jahren immer mehr nachgedunkelt hat.

Aber er brummelt nicht, grummelt nicht - er, der über sich selber sagt, ihn als Sänger zu bezeichnen, sei ein Witz - er singt wirklich und wahrhaftig, schön und anrührend, mit jedem Ton an der richtigen Stelle, immer exakt auf den Punkt: Einsätze, Stimme, Stimmung. Tief, melancholisch und immer auch ein bisschen selbstironisch.

Dabei hatte man schon befürchtet, Leonard Cohen nie wieder im Konzert hören zu können, hatte er sich doch in den 90er-Jahren aus dem Musikgeschäft zurückgezogen, in ein Kloster in den kalifornischen Bergen, um Zen-Mönch zu werden. Ganze fünfzehn Jahre konnte man ihn auf keiner Bühne mehr sehen, doch dann war er plötzlich wieder da, ging wieder auf Tour, nachdem - so hatte es geheißen - eine Managerin mit seinem gesamten Geld durchgebrannt war. Doch wozu braucht ein buddhistischer Mönch eigentlich noch Geld?

Wie auch immer, für seine älteren, neueren und jüngeren Fans ist es ein Segen, dass der sanfte Mann mit den großen Ohren, imposanter Nase und zarten schlanken Fingern, mit denen er raffiniert die Nylonsaiten seiner schwarzen Godin Elektroakustikgitarre zupft, im Jahr 2008 nach der langen Zurückgezogenheit endlich wieder ins öffentliche Leben zurückkehrte.

Nachdem er in Konzerten im Oktober 2008 und im April 2009 der sterilen O2 World etwas Wärme und Seele einhauchen konnte, erweist sich nun beim dritten Berlin-Auftritt binnen weniger als zwei Jahren, die sommerliche Waldbühne als atmosphärisch angemessenerer Schau- und Hörplatz. Zumal auch der befürchtete Regen ausblieb.

Cohen hebt die Augen über 12.000 Konzertbesucher zum Himmel, scheint den Blick in die Unendlichkeit zu richten, die Ewigkeit. Was mag er sich dabei denken, wenn er seit zwei Jahren immer wieder dieselben Lieder singt, fast immer auch in derselben Reihenfolge? "I've seen the future, brother, it is murder!" Und wenn er einen damit immer wieder zu Tränen rühren kann. Wenn er in einer Mischung aus Demut, Würde, Bescheidenheit und Brillanz zwischendrin den Hut abnimmt, vors Herz hält und leicht gebeugt, charmant lächelnd den tosenden Beifallsstürmen standhält. "There ain't no cure for love". Wenn er diese bittersüße Melancholie verströmt, die Welt düster singt und vielleicht gerade dadurch Mut und Hoffnung macht. "I have tried in my own way to be free". Wenn er in "The Darkness" im Geiste von Bobby Blue Bland beseelt bluesig losrockt oder im zauberhaft hymnischen "Anthem" feststellt: "There is a crack in everything, that's how the light gets in" - dass alles kaputt sei, es durch die Risse und Brüche in den Dingen aber auch erst möglich werde, dass das Licht durchscheint. Allmählich wird der Himmel dunkel und die Lichter scheinen umso wirkungsvoller auf der Bühne.

Mit langen, tiefen Verneigungen, Hut vorm Herz würdigt Cohen seine brillanten Mitmusiker, die auch immer wieder genügend Freiheit bekommen, mit eigenen Solobeiträgen zu glänzen: Der fingerflinke Javier Mas aus Barcelona, der traumhaft diverse akustische Saiteninstrumente spanisch, orientalisch, flamencohaft, jazzig, bluesig und noch ganz anders klingen lässt. Der vielseitige Bläser Dino Soldo mit Saxofon, Harmonica, Bassklarinette. Neil Larson, der nach feiner alter Schule noch eine echte Hammond B3 mit Leslie Cabinet spielt. Dazwischen pickt Bob Metzger geschmackvolle Country-Fills und Soli aus einer Telecaster Thinline. Rafael Gajol trommelt im Dienst der Songs angenehm zurückhaltend. Der musikalische Leiter Roscoe Beck brilliert an Bassgitarre und Kontrabass, und das zauberhafte Folk-Duo The Webb Sisters, die Schwestern Charley und Hattie Webb, sowie Sharon Robinson, Cohens Co-Autorin bei etlichen Songs, betten Cohens kellertiefen Gesang in himmlische Harmonien.

Nach guten anderthalb berauschenden Konzertstunden und einem prägnanten Schlusspunkt, nach dem etliche Fans annehmen, nun sei es zuende, sagt Cohen lässig, man werde gleich zurückkommen zum zweiten Teil. Orkanartiger Jubel, Cohen lächelt schelmisch.

Und dann geht es noch einmal ganze neunzig Minuten im zweiten Teil des Abends. Mit "The Tower Of Song" und "Suzanne" in kleiner Besetzung, sehr schön und still und zerlegt aufs Wesentliche. "Sisters Of Mercy", "Partisan" aus dem brillanten Songkatalog von über vierzig Jahren. aber auch mit dem relativ neuen "Feels So Good", einer Art Country-Soul-Nummer, die in ihrer Melodie Bob Dylans "Just Like Tom Thumb's Blues" aufgreift. Wehmütige Erinnerungen an zerbrochene Beziehungen. Cohen schließt die Augen, lässt den Blick nach innen fallen. "Hallelujah". Wunderkerzen, Feuerzeuge und Handys leuchten im Auditorium. "First we take Manhattan an then we take Berlin".

Cohen strahlt noch mit jeder Menge weiterer Songs, bevor er wieder den Hut aufs Herz legt, selig lächelt, den Oberkörper nach vorne neigt zum tosenden Beifall der stehenden Fans. Sie sollen vorsichtig nach Hause fahren, sagt er, und sich keine Sommererkältung holen. Und Gott sei Dank, dass es nicht geregnet hat, sagt er auch. Ja, Gott sei Dank für das und für Leonard Cohen, der nie besser, nie bewegender gesungen hat als jetzt mit fast 76 Jahren. Auch das sollte Mut machen, nachdem er zuvor noch in "Take This Waltz" die schöne Textzeile eingefügt hatte: "I told the truth, I did not come here to Berlin to fool you!"








Translated by Google Translate

Leonard Cohen in the forest stage

Der Tagesspiegel - August 19, 2010 by H.P. Daniels (Photo: DDP)

Leonard Cohen exudes bittersweet melancholy, the world sings dark and makes perhaps precisely because courage and hope. With nearly 76 years he continued to stir and enchant his audience.

Punctually at half past six sprints Leonard Cohen to his band onto the stage of the forest stage, wiry, lean in elegant black three-piece suit, with Fedora hat and a Texas-tie, held together by a silver brooch with cross, heart and anchor. Faith, love and hope are in different variants also repeatedly motives of the songs of the great 75-year-old Song poet from Montreal, who was in his early years seen more as a writer in the wake of the "Beat Generation" and the casually to music had come.

"Dance Me to the End of Love" he sings with a deep, baritone tanned, the life with the years, more and more darkened. But not he mumbles, grumbles - not he, who says of himself, to call him a singer, was a joke - he sings really and truly beautiful and touching, with every sound in the right place, always exactly the point: inserts, voice, mood. Deep, melancholy, and always a bit of self-irony.

It had been feared already, Leonard Cohen never again be able to hear in concert, but he had withdrawn in the 90 years from the music business to be in a monastery in the California mountains to Zen monk. Whole fifteen years he could be on any stage to see more, but then he was suddenly there again, went back on tour after - so it was said - a manager had absconded with all his money. But why a Buddhist monk really need more money?

Anyway, for his older, newer and younger fans it's a blessing that the gentle man with the big ears, impressive nose and delicate slender fingers, which he cleverly plays the nylon strings of his black Godin electric acoustic guitar in 2008 after the long seclusion finally returned to public life.

After concerts in October 2008 and April 2009 could breathe the sterile O2 World some warmth and soul, is now showing at the third Berlin appearance in less than two years, the summer forest stage as a more appropriate atmosphere show and listening position. Especially as the feared rain stayed away.

Cohen stresses the eyes more than 12,000 concertgoers to the sky, the view seems to embrace the infinity, eternity. What he likes to think when he last two years does sing the same songs, almost always in the same order? "I've seen the future, brother, it is murder!" And if one so he can always move you to tears. If he in a mixture of humility, dignity, modesty and brilliance in between decreases the hat front of his heart stops and slightly bent, charming smile can withstand the raging storms of applause. "There ain't no cure for love". If he exudes this bittersweet melancholy, gloomy world sings and makes perhaps precisely because courage and hope. "I have tried in my own way to be free". If he in "The Darkness" in the spirit of Bobby Blue Bland inspired bluesy losrockt or magical hymn "Anthem" observes: "There is a crack in everything, that's how the light gets in" - that everything is broken, it through the cracks and breaks in the things but would only be possible also that the light shines through. Gradually, the sky dark and the lights seem so much more effective on stage.

With a long, deep bowing, hat in front of the heart appreciates Cohen's brilliant musicians who get again and again enough freedom to shine with their own solo contributions: The fingerflinke Javier Mas from Barcelona, the fantastic variety of acoustic stringed Spanish, oriental, flamenco duplicated, jazzy, bluesy and can still sound very different. The versatile brass Dino Soldo with saxophone, harmonica, bass clarinet. Neil Larson, who plays to his old school, still a real Hammond B3 with Leslie cabinet. In between picks Bob Metzger tasteful fills and solos Country Telecaster from a Thinline. Rafael Gajole drums serve the songs pleasantly restrained. The musical director Roscoe Beck shines on bass guitar and double bass, and the charming folk duo The Webb Sisters, sisters, Charley and Hattie Webb, as well as beds Sharon Robinson, Cohen's co-author on several songs, Cohen's cellar deep singing in heavenly harmonies.

After a good half hour and a concise exhilarating concert finale, take after a number of fans, now it was over, Cohen said casually, you will come back to the second part. Violent jubilation, Cohen smiled mischievously.

And then it goes again whole ninety minutes the second part of the evening. With "The Tower of Song" and "Suzanne" in a small group, very nice and quiet and cut to the essentials. "Sisters Of Mercy," "partisan" from the brilliant song catalog of over forty years. But even with the relatively new "Feels So Good", a kind of country-soul number that takes up the melody in Bob Dylan's "Just Like Tom Thumb's Blues". Wistful memories of broken relationships. Cohen closes his eyes, drops the gaze inward. "Hallelujah". Sparklers, cigarette lighters and cell phones shine in the auditorium. "First we take Manhattan then we take Berlin". Cohen is still shining with a lot of other songs, before he puts his hat back on his heart, smiling blissfully, the upper body is inclined forward to the thundering applause of the standing fans. You should be careful driving home, he says, and pick up any summer cold. And thank God that it did not rain," he says. Yes, thank God for that and for Leonard Cohen, who has never sung better, never more moving than now, with almost 76 years. Also this should help restore confidence after he had previously inserted in "Take This Waltz" the beautiful line of text: "I told the truth, I did not come here to Berlin to fool you!"










Berlin, Germany

ENGLISH VERSION.

Leonard Cohen begeistert in der Berliner Waldbühne

Noows - August 19, 2010 (Photo: ddp / Michael Kappeler)

Gestern Abend startete Altmeister Leonard Cohen seine Deutschlandtour in der Berliner Waldbühne und wurde von seinen Fans frenetisch gefeiert. Es könnte die letzte Deutschlandtour des 75-Jährigen sein.

Wie ein guter Rotwein wird Leonard Cohen mit dem Alter immer besser. Zum Auftakt seiner womöglich letzten Deutschlandtour begeisterte der inzwischen 75-Jährige Altmeister der Melancholie seine Fans in der Berliner Waldbühne. Das legendäre Freilicht Oval erstrahlte in einem Meer aus Wunderkerzen als der kanadische Songpoet mit seinem schlohweissen Haar, den markanten Furchen um seinen Mund herum, im eleganten schwarzen Anzug mit Hut die Bühne betrat .

Die Musik von Leonrad Cohen bringt Menschen aller Altersklassen zusammen. Junges Publikum ist ebenso zu finden, wie jenes in seinem Alter. Binnen drei Songs haben er, seine mit herausragenden Musikern bestückte Band und die drei Background-Sängerin die Berliner komplett für sich vereinnahmt.

Natürlich dürfen bei einem Leonard Cohen Auftritt die Songs "Bird On The Wire", "Halleluja", "The Partisan" und "Chelsea Hotel" nicht fehlen. Routiniert hält er Zwiesprache mit dem Publikum in "Tower of Song" singt er "I don´t know whenn I´ll be back". Angesichts seines Alters, könnte es tatsächlich seine letzte Deutschlandtour sein. Zuletzt war leonard Cohen nach einer langjährigen Pause 2008 und 2009 nach Deutschland gekommen. Wer die Gelegenheit hat, sollte sich den grossen Künstler Leonard Cohen nicht entgehen lassen. (bpc / dpa)








Translated by Google Translate

Leonard Cohen Berlin enthusiastically in the forest stage

Noows - August 19, 2010 (Photo: ddp / Michael Kappeler)

Last night veteran Leonard Cohen started his tour in Germany in the Berlin forest stage and was celebrated by his fans frantically. It could be the last tour in Germany the 75-year-olds.

Like a good red wine Leonard Cohen is getting better with age. To kick off its probably the last tour in Germany inspired the now 75-year-old doyen of melancholy his fans in the Berlin forest stage. The legendary open-air Oval lit up in a sea of sparklers as the Canadian song poet his snow-white hair, the prominent grooves around with his mouth, in an elegant black suit with a hat entered the stage.

The music of Leonrad Cohen brings together people of all ages. Young audiences will find just as much as that at his age. Within three songs have it, with his outstanding musicians tipped band and three background singer for the Berlin collected himself completely.

Of course, where there is a Leonard Cohen gig the songs "Bird On The Wire," "Hallelujah," "The Partisan" and "Chelsea Hotel" is not missing. He routinely holds audiences in dialogue with the "Tower of Song" he sings, "I do not know whenn I'll be back." Given his age, it might actually be his last tour in Germany. Last leonard was after a long break in 2008 and 2009, Cohen came to Germany. Who should have the opportunity to artist Leonard Cohen can not escape the great. (Bpc / dpa)










Berlin, Germany

ENGLISH VERSION.

Wunderkerzen und Jubel für Leonard Cohen

Sueddeutsche - August 19, 2010 (Photo: AP)

Berlin (dpa) - Leonard Cohens schlohweißes Haar ist ein wenig schütter geworden, die markanten Furchen um seinen Mund noch tiefer. Doch sonst ist er ganz der Alte. Im eleganten schwarzen Anzug samt Hut verzaubert der kanadische Songpoet erneut sein deutsches Publikum.

Zum Tourauftakt in Berlin beweist er, dass ein Sänger auch mit 75 Jahren in Würde auf einer großen Bühne stehen kann und will. «I did not come to you to Berlin to fool you», wird er später versichern, in verschmitzter Abwandlung seines großen Erfolgs «Halleluja»: Ich bin nicht nach Berlin gekommen, um euch zu veralbern.

Leonard Cohen ist kein Mann der großen Worte. Er kommt auf die Bühne und beginnt schnörkellos und leise mit dem ersten Lied. Fast schüchtern wirkt das für einen Künstler, der von den Konzertbesuchern zwischen 20 und 70 Jahren glühend verehrt wird. Doch vielleicht ist das typisch für einen Mann, der von sich selbst sagt, dass er ein bisschen furchtsam sei.

Es dauert drei Titel, dann kann jeder ahnen, warum Cohen hier steht. Das ist niemand mehr, der aus dem Zen-Kloster in die Welt zurückkehrte, weil die Managerin mit den Altersrücklagen durchgebrannt war. Aus diesem Cohen spricht die pure Freude an seiner Musik und - völlig zu Recht - an seiner großartigen Band, deren Musiker mit zwölfseitiger Klassik-Gitarre, Bass und Saxophon locker eine eigene Show hinlegen könnten. Es ist Cohens Stärke, dass er ihnen noch mehr als früher die Bühne lässt, genauso wie den drei Background-Sängerinnen. Den die können nicht nur Radschlagen, sondern auch Soli und Duette singen.

Doch wer ihn 2008 und 2009 auf deutschen Bühnen erlebte, sieht auch: Leonard Cohen ist älter geworden. Seine Bewegungen wirken langsamer, die Zwiesprache mit dem Publikum scheint weniger spontan. Zeilen wie «I don't know when I'll be back» aus dem ironischen «Tower of Song» bekommen eine neue Bedeutung. Noch eine Tournee wird es vielleicht nicht geben.

Doch bis dahin bleibt Cohen ein Bühnen-Phänomen. Nicht nur, dass seine Stimme im Alter viel besser klingt als beim Start seiner Songpoeten-Karriere vor mehr als 40 Jahren. Sie ist so tief und warm, dass sie den Blues hat. Auch in seine alten Lieder scheint Cohen im Alter erst richtig hineinzuwachsen. Seine poetischen Texte, die so oft erfolgreicher gecovert wurden, interpretiert er nun lieber selbst neu.

Sein berühmter «Bird On The Wire» bekommt in Berlin ein E-Gitarren-Solo verpasst, das sich gewaschen hat und alte Aufnahmen verblassen lässt. Auch «The Partisan» klingt wie frisch poliert. Und wenn es in «Chelsea Hotel» wirklich um Cohens Affäre mit Janis Joplin gehen sollte, singt der Altmeister ihr 40 Jahre nach ihrem Fixer-Tod eine Hymne.

Das Konzert wirkt heiterer als frühere Auftritte. Zwar hat sich Cohen das demütige Niederknien und dankbare Hutziehen auf der Bühne noch immer nicht abgewöhnt, doch die schwere Melancholie ist gewichen. In Berlin knutschen Paare allen Alters zur Musik und eine Wohlfühl-Atmosphäre macht sich breit. Ein scharfer Kontrast zu den Zeiten, als die Cohen-Songs so düster und deprimierend wirkten, dass sie von manchen Zynikern als passende Begleitung zum Suizid bezeichnet wurden.

Die Scheinwerfer in der Berliner Waldbühne leuchten schließlich einen hageren, gebeugten Mann an, dessen runzelige Hände sanft das Mikrofon umschließen. «Danke fürs Bleiben», sagt Leonard Cohen nach der Pause. Es ist pures Understatement. Ein Cohen-Fan geht erst, wenn der Meister lächelnd die dritte Zugabe gegeben hat. Und der Meister weiß das.








Translated by Google Translate

Sparklers and cheers for Leonard Cohen

Sueddeutsche - August 19, 2010

Berlin (dpa) - Leonard Cohen's snow-white hair has grown a little thin, the prominent grooves around his mouth deeper. But otherwise he is his usual self. The elegant black suit, including the Canadian hat song poet enchants again his German audience.

On tour opener in Berlin, he proves that a singer can also be related to 75 years in dignity on a big stage and wants. "I did not come to you to Berlin to fool you", he will assure later, in sly variation on his great success "Hallelujah," I am not come to Berlin to make fun of you.

Leonard Cohen is not a man of great words. He comes on stage and begins softly and straightforward with the first song. Fast, so here the works for an artist who is revered by the concert audience 20-70 years of red-hot. But perhaps this is typical for a man who says of himself that he was a bit scary.

It takes three titles, then any idea why Cohen is here. This is no one who returned from the Zen monastery in the world because the manager had absconded with the pension savings. That is the pure joy Cohen speaks of his music, and - quite rightly - to lie down on his great band whose twelve-musicians with classical guitar, bass and saxophone could loose their own show. It is Cohen's strength, that giving them more than they used to be the stage, as well as the three backing singers. The cartwheels that can not only sing but also solos and duets.

But who saw him in 2008 and 2009 on the German stage, also sees: Leonard Cohen has become older. His movements seem slow, the dialogue with the audience seems less spontaneous. Lines like "I do not know when I'll be back" from the ironic "Tower of Song" will receive a new meaning. Another tour, there will be maybe not.

But until then, Cohen remains a stage phenomenon. Not only that his voice sounds much better than the age at the start of his song-poets career more than 40 years. It is so deep and warm that it has the blues. Even in his old age grow into songs Cohen seems only right. His poetic texts that been covered so often successful, he now interprets itself rather new.

His famous "Bird On The Wire" gets in Berlin missed an electric guitar solo that has washed up and old photographs fade. Also, "The Partisan" sounds like freshly polished. And if it was "really in" Chelsea Hotel to go to Cohen's affair with Janis Joplin, the grand old man 40 years her singing after her death, a fixer-anthem.

The concert looks brighter than previous appearances. Although Cohen, the humble and grateful Hutziehen kneeling on the stage still has not given up, but the heavy melancholy is gone. In Berlin smooch couples of all ages with music and a feel-good atmosphere all round. A sharp contrast to the days when the Cohen songs seemed so dark and depressing that they were described by some cynics as a fitting accompaniment to commit suicide.

The headlights in the Berlin forest stage lights finally to a thin, bent man, his wrinkled hands gently wrap the microphone. "Thanks for staying," Leonard Cohen says after the break. It is pure understatement. A Cohen fan is only when the master has been smiling the third encore. And the master knows that










Berlin, Germany

ENGLISH VERSION.

Der kanadische Songpoet Leonard Cohen spielte das dritte Jahr in Folge in Berlin

Maerkische Allgemeine - August 20, 2010 by Angelika Pentsi

BERLIN - Er muss hier nichts beweisen, aber er will es. Erst nach drei Liedern, die er mit gesenktem Kopf, die Augen scheu hinter der schwarzen Hutkrempe verborgen, dargeboten hat, schaut Leonard Cohen richtig auf. Als habe er sich das, was er da sieht, erst verdienen wollen. Mehr als 10 000 Menschen sind in die Waldbühne gekommen, um ihn singen zu hören, sie lieben ihn heiß und innig, aus den ersten Reihen schlägt ihm beinahe kultische Verehrung entgegen. Er wirkt ein bisschen verlegen, aber auch dankbar.

Das dritte Jahr in Folge trat der kanadische Sänger und Songschreiber Leonard Cohen am Mittwoch in Berlin auf. Es war das erste von fünf Konzerten, die er auf seiner diesjährigen Welttournee in Deutschland gibt. Als er 2008 nach einer langen Pause auf Welttournee gegangen war, glaubten die meisten, sie sähen ihn zum letzten Mal. Wegen seiner 74 Jahre und weil es hieß, er toure nur um seine Kassen wiederaufzufüllen. Seine langjährige Managerin hatte seine Millionen durchgebracht, während er im Zen-Kloster meditierte.

Aber jetzt steht er wieder auf der Bühne, hager zwar und mit schütterem Haar, aber wie eine lästige Pflichtübung sieht das trotzdem nicht aus. Eher so, als habe der 75-jährige Künstler seine Leidenschaft für die Musik und die Poesie im Alter neu entdeckt und freue sich jetzt daran, gemeinsam mit seinen Fans. Zumal seine rauchige, sonore Stimme den düsteren Welt- und den bittersüßen Liebesschmerz seiner Texte vielleicht nie überzeugender auszudrücken vermochte als jetzt, da sie noch tiefer klingt als in jungen Jahren. So rührt und fasziniert Cohen seine Fans, wenn er vom Ende einer Liebe singt („Dance Me to the End of Love") oder vom Kampf um die Freiheit („Bird on the Wire") oder vom Übel der Welt („Everybody knows").

Letzteres Lied hat er wie viele seiner Stücke gemeinsam mit Sharon Robinson geschrieben, die auch an diesem Abend mit auf der Bühne steht - nicht nur als eine von drei hinreißenden Backgroundsängerinnen, sondern auch als eigenständige Künstlerin, die ihre Größe in dem bluesigen „Boogie Street" zeigen kann. Überhaupt erlaubt Leonard Cohen seinen Musikern immer wieder, neben ihm zu glänzen, würdigt sie mit tiefen Verbeugungen, den Hut vor der Brust. Genial: Javier Mas aus Barcelona, der Gitarre und andere Saiteninstrumente zum Weinen und Cohen zum Niederknien bringt, sowie Dino Soldo, der mit seinen Soli auf Saxofon, Klarinette oder Mundharmonika begeistert.

Nach 90 Minuten könnte Cohen Schluss machen, nach Hause gehen, das würden hier alle verstehen, schließlich ist der Mann 75, und besser kann es nicht werden. Aber dann kommt erst mal eine Pause, und dann legt er noch mal 90 Minuten nach, mit Liedern wie „Suzanne", „Sisters of Mercy" oder „Hallelujah", das er um eine verschmitzte Zeile erweitert: „I told the truth, I didn't come here to Berlin to fool you." Also: „Ich habe euch die Wahrheit gesagt, ich bin nicht nach Berlin gekommen, um euch zu veralbern."

Poet, Sänger und Mönch:

Leonard Cohen wurde 1934 in einem Vorort von Montreal als Sohn eines jüdischen Textilfabrikanten geboren.

Zunächst versuchte er sich als Schriftsteller („Let us Compare Mythologies", „Flowers for Hitler"), bevor er begann, seine Texte mit Musik zu unterlegen.

Sein erstes Album „Songs of Leonard Cohen" (1967) umfasste mehrere seiner erfolgreichsten Lieder wie „Suzanne" oder „So long, Marianne". In den folgenden Jahren erschienen unter anderem „Songs from a Room" (1969) und „Songs of Love and Hate" (1971).

In den 90er Jahren zog sich Cohen in ein buddhistisches Kloster zurück, wo er 1996 auch zum Mönch ernannt wurde.

2001 erschien mit „Ten New Songs" ein unerwartetes neues Album, 2008 ging er erstmals nach rund 15 Jahren wieder auf Welttournee.






Translated by Google Translate

The Canadian song poet Leonard Cohen played the third year in a row in Berlin

Maerkische Allgemeine - August 20, 2010 by Angelika Pentsi

BERLIN - He has to prove anything here, but he wants it. After three songs, which he heads, eyes shyly hid behind black brim of his hat, which has performed with bent, looks Leonard Cohen on the right. When he had what he sees there, just want to earn. More than 10 000 people in the forest stage came to hear him sing, they love him dearly, from the first series he is proposing almost cultic worship contrary. He looks a bit embarrassed, but grateful.

For the third year in a row, the Canadian singer and songwriter Leonard Cohen was on Wednesday in Berlin. It was the first of five concerts, which he gave up his world tour this year in Germany. When he was gone in 2008 after a long pause on a world tour, the majority thought they would see him the last time because of his 74 years and because they said he toure just rebuild its cash. His longtime manager had spent his millions while he was meditating in the Zen monastery.

But now he is back on stage, though gaunt and with thinning hair, but as a burdensome chore that does not yet. Rather, as did the 75-year-old artist's passion for music and poetry found in new age and am now out with his fans. Especially since his smoky, sonorous voice could the dark world and the bittersweet love his lyrics express pain may never more convincing than now, since it sounds more deeply than in young. Sun moves and fascinates Cohen's fans when he sings of the end of a love ("Dance Me to the End of Love") or the struggle for freedom ("Bird on the Wire") or the evils of the world ("Everybody Knows").

The latter song he wrote many of his pieces along with Sharon Robinson, who is also on this evening on stage - not just as a gorgeous three backup singers, but also as an independent artist, their size in the bluesy "Boogie Street" can show. Leonard Cohen ever allowed his musicians again and again to shine next to him, she acknowledges with deep bows, his hat over his chest. Genial: Javier Mas from Barcelona, the guitar and other stringed instruments to cry and Cohen brings to kneel down, and Dino Soldo, who inspires with his solos on saxophone, clarinet and harmonica.

After 90 minutes could make Cohen concluded to go home, that would understand all this, finally, the man is 75, and it can not be better. But then comes before a break, and then he shall again after 90 minutes, with songs like "Suzanne," "Sisters of Mercy" and "Hallelujah," which he extended with a sly line: "I told the truth, I did not come here to Berlin to fool you. "Then:" I have spoken the truth, I am not come to Berlin to make fun of you."

Poet, singer and a monk:

Leonard Cohen was born in 1934 in a suburb of Montreal, the son of a Jewish textile manufacturer.

At first he tried to become a writer ("Let Us Compare Mythologies," "Flowers for Hitler") before he began to back up his lyrics with music.

His first album "Songs of Leonard Cohen" (1967) included several of his most successful songs like "Suzanne" and "So Long, Marianne". In the following years appeared include "Songs from a Room" (1969) and "Songs of Love and Hate" (1971).

In the 90 years, Cohen moved back to a Buddhist monastery, where he was appointed in 1996 and a monk.

Appeared in 2001 with "Ten New Songs" an unexpected new album, in 2008 he was the first time after about 15 years back on a world tour.










Berlin, Germany

ENGLISH VERSION.

Waldbühne: Leonard Cohen verzaubert

BZ-Berlin - August 18, 2010 (Photo: Reuters)

Leonard Cohen (75) hat auch dieses Jahr Berlin mit seiner wundervollen Musik beglückt.

Wenn Leonard Cohen nach Berlin kommt, kommt Berlin zu Leonard Cohen, am Mittwochabend also in die Waldbühne. Kaum ein anderer Sänger ist so in Würde gealtert wie er.

Seine zum Teil 40 Jahre alten Hits wie "Hallelujah", "Partisan" oder "Sisters of Mercy" sang Cohen mit einer Ergriffenheit, die weder aufgesetzt noch kitschig War. Man hatte das Gefühl, der junge Cohen hat diese Lieder für den alten Cohen geschrieben. Seine manchmal doch ziemlich melancholische Musik wirkte versöhnend - vor allem mit den Wunderkerzen, die immer zahlreicher leuchteten, je dunkler es wurde.

Und wie Cohen nach jedem Lied seinen Hut zog, um sich beim Publikum für den Applaus zu bedanken, war einfach rührend.












Translated by Google Translate

Forest Stage: Leonard Cohen enchants

BZ-Berlin - August 18, 2010 (Photo: Reuters)

Leonard Cohen (75) has also blessed this year in Berlin with his wonderful music.

If Leonard Cohen comes to Berlin, Berlin comes to Leonard Cohen, on Wednesday evening, also in the forest stage. Few other singers so with dignity as he aged.

His sometimes 40-year-old hits like "Hallelujah," "partisan" or "Sisters of Mercy sang" Cohen with an emotion that may not have been more cheesy War. One had the feeling that the young Cohen's songs for the old Cohen wrote this. His sometimes melancholy music seemed pretty gracious - especially with the sparklers, the more numerous, the darker it was lit up.

And each song as Cohen moved to his hat to appeal to the audience applause to thank you for was simply touching.










Berlin, Germany

ENGLISH VERSION.

Lieder von Hass und Liebe

Welt - August 20, 2010 by Peter E. Müller

Berlin - Am Ende geschieht etwas Wunderbares. Sechs Zugaben haben Leonard Cohen und seine Band schon gegeben. Und dann kommt nach dreieinhalb Stunden jener Song, den er nur allzu selten live spielt, das Stück, das ihm 1974 seinen einzigen deutschen Top-Ten-Hit beschert hatte: "Lover Lover Lover". Eine Ballade, die wie ein leichtes Liebeslied daherkommt und auch meist so verstanden wird, obwohl sie doch die Konflikte eines Gläubigen mit Gott zum Inhalt hat. Cohen spielt den Song selten, aber hier, in der mit rund 12 000 Besuchern gefüllten Waldbühne, ist er das Finale eines überwältigenden Konzerts mit einem der bewegendsten Songpoeten unserer Tage. Und das Amphitheater vibriert.

Seit zwei Jahren ist Leonard Cohen nun wieder auf Tournee. Im September wird er 76 Jahre alt und er hat, auch wenn die Umstände zunächst nicht glücklich waren, den Weg zurück zu seinem Publikum gefunden. Als er sich Mitte der 90er-Jahre in das buddhistische Mount Baldy Kloster in Kalifornien verzog, brachte seine Managerin und zeitweilige Lebensgefährtin in dieser Zeit der Meditation sein ganzes Vermögen durch. Die Altersversorgung war dahin. Mehr als fünf Millionen Dollar, so heißt es. Alles weg. Leonard Cohen brauchte Geld, um seinen Lebensabend zu finanzieren. So profan waren die Gründe für seine Wiederkehr. Doch hatte der infame Raubzug der falschen Freundin letztlich auch etwas Gutes. Denn selten erlebt man heutzutage ein Konzert von solcher Emotionalität, solcher Endgültigkeit, solcher Wahrhaftigkeit.

Es ist das dritte Berlin-Gastspiel, das Cohen und seine exzellente Band nun im Rahmen dieser Tournee geben. Und doch hat auch dieser Abend in der Waldbühne etwas Einzigartiges, ja Ergreifendes. Hier geht es immer um das letzte Mal, um Abschied, um Verzicht, um den Zwist mit dem Dasein und den Kampf gegen die Resignation - aber auch um Hoffnung. "Meine Freunde" nennt er sein Publikum immer wieder und verneigt sich geradezu ehrfurchtsvoll, vor den Fans, vor den Musikern, vor den Liedern. Der Bohemien, der sich im New York der 60er Jahre im Umfeld von Andy Warhols Factory herumtrieb, der exzessive Trinker und Frauenheld, der seine Affären zu Liedern und Gedichten verschlüsselte, der Gottsucher, der sein Heil im Buddhismus fand, ist zu einem großen weisen Mann gereift, der nachfolgende Musikergenerationen animiert und inspiriert hat. Er vereint Kinder, Eltern und Großeltern vor sich, wenn er einem Prediger gleich all seine großen Erfolge singt. Mit "Dance Me To The End Of Love" beginnt der Songreigen, jenem vom Holocaust inspirierten Lied, das von der Liebe, die den Tod überdauert, erzählt.

Bei "Hallelujah", diesem mit biblischen Elementen spielenden Lovesong, fügt Cohen wieder die Zeile "I didn't come all the way to Berlin to fool you" ein. Es ist eines seiner meist gecoverten Stücke, es gibt Versionen von John Cale, Jeff Buckley, Rufus Wainwright, Dylan, ja sogar Berlins Wir sind Helden hatten "Hallelujah" im Repertoire. Hier schwelgt die Waldbühne, Wunderkerzen flimmern, alles singt andächtig mit. In der Leichtigkeit schwingt jedoch immer eine in Moll getönte Schwermut mit. Denn Leonard Cohen erzählt vor allem auch von der Endlichkeit allen Lebens, von Rückschlägen, Bedrohungen, von Ängsten. Wie in "The Future", wo es heißt: "Gebt mir die Berliner Mauer zurück, gebt mir Stalin und Paulus. Ich habe die Zukunft gesehen, Brüder, sie ist mörderisch." Und als er nach "Lover Lover Lover" ein letztes Mal den Hut zieht und abtritt, hat das etwas Endgültiges.






Translated by Google Translate

Songs of hate and love

Welt - August 20, 2010 by Peter E. Müller

Berlin - In the end, something wonderful happens. Six encores Leonard Cohen and his band have given already. And then after three and a half hours of that song he plays all too often live, the piece that had given him in 1974 his only German Top Ten hit, "Lover Lover Lover". A ballad that reads like a light love song, and also generally understood to be, even though it has the conflicts of a believer with God to the content. Cohen plays the song often, but here, in around 12 000 visitors filled the forest stage, he is the finale of a stunning concert with one of the most moving song poets of our day. And vibrates the amphitheater.

For two years, Leonard Cohen now back on tour. In September he is 76 years old and he has, even though the circumstances were not happy at first, found the way back to his audience. When he was in the mid 90s in the Buddhist monastery in Mount Baldy wry California, brought by his manager and sometime partner in this time of meditation his property. The pension was gone. More than five million U.S. dollars, so they say. All gone. Leonard Cohen needed money to finance his retirement. Such profane were the reasons for his return. But the infamous raid the wrong girlfriend was ultimately a good thing. Because we rarely experienced today a concert by such emotion, such finality, such veracity.

It is the third to give Berlin-guest performance, which Cohen and his excellent band now in the context of this tour. And yet even this evening in the forest stage something unique, so pathetic. It's always about the last time to say goodbye to surrender to the quarrel with the existence and the struggle against the resignation - but also about hope. "My friends," he calls his audience again and again and bowed almost reverently, before the fans to the musicians, in the songs. The bohemian, who roamed the New York of the 60s in the environment of Andy Warhol's Factory, the excessive drinker and womanizer, the encrypted his affairs to songs and poems, the seeker of God, who found his salvation in Buddhism is to a great wise man has matured, animated the subsequent generations of musicians and inspired. It brings children, parents and grandparents before him, if he sings like a preacher all his great successes. With "Dance Me To The End Of Love" begins the song dance, inspired by the Holocaust that song that tells of the love that survives death.

In "Hallelujah", this playing with Biblical elements, Love Song, Cohen adds back the line "I did not come all the way to Berlin to fool you one." It is one of his most gecoverten pieces, versions of John Cale, Jeff Buckley, Rufus Wainwright is, Dylan, and even Berlin We are heroes had "Hallelujah" in the repertoire. This revels the forest stage, sparklers flickering, all sung with reverence. In the ease, however, still resonates with a tinted in a minor key melancholy. For Leonard Cohen says, above all, of the finitude of life, of setbacks, threats, fears. As in "The Future", which states: "Give me back the Berlin Wall, give me Stalin and St Paul. I've seen the future, brother, it is murderous." And when, after "Lover Lover Lover" one last time, pulls his hat, and assigns, has a finality.










Berlin, Germany

ENGLISH VERSION.

Mystischer Augenblick mit einem Frauenanbeter

Freiepresse - August 20, 2010 by Ulrich Rüdenauer

Frenetischer Jubel für Leonard Cohen in Berlin - Suggestive Kraft aus grabestiefer Stimme, lyrischer Raffinesse und volksliedhafter Einfachheit

Berlin. Vor zwei Jahren ging Leonard Cohen noch ein letztes Mal auf Tournee. Was als Abschiedstingelei zur Alterssicherung für den in finanzielle Nöte geratenen kanadischen Songwriter begann, sollte als Triumph enden: 84 Länder bereiste er, überall fand er ausverkaufte Hallen vor. Die Fans ließen sich vom reifen Charme, der abgründigen Stimme, den höflichen Gesten des Ladie's Man betören, und die Kritiker erlagen der Verführungskunst der Legende nicht weniger: Das "große Gefühl eines unwiederbringlichen Moments" beschlich damals die Rezensentin der FAZ. Wie also sollte nun, nachdem Cohen zwei Jahre später und zwei Jahre älter erneut eine Welttournee startet, dieses unwiederbringliche Gefühl aufs Neue entfacht werden?

Vielleicht ist es schon falsch, nach dem Wie zu fragen - denn solche fast religiösen Akte wie der Auftritt des 75-Jährigen am Mittwochabend auf der Waldbühne Berlin lassen sich schwerlich in Worten nachvollziehen. Dass es ihm auf mystische Weise gelang, einen einzigartigen Augenblick zu erschaffen, das sei aber schon vorausgeschickt: Die neunköpfige Band kommt, schwarz gewandet wie eine Trauergesellschaft, auf die Bühne, und als Cohen leichten Schrittes und Gemüts folgt, ist das Publikum bereits überzeugt. Der Beifall, der da aufbrandet, erscheint eher wie eine Zugaben-Forderung zum Höhepunkt des Konzerts. Aber es ist noch hell, das Pathos der Texte wird noch nicht vom Mondlicht ins Schwummrige getaucht, und auch die teils sehr gefällig arrangierte Musik hat manchmal etwas von Muzak - so ein gediegener Altherren-Balladenton, der niemandem wehtut und sich sanft und langsam um die eigene Befindlichkeit dreht wie ein selbstzufriedenes, langweiliges Seufzen. Aber im Laufe des Abends versteht man die suggestive Kraft dieser Lieder; sie ist die Summe von grabestiefer Stimme, lyrischer Raffinesse und volksliedhafter Einfachheit. Und spätestens zu Beginn des zweiten Konzertteils spürt man etwas von der ungemeinen Präsenz des Frauenanbeters Cohen, wenn er zunächst alleine mit seinen drei Backgroundsängerinnen "Tower Of Song", "Suzanne" und "Sisters of Mercy" zelebriert, sich manchmal wie zum Gebet niederkniet, den Hut wie ein demütiger Sünder vor dem Publikum zieht und dabei in bescheidener Haltung lächelt wie einer, der die Huldigung weit von sich weist, um sie doch noch umso intensiver genießen zu können.

Cohens Ausstrahlung scheint im Alter sogar zugenommen zu haben: Seine treuen Fans hängen ihm an den Lippen; viele von ihnen dürften die erste Platte "Songs of Leonard Cohen" beim Erscheinungstermin 1968 auf den Plattenspieler gelegt haben, und es ist wahrlich ein rührender Anblick, wenn Mittsiebziger beim Stück "Hallelujah" leise mitsingen, sich an den Händen fassen oder ein Feuerzeug in die Höhe halten. Cohen lässt an diesem Abend keinen seiner "Hits" aus - es sind Lieder, die längst in den Kanon der amerikanischen Musik eingegangen, längst ins kollektive Gedächtnis eingetriggert sind. "First we take Manhattan then we take Berlin" als zweite Zugabe dieses Sommerabends darf natürlich nicht fehlen. Das Wort "Berlin" allerdings geht im frenetischen Jubel der Zuschauer unter.






Translated by Google Translate

Mystical moment with a Frauenanbeter

Freiepresse - August 20, 2010 by Ulrich Rüdenauer

Frenetic jubilation for Leonard Cohen in Berlin - Suggestive power from depths of the tomb voice, lyrical folk-like simplicity and sophistication

Berlin. Two years ago, Leonard Cohen was the last time on tour. What began as Abschiedstingelei for pensions for the Canadian Songwriters fallen into financial distress should end up as a triumph: he traveled to 84 countries, everywhere he was sold out before halls. The fans could be from the mature charm, bottomless voice, the polite gestures of beguile Ladie's Man, and the critics succumbed to the seduction of the legend of that: The "great sense of irretrievable moment" then crept over the Reviewer of the FAZ. How, then, should now, after Cohen two years later and two years older again starts a world tour, this feeling of irretrievable be lit again?

Maybe it's wrong to ask about the how - since such near-religious acts such as the appearance of the 75-year-olds on Wednesday evening in the forest stage can be difficult to understand in Berlin said. That he mystically managed to create a unique moment, but that was premised already: the nine-member band comes dressed as black as a funeral society, on stage, and follows as Cohen light step and mind, is convinced the audience already. The applause, as the surges appear more like a premium-exposure to the climax of the concert. But it is still light, the pathos of the text is not yet immersed from the moon light into the dizzy, and the sometimes very pleasing arranged music sometimes has a bit of Muzak - as a dignified old men's ballad, which no one hurt and are gently and slowly own condition turns like a smug, dull sigh. But in the course of the evening means the suggestive power of these songs, it is the sum of depths of the tomb voice, lyrical folk-like simplicity and sophistication. And by the beginning of the second concert part one senses something of the immense presence of the Frauenanbeters Cohen, where he worked by himself with his three backup singers "Tower of Song," "Suzanne" and "Sisters of Mercy celebrated, sometimes like kneeling in prayer, the hat as a humble sinner before the audience moves, while keeping smiles modestly as one who has much of the homage to them but yet to enjoy even more intense way.

Cohen's charisma seems to age even to have increased: his loyal fans he hung on the lips, many of whom may have placed the first album "Songs of Leonard Cohen" at the release date in 1968 on the turntable, and it is truly a touching sight to see mid-seventies at the song "Hallelujah sing" softly, hold hands or hold a lighter in the air. Cohen leaves that night none of his "hits" from - there are songs that long ago entered the canon of American music, have long eingetriggert into the collective memory. "First we take Manhattan then we take Berlin" as a second encore this summer's must not be missing. The word "Berlin", however, is lost in the frenzied cheers of the spectators.










Berlin, Germany

ENGLISH VERSION.

Leonard Cohen bringt die Waldbühne ins Schwelgen

Morgenpost - August 19, 2010 by Peter E. Müller (Photo: picture-alliance/ dpa/dpa)

Mit 75 Jahren tourt Leonard Cohen wieder - auch weil er das Geld braucht. Doch selten erlebten 12.000 Fans in der Berliner Waldbühne ein Konzert von solcher Emotionalität, solcher Endgültigkeit, solcher Wahrhaftigkeit. Und das mehr als drei Stunden lang.

Am Ende geschieht etwas Wunderbares. Sechs Zugaben haben Leonard Cohen und seine Band schon gegeben. Und dann kommt nach dreieinhalb Stunden jener Song, den er nur allzu selten live spielt, das Stück, das ihm 1974 seinen einzigen deutschen Top-Ten-Hit beschert hatte: "Lover Lover Lover". Eine Ballade, die wie ein leichtes Liebeslied daherkommt und auch meist so verstanden wird, obwohl sie doch die Konflikte eines Gläubigen mit Gott zum Inhalt hat. Er spielt den Song selten, aber hier, am Mittwochabend in der mit rund 12.000 Besuchern gefüllten Waldbühne, ist er das Finale eines überwältigenden Konzerts mit einem der bewegendsten Songpoeten unserer Tage. Und das Amphitheaterrund vibriert vor Enthusiasmus und Dankbarkeit.

Seit zwei Jahren ist Leonard Cohen nun wieder auf Tournee. Im September wird er 76 Jahre alt und er hat, auch wenn die Umstände zunächst nicht glücklich waren, den Weg zurück zu seinem Publikum gefunden. Als er sich Mitte der 90er-Jahre in das buddhistische Mount Baldy Kloster in Kalifornien verzog, schien er für das irdische Entertainment endgültig verloren. Doch seine Managerin und zeitweilige Lebensgefährtin hat in dieser Zeit der Meditation sein ganzes Vermögen durchgebracht, seine Altersversorgung war dahin. Mehr als fünf Millionen Dollar, so heißt es. Alles weg. Leonard Cohen brauchte Geld, um seinen Lebensabend zu finanzieren. So profan waren die Gründe für seine Wiederkehr. Doch hatte der infame Raubzug der falschen Freundin letztlich auch etwas Gutes. Denn selten erlebt man heutzutage ein Konzert von solcher Emotionalität, solcher Endgültigkeit, solcher Wahrhaftigkeit.

COHEN NENNT PUBLIKUM "MEINE FREUNDE"

Es ist das dritte Berlin-Gastspiel, das Cohen und seine exzellente Band nun im Rahmen dieser Tournee geben. Das Programm ist nahezu identisch mit dem in der O2 World 2008 und 2009. Und doch hat auch dieser Abend in der Waldbühne etwas Einzigartiges, ja Ergreifendes. Hier geht es geht immer um das letzte Mal, um Abschied, um Verzicht, um den Zwist mit dem Dasein und den Kampf gegen die Resignation - aber auch um Hoffnung. "Meine Freunde" nennt er sein Publikum immer wieder und verneigt sich geradezu ehrfurchtsvoll, vor den Fans, vor den Musikern, vor den Liedern.

Der Bohemien, der sich im New York der 60er Jahre im Umfeld von Andy Warhols Factory herumtrieb, der exzessiven Trinker und Frauenheld, der seine Affären zu Liedern und Gedichten verschlüsselte, der Gottsucher, der sein Heil im Buddhismus fand, ist zu einem große weisen Mann gereift, der nachfolgende Musikergenerationen animiert und inspiriert hat. Er vereint Kinder, Eltern und Großeltern vor sich, wenn er einem Prediger gleich all seine großen Erfolge in feinsinnigen Arrangements singt. Mit "Dance Me To The End Of Love" beginnt der Songreigen, jenem vom Holocaust inspirierten Lied, das von der Liebe, die den Tod überdauert erzählt. "Bird On A Wire" „So Long, Marianne", „Take This Waltz", "Who By Fire", „First We Take Manhattan (Then We Take Berlin)", „Famous Blue Raincoat", „Suzanne" - es sind Jahrhundertsongs, die der Popmusik etwas von ihrer Beliebigkeit genommen und ihnen Würde verliehen haben.

VON ENGELSSTIMMEN VEREDELT

Cohen, im dunklen Anzug, mit Hut und Bolo-Tie um den grauen Kragen, hat spürbar Spaß inmitten seiner Musik, er tänzelt, geht auf die Knie, zieht immer wieder seinen Hut, und lächelt. Er kann sich bei seinem musikalischen Hochamt auf eine großartige Band verlassen. Sein langjähriger Weggefährte, der Bassist Roscoe Beck, ist musikalischer Leiter des Unternehmens. Der bluesbeseelte Gitarrist Bob Metzger ist wieder dabei. Der Spanier Javier Mas spielt mit andalusischem Flamenco-Flair Laute und Zwölfsaitige, Neil Larsson die schwere Hammond-B3-Orgel, Saxofonist Dino Soldo und Schlagzeuger Rafael Gayol komplettieren die Band, die von drei wunderbaren Engelsstimmen veredelt wird: von der soulstarken Sharon Robinson, die auch Ko-Autorin etlicher Cohen-Songs ist, und von den himmlischen Webb-Schwestern Charley und Hattie, die im Zugabenteil mit einer bewegenden Version von Cohens "If It Be Your Will" Gänsehaut provozieren.

LIEDER FÜR DIE EWIGKEIT

Schriftsteller zu sein war sein Ziel. Etliche Bücher mit Lyrik und Prosa hat Cohen veröffentlicht, das erste Buch „Let Us Compare Mythologies" erschien bereits 1955. Doch erst nachdem 1968 mit „Songs of Leonard Cohen" die erste LP erschienen war, begann sich eine neugierige Hippie-Generation auch mit dem literarischen Werk zu beschäftigen, wie dem 1964 erschienenen Gedichtband „Rosen für Hitler" oder dem kryptischen Roman „Das Lieblingsspiel". Leonard Cohen war im laut aufbegehrenden Rockgeschäft der rebellische, grüblerische, fragende Gegenpol. Und er schuf Lieder, die für die Ewigkeit gemacht sind, Volkslieder im besten Sinne.

Cohensongs sind Erinnerungssongs. An frühe Liebschaften, an gefährliche Nächte, an Enttäuschungen, die ein einziges Lied lindern konnte. Jeder hier im Publikum hat seinen ganz speziellen Cohentitel im Herzen. Und der Meister singt sie alle, mit tiefer, angerauter Stimme, mit gütiger Geste, mit einem weisen Leuchten im Blick. Ab und zu wandelt sich die Gottesdienst-Atmosphäre, wenn beispielsweise bei "First We Take Manhattan" ein rockiger Dance-Beat durch die Waldbühne rattert und - das gibt es wahrscheinlich nur in dieser Stadt - Tausende Stimmen den Refrain "Then We Take Berlin" mitsingen. Cohen nimmt es sichtlich erfreut zur Kenntnis.

Bei "Hallelujah" schwelgt die ganze Walbühne

Bei "Hallelujah", diesem mit biblischen Elementen spielenden Lovesong, fügt Cohen wieder die Zeile „I didn't come all the way to Berlin to fool you" ein. Es ist eines seiner meist gecoverten Stücke, es gibt Versionen von John Cale, Jeff Buckley, Rufus Wainwright, Bob Dylan, ja sogar Berlins Wir sind Helden hatten "Hallelujah" im Repertoire. Hier schwelgt die ganze Waldbühne, Wunderkerzen flimmern, alles singt andächtig mit. In der vordergründigen Leichtigkeit schwingt jedoch immer eine in Moll getönte Schwermut mit. Denn Cohen erzählt in seinen klugen Beobachtungen vor allem auch von der Endlichkeit allen Lebens, von Rückschlägen, Bedrohungen, von Ängsten. Wie in "The Future", wo es heißt: „Gebt mir die Berliner Mauer zurück, gebt mir Stalin und Paulus, Ich habe die Zukunft gesehen, Brüder, sie ist mörderisch."

Man kann dem verehrungswürdigen alten Mann gar nicht genug dafür danken, dass er sich den Strapazen einer so lang andauernden Welttournee aussetzt. Dass er wieder live auf der Bühne steht und an seiner großen Kunst teilhaben lässt. Als Leonard Cohen nach "Lover Lover Lover" abtritt, hat das tatsächlich etwas Endgültiges. Im lang anhaltenden Applaus schwingt auch die Hoffnung mit, dass er noch möglichst oft zurückkehren möge. Hallelujah!








Translated by Google Translate

Leonard Cohen brings the stage into the forest Revel

Morgenpost - August 19, 2010 by Peter E. Müller (Photo: picture-alliance/ dpa/dpa)

With 75 years of Leonard Cohen is touring again - also because he needs the money. But rarely saw 12,000 fans in Berlin's forest stage a concert with such emotion, such finality, such truthfulness. And more than three hours.

In the end, something wonderful happens. Six encores Leonard Cohen has been given, and his band. And then after three and a half hours of that song he all too often live only plays the piece that in 1974 Germany's only Top Ten hit brought had its him, "Lover Lover Lover." A ballad, a light love song comes along and how also generally understood to be a believer even though it conflicts with God has to content. He plays the song often, but here, on Wednesday evening in the forest with around 12,000 visitors filled stage, he is the finale of a vast concert with one of the most moving song poets of our day. Amphitheaterrund And that vibrates with enthusiasm and gratitude.

For two years, Leonard Cohen now back on tour. In September he is 76 years old and it has, even if the circumstances were not happy at first, way back to his audience found the. When he was mid-90s in the Mount Baldy Buddhist monastery in California withdrew, he seemed for the earthly Entertainment permanently lost. But his manager and temporary partner at this time of meditation has squandered his fortune, his pension was gone. More than five million U.S. dollars, so they say. All gone. Leonard Cohen needed money to finance his retirement. Such profane were the reasons for his return. But friend had the infamous raid of the wrong, ultimately, something good. Because we rarely experienced today a concert by such emotion, such finality, such veracity.

COHEN CALLS AUDIENCE "MY FRIENDS"

It is Berlin-third guest appearance, the Cohen, and his excellent band through the tour now give. The program is almost identical to that in the O2 World in 2008 and 2009. And yet even this evening in the forest stage something unique, so pathetic. It is always about the last time to say goodbye to surrender to the quarrel with the existence and the struggle against the resignation - but also about hope. "My friends," he calls his audience again and again and bowed almost reverently, before the fans, before the musicians, in the songs.

The bohemian, to New York in the 60s in the environment of Andy Warhol's Factory roamed in the excessive drinker and womanizer, the affairs of songs and poems encrypted his, the seeker of God, of salvation in Buddhism found its is to a great wise man , animated and subsequent generations of musicians has inspired matured. It brings children, parents and grandparents before him, when he a preacher like his great successes in subtle arrangements all sing. With "Dance Me To The End Of Love" begins the song dances, Holocaust that inspired the song of love that survives death, told the. "Bird on a Wire", "So Long, Marianne", "Take This Waltz," "Who By Fire," "First We Take Manhattan (Then We Take Berlin)", "Famous Blue Raincoat," "Suzanne" - there are century songs, pop music and made something of arbitrariness to them their dignity have given the.

REFINED BY ANGEL VOICES

Cohen, in a dark suit, with hat and bolo-tie at the gray collar, has felt fun in the middle of his music, he dances, going to his knees, pulls his hat again and smiling. He can his musical High Mass on a great band to leave. His longtime companion, bassist Roscoe Beck is the musical director of the company. The bluesbeseelte guitarist Bob Metzger is at it again. The Spaniard Javier Mas played with Andalucian Flamenco Flair sounds and twelve string, Neil Larsson the heavy Hammond B3 organ, sax player Dino Soldo and drummer Rafael Gayol complete the band, the wonderful angel voices grafted is three out of, from the soulstarken Sharon Robinson, the also co-author of several Cohen songs, and of the heavenly Webb Sisters, Charley and Hattie, in the encore with a stirring version of Cohen's "If It Be Your Will" provoke goose bumps.

SONGS FOR ETERNITY

Writer was to be his goal. Several books of poetry and prose published by Cohen, the first book "Let Us Compare Mythologies" was released early as 1955. But only after 1968 Songs of Leonard Cohen "the first album released was" with, Generation began a curious hippie with the literary work to employ, such as the 1964 published book of poetry "Roses for Hitler" or the cryptic novel, "The Favorite" . Leonard Cohen was loudly protesting Rock business, the rebellious, brooding, questioning counterpoint. And he created song that ever made are for, popular songs, in the best senses.

Cohensongs are memory songs. An early love affairs, dangerous at nights, to disappointments, the song could alleviate a single. Everybody in this audience has its own special Cohentitel in the heart. And she sings all of the masters, in a low, roughened voice, kind gesture, with a light show at a glance. Now and then converts the worship atmosphere, where for example, "First We Take Manhattan" is a rocking dance beat, the forest stage clatters through and - it is probably only in this city - thousands of voices to the chorus, "Then We Take Berlin sing" . Cohen takes it visibly pleased to note.

In "Hallelujah" revels all Walbühne

In "Hallelujah", this biblical elements playing with Love Song, Cohen adds back the line "I did not come all the way to Berlin to fool you one." It is one of his most gecoverten pieces, there are versions of John Cale, Jeff Buckley, Rufus Wainwright, Bob Dylan, and even Berlin We are heroes had 'Hallelujah' in the repertoire. Here revels all the forest stage, sparklers flickering, all sung with reverence. In the superficial ease, however, swings in a tinted melancholy minor with forever. For Cohen tells in his shrewd observations, above all, of the finitude of life, of setbacks, threats, fears. As in "The Future", which states: "Give me back the Berlin Wall, give me Stalin and St Paul, I've seen the future, brother, it is murderous."

One can venerable old man was not enough to thank the one that he is the strain such a lengthy world tour exposes. That he again live on stage and great art can share. As Leonard Cohen for "Lover Lover Lover" cedes to actually have something definitive. In the prolonged applause which resonates with hope also that he may still possible to return often. Hallelujah!










Gent, Belgium

Set List - August 20, 2010

Per Winterblossom on The Leonard Cohen Forum

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
The Darkness
Born In Chains
Chelsea Hotel
Waiting For The Miracle
Anthem

Second Set

Tower Of Song
Suzanne
Sisters Of Mercy
Gypsy Wife
Feels So Good
The Partisan
Boogie Street
Hallelujah
I'm Your Man
Take This Waltz

Encores

So Long, Marianne
First We Take Manhattan
Famous Blue Raincoat
If It Be Your Will
Closing Time
I Tried to Leave You










Gent, Belgium

Set List - August 21, 2010

Per Maarten on The Leonard Cohen Forum

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
The Darkness
Born In Chains
Chelsea Hotel
Waiting For The Miracle
Anthem

Second Set

Tower Of Song
Suzanne
Sisters Of Mercy
Gypsy Wife
Feels So Good
The Partisan
Boogie Street
Hallelujah
I'm Your Man
Take This Waltz

Encores

So Long, Marianne
First We Take Manhattan
Famous Blue Raincoat
If It Be Your Will
Closing Time
I Tried to Leave You
Heart With No Companion










Gent, Belgium

Set List - August 22, 2010

Per Winterblossom on The Leonard Cohen Forum

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
The Darkness
Born In Chains
Chelsea Hotel
Waiting For The Miracle
Anthem

Second Set

Tower Of Song
Suzanne
Sisters Of Mercy
Gypsy Wife
Feels So Good
The Partisan
Boogie Street
Hallelujah
I'm Your Man
Take This Waltz

Encores

So Long, Marianne
First We Take Manhattan
Famous Blue Raincoat
If It Be Your Will
Closing Time
I Tried to Leave You
Heart With No Companion










Gent, Belgium

ENGLISH VERSION.

Leonard Cohen: een avondje magie

Nieuwsblad - August 21, 2010 by Ann Braeckman (Photo: Dominique Dierick)

GENT - 'Leonard Cohen is een oude zaag', dacht ik en zei ik zelfs luidop op de redactie toen het nieuws ons bereikte van zijn optredens in Gent. 'Laat mij daar toch niet naar toe moeten gaan', zuchtte ik. Groot was mijn verbazing dan ook toen vrijdagavond opeens bleek dat ik de man wel moest aanhoren. Een avondje Pukkelpop doorboord, een 'kweler' in de plaats. Waar had ik het aan verdiend. Edoch, vooraleer ik hier een lading fans over mijn hoofd krijg: ik was jong, onbezonnen en zat er helemaal naast: Leonard Cohen is een klassebak, een kwieke man van 76 die me op één avond wist te veroveren.

Vooreerst wil ik me een beetje veilig stellen vooraleer ik verder schrijf. Verwacht u niet aan een klassieke recensie van de volledige show. Daarvoor waren we te laat, het nieuws gooide andermaal roet in onze planning, en we arriveerden pas bij het tweede deel. Ten tweede, zijn oeuvre is me niet bekend. Bij elk nummer probeerde ik te achterhalen wat de songtitel was, sla me niet dood als ik er dan toch eens naast zit. Ten derde, ik genoot en daar wil u graag deel van laten uitmaken, meer niet.

Leonard Cohen is een poëet. Zijn teksten zijn pareltjes, zijn bindteksten daarentegen zijn van minder niveau. Pas op, de man is beleefd, dankbaar, maar hij richt zich zelden tot zijn publiek, al connecteert hij, m.i., dan weer wel via zijn muziek, die rechtstreeks mijn ziel en wellicht ook die van vele anderen beroerde.

Soit, bij 'Suzanne', het tweede nummer van deel twee, overviel ons een eerste vlaag van herkenning en voelde ik al meteen: dit komt goed. Cohen weet een unieke sfeer te creëren tijdens zijn optredens wist men mij te vertellen. 'Zal wel', dacht ik, 'maar andermaal: de fans hebben gelijk: it simply feels good.

Voorts was het ons niet opgevallen, maar toen daarna bij 'Sisters of Mercy' de videoschermen weer aansprongen reageerde het publiek plotseling (goedkeurend) rumoerig. Goed ook voor mij, dan kon ik de man, die voor mij ergens ver weg op het podium stond, ook eens nader aanschouwen.

Betovering

'The Gypsy's Wife', 'Feel So Good', 'The Partisan' en 'Boogie Street' zijn allen voor mij onbekende nummers, maar terwijl ik anders, als ik zijn muziek hoor bij familie_ ja, ik heb een fan in de familie, een hardnekkige zelfs_ vraag om dat gezaag af te zetten wist Cohen me ook hier te overtuigen. Lag het aan de warmte en de magie op het Sint-Pietersplein. Ik weet het niet, maar ontroeren deed hij. Waakt Sint-Pieter zelf over Cohen, ik betwijfel het, maar toen hij daarna 'Hallelujah' inzette, moest ik toch even slikken. Kippenvel bij zoveel moois. Het mag ook nog tussendoor even gezegd worden: de zwarte dame die 'Boogie Street' zong: ferm!

Goed, over naar de hits. 'Hallelujah' was het eerste nummer in een lange rij van 'zing eens allen ingetogen mee', daarna gevolgd door 'I'm Your Man en 'Take this Waltz', waarbij we zelfs één koppeltje ontwaarden die de daad bij het woord voegden.

Onder luid applaus verliet Cohen daarna het podium om het daarna, onder nog heviger applaus, alras en met een drafje opnieuw te bestijgen en aan te vatten met 'So Long Marianne', meteen gevolgd door 'First we take Manhattan' and than we take 'Sint-Pietersplein', and he did.

Einde bisronde 1, vrijwel onmiddellijk gevolgd met bisronde twee waarin 'Famous Blue Raincoat' en 'If it be your Will', straf trouwens die geweldige, fijne, zweemzoete samenzang van 'The Webb'-zusjes. Met 'Closing Time' denk je, voor een leek, nu is het gedaan, het is voorbij, hij houdt het voor bekeken, maar voor je 't goed en wel beseft danst (!! voor een 76-jarige mogen we dat een dansje noemen) Cohen opnieuw het podium op en zegt hij simpelweg en o ironie: 'I tried to leave you', wat meteen op gelach wordt onthaald bij het publiek, maar ook het begin blijkt van de gelijknamige song, de allerlaatste van de set. Om 23.33 uur sluit Cohen af en maak ik me de bedenking: schitterend concert, damn it's already over...

I 'll hope you're satisfied', horen we in zijn laatste song. Wel: we are. Meer zelfs: de heer Cohen kwam, zag en overwon mijn hart, en dat kunnen er niet veel zeggen...RESPECT!






Translated by Google Translate

Leonard Cohen: an evening of magic

Nieuwsblad - August 21, 2010 by Ann Braeckman (Photo: Dominique Dierick)

GHENT - "Leonard Cohen is an old saw," I thought and I even said aloud in the newsroom when news reached us of his performances in Ghent. "Let me there would not have to go," I sighed. Great was my surprise therefore when suddenly Friday showed the man that I have had to listen. A night Pukkelpop pierced a kweler 'instead. Where did I deserve. And yet, before I load a fan on my head: I was young, brash, and there was all wrong: Leonard Cohen is a klassebak, a dapper man of 76 that made me one evening medal.

First, I want a little more secure before I write. Do not expect a classic review of the entire show. Before we were late, the news once again threw a spanner in our planning, and we have arrived at the second part. Secondly, his work is not known me. With every song I tried to figure out what was the song title, strike me dead if I still have two. Thirdly, I enjoyed it and would like to form part of, not more.

Leonard Cohen is a poet. His lyrics are gems, however, have suggested texts are less level. Beware, the guy is polite, grateful, but he rarely addresses his audience, if he connects, mi, turn it through his music, my soul directly and perhaps also that of many others touched.

Anyway, with 'Suzanne', half the number of part two, we came upon an initial flurry of recognition and I immediately felt: this is good. Cohen knows a unique atmosphere at his performances was known to tell me. 'Will do', I thought, "but again, the fans are right: it simply feels good.

Furthermore, we have not noticed, but then later with "Sisters of Mercy" video screens suddenly aansprongen responded publicly (approvingly) noisy. Good for me, then I could see the man for me somewhere far away on stage, including a closer sight.

Enchantment

"The Gypsy's Wife," "Feel So Good," "The Partisan" and "Boogie Street" are all unknown to me songs, but while I was different, as I have music heard in familie_ yes, I have a fan in the family, zelfs_ a persistent demand for power to turn off that Cohen knew me here to convince. Was it the warmth and magic in St. Peter's Square. I do not know, but he did move. Watch yourself on St. Peter Cohen, I doubt it, but when he then 'Hallelujah' bet, I needed to swallow. Goosebumps so many beautiful things. It should also be said here in between, the black lady "Boogie Street" sang firmly!

Well, after the hits. "Hallelujah" was the first song in a long line of "sing something with all modesty ', then followed by 'I'm Your Man, "Take this Waltz", where we sensed even a couple who joined the action to the word. To thunderous applause after Cohen left the stage for the later, under more intense applause, and soon a trot again and climb to start with "So Long Marianne", immediately followed by "First we take Manhattan" and Than we take " St. Peter's Square, " and he did.

Bisronde an end, almost immediately followed by two bisronde which "Famous Blue Raincoat 'and' If It Be Your Will", punishment is to these great, nice, sweet singing cast of 'The Webb'-sisters. With "Closing Time" you think for a layman, now it's done, it's over, he considers it looked, but you do it very well aware dances (! for a 76-year-old that we can dance call) Cohen again on stage and says he simply and ironically: "I Tried to Leave You," which is immediately welcomed by the audience laughter, but also shows the beginning of the same song, the last of the set. To Cohen closes 23.33 hours, and I am the reflection: great concert, damn it's Already Over ...

I'll hope you're Satisfied ", we hear his last song. However, we are. In fact: Mr. Cohen came, saw and conquered my heart, and can not say much ... RESPECT!










Gent, Belgium

ENGLISH VERSION.

Leonard Cohen geeft schitterend concert op Sint-Pietersplein Gent

Sterren Nieuws - August 21, 2010 by Robert Van Goolen

De Canadese singer-songwriter Leonard Cohen gaf gisteravond de kick-off voor 3 uitverkochte concerten op het Gentse Sint-Pietersplein. Stipt om 20u00 begon hij aan zijn strakke set. De zanger die reeds 76 jaar is geworden, was al een paar keer in ons land, maar Gent kreeg nog nooit de eer hem te verwelkomen.

Leonard Cohen groette eerst het publiek en nam hierbij zijn typerende hoed in zijn handen. Hij opende zijn set met het nummer 'Dance me to the end of love'. Het beloofde een schitterende avond te worden en dat werd het dan ook met zijn grootste hits gebundeld.

Leonard Cohen zakte exclusief voor de Benelux naar Gent af. De man concerteert graag op historische lokaties. Zo was hij al te gast op het San Marco-plein (Venetië), het IMMA/Royal Hospital Kilmainham (Dublin) en op de Piazza Napoleone (Lucca). Het heraangelegde Sint-Pietersplein is nu de volgende locatie in deze indrukwekkende lijst voor een schitterend openluchtconcert.

Cohen staat nog 2 keer op de planken in Gent: vanavond zaterdag 21 augustus en morgen zondag 22 augustus. Kaarten zijn niet meer beschikbaar, want elk concert is uitverkocht.

  









  

  





  

  

  



  







Translated by Google Translate

Leonard Cohen gives great concert at St. Peter's Square Gent

Sterren Nieuws - August 21, 2010 by Robert Van Goolen

The Canadian singer-songwriter Leonard Cohen last night gave the kick-off for three sold-out concerts at the Ghent Saint-Peter's Square. Promptly at 8:00 p.m. he began his tight set. The singer already has become 76 years, had been a few times in our country, but Ghent was never the honor to welcome him.

Leonard Cohen first greeted the audience and took this are typical hat in his hands. He opened his set with the song "Dance Me to the End of Love". It promised a wonderful evening and that was it bundled with his greatest hits.

Leonard Cohen fell exclusively for the Benelux to Ghent. The man performs like on historic sites. So he was a guest at the Piazza San Marco (Venice), the IMMA / Royal Hospital Kilmainham (Dublin) and the Piazza Napoleone (Lucca). The redesigned St. Peter's Square is the next location in this impressive list to a magnificent outdoor concert.

Cohen is still two times on stage in Ghent: Saturday, August 21 tonight and tomorrow, Sunday, August 22. Tickets are no longer available, because every concert is sold out.










Gent, Belgium

ENGLISH VERSION.

Leonard Cohen: 'Beter dan in Antwerpen en Brussel'

Nieuwsblad - August 21, 2010 by Ann Braeckman/Dominique Dierick

GENT - 'Een machtige avond, een schitterend concert, een warme sfeer, een unieke setting'. De commentaren over het eerste concert van Leonard Cohen in Gent waren unaniem lovend. 'Een avond om in te kaderen', aldus Monique 'en wie weet heeft Gent dat misschien wel een beetje aan mij te danken.'

'Vorig jaar overhandigde ik na het concert in Antwerpen aan de entourage van Cohen een viertalig prachtig boek over Gent', vertelt Monique. Ik had het graag persoonlijk afgegeven, maar dat lukte niet. Daarom schreef ik ook een boodschap in het boek dat ik hem graag eens in Gent wou zien optreden. Wie weet bracht hem dat wel op het idee om hier zijn enige optredens dit jaar in de Benelux te verzorgen.' (lacht)

Monique genoot van het concert. 'Ik woonde de afgelopen jaren zijn optredens bij in Brussel, Brugge en Antwerpen en het concert in Gent mag zeker tippen aan dat van Brugge. Ik herinner me nog goed dat het toen de ganse dag onweerde en regende en ik vreesde voor een aflasting, maar gelukkig vond het concert toch plaats.

Toen Cohen met zijn set begon, scheen de zon en werd de hemel gekleurd met een mooie regenboog. Schitterend. Het Gentse concert evenaart die ervaring. Er heerste een warme sfeer op het Sint-Pietersplein, echt geweldig. Voor zaterdag heb ik geen tickets, maar zondag ga ik opnieuw en ditmaal vanop de eerste rij. Ik kijk er al naar uit.'

Ook de jonge Gentenaars, Pascal (23) en Frederiek (24) Coens beleefden een intense avond. 'We leerden de muziek kennen via onze ouders', stelt Pascal. 'Live is Cohen echter nog sterker, een charismatisch man met een schitterende stem.'






Translated by Google Translate

Leonard Cohen: "Better than in Antwerp and Brussels'

Nieuwsblad - August 21, 2010 by Ann Braeckman/Dominique Dierick

GHENT - "A mighty evening, a brilliant concert, a warm atmosphere, a unique setting. The comments about the first concert of Leonard Cohen in Ghent were unanimous praise. "A night to frame," says Monique, "and who knows, maybe a little Ghent that to thank me."

"Last year I handed over after the concert in Antwerp's entourage Cohen a wonderful book about Ghent four languages," says Monique. I had personally issued but could not. So I wrote a message in the book that I would like to see action in Ghent wanted. Who knows but that gave him the idea to have some gigs this year in the Benelux to care. " (laughs)

Monique enjoyed the concert. "I lived the last years his performances in Brussels, Bruges, Antwerp and Ghent in the concert must surely rival that of Bruges. I remember well that when it thundered and rained all day and I feared for a aflasting, but luckily the concert took place anyway.

When Cohen began his set, the sun was shining and the sky was colored with a beautiful rainbow. Brilliant. Ghent concert equals experience. There was a warm atmosphere in St. Peter's Square, really great. I do not have tickets for Saturday, but Sunday I go again and this time from the front row. I look forward to it. "

The young people of Ghent, Pascal (23) and Fred Riek (24) Coens experienced an intense evening. "We learned from our parents know the music," says Pascal. "Cohen Live is still stronger, a charismatic man with a beautiful voice."










Gent, Belgium

ENGLISH VERSION.

Leonard Cohen @ Sint-Pietersplein, Gent

Knack Focus - August 21, 2010 by Stijn Tormans

Leonard Cohen is niet alleen een muzikaal fenomeen. Toen hij drie jaar geleden in het Brugse Minnewaterpark optrad dachten we: dit moet de laatste keer zijn. De man is ondertussen 75 maar heeft er duidelijk nog zin in. Intussen heeft hij maar liefst vier keer in België opgetreden en - mocht hij vandaag of morgen niet doodvallen - zes keer. Het lijkt wel alsof hij aan een soort never-ending tour bezig is. En het vreemde is: elke keer meer volk op het appel. Vreemd toch, omdat hij keer op keer dezelfde setlist brengt.

Vrijdagavond was het Gentse Sint-Pietersplein - de locatie die een Cohen-concert nodig heeft - tot de nok toe gevuld: de avondzon deed haar best, en er zat magie in de lucht. Cohen kwam op zonder een noot te zingen maar kreeg van de voorste rijen al een eerste ovatie - en er zouden er nog vele volgen.

De man hoeft natuurlijk niets meer te bewijzen. Hij stelde een paar nieuwe nummers voor in Gent: Born in Chains - dat hij bijna volledig aan zijn zangeressen overliet - en Feels So Good, een in cynisme gedrenkt nummer dat alle ingrediënten heeft om een Cohen-klassieker te worden.

Toch waren het vooral de oude nummers die het concert memorabel maakten. The Partisan en Famous Blue Raincoat: onvergetelijk! Dit was de oude Cohen, die ongegeneerd knopen in zielen legde. Na drie jaar onafgebroken touren hebben de bekende nummers zowaar nog meer aan kracht gewonnen. Who By Fire, If it be your will, The Future, Sisters of Mercy... stuk voor stuk overstegen ze hun studioversie.

'We are ugly, but we have the music', zong hij Chelsea Hotel#2. In september wordt er een nieuwe live-cd uitgebracht - na Live in Londen is het de tweede op twee jaar tijd. Hopelijk gaat hij daarna werk maken van de nieuwe plaat die hij al zo lang aankondigt.

Moge de never-ending tour zijn naam waarmaken: de achtste keer dat Cohen naar België komt, kopen wij weer dapper een kaart. So long, mr. L. Cohen.








Translated by Google Translate

Leonard Cohen @ St. Peter's Square, Ghent

Knack Focus - August 21, 2010 by Stijn Tormans

Leonard Cohen is not only a musical phenomenon. When he was three years ago in Bruges Minnewaterpark occurred we thought this should be the last time. The man is now 75 but still has a clear feel. Meanwhile, he has no fewer than four times in Belgium and acted - he could drop dead today or tomorrow - six times. It seems like he kind of a never-ending tour is in progress. And the strange thing is every time more people at the apple. How strange, because every time he brings the same setlist.

Friday night was the Ghent Saint-Peter's Square - the site that requires a Cohen concert - filled to the rafters: the evening sun did her best, and there was magic in the air. Cohen came on to sing without a note from the front row but got a first ovation - and many more would follow.

The man obviously does nothing to prove. He proposed a few new songs in Ghent: Born in Chains - he almost completely on his singers did - and Feels So Good, a song drenched in cynicism that has all the ingredients for a Cohen classic.

Yet it was the old songs that made the concert memorable. The Partisan, and Famous Blue Raincoat: unforgettable! This was the old Cohen, who unceremoniously put knots in souls. After three years of relentless touring have actually known songs even more strengthened. Who by Fire, If It Be Your Will, The Future, Sisters of Mercy ... piece by piece over at their studio versions.

"We are ugly, but we Have the music," he sang Chelsea Hotel # 2. In September, a new live CD released - Live from London was the second time in two years. Hopefully he will then introduce the new record he has long been announced.

May the never-ending tour to make its name: the eighth time that Cohen to Belgium, we buy a card back bravely. So long, Mr. L. Cohen.










Gent, Belgium

ENGLISH VERSION.

Hoedje af voor Leonard Cohen

De Standaard - August 21, 2010 by Bart Van Belle

De Canadese singer-songwriter Leonard Cohen stond vrijdagavond voor het eerste van drie uitverkochte concerten op het Gentse Sint-Pietersplein. Met de Sint-Pietersabdij als decor bracht Cohen er een bloemlezing uit zijn omvangrijke oeuvre.

Sinds Cohen drie jaar geleden opnieuw begon te toeren, kiest hij geregeld voor bijzondere locaties. Zo stond hij de voorbije jaren nog op het San Marco-plein in Venetië en speelt hij volgende week een concert aan de voet van de Santa Croce in Firenze. Het Sint-Pietersplein in Gent mag dan wel niet van hetzelfde kaliber zijn, dankzij de locatie én de aangename zomeravond, hing er magie in de lucht.

Wie Cohen al aan het werk zag tijdens zijn passages in ons land in 2008 (Cactus en Vorst Nationaal) of 2009 (Sportpaleis), kreeg min of meer hetzelfde concert voorgeschoteld. Tot de (schaarse) bindteksten toe.

Niemand die het Cohen kwalijk neemt. Drie uur lang weet Cohen te boeien: zonder franjes, zonder vuurwerk en zonder spectaculaire lichtshow. Een prachtige stem en een stapel wereldsongs volstonden om het Sint-Pietersplein diep te raken.

Stipt om acht uur stapte Cohen het podium op. Net als de zanger zat ook de rest van de band keurig in het pak. Een warme applaus rolt van de tribunes. Cohen neemt de staande ovatie in zijn gekende stijl in ontvangst: hoed af en buigen naar het publiek. Cohen speelt een gewonnen match, zoveel is duidelijk.

De bard trakteert het publiek met Dance me to the end of love meteen op een klassieker. Na The Future en Ain't no cure for love, zorgde Bird on the wire voor een eerste kippenvelmoment. Zelden zagen we een publiek zo stil en geconcentreerd genieten van een concert.

Jammer dat tientallen mensen, ondanks de communicatie van de organisatie omtrent het aanvangsuur, toch te laat kwamen en mensen stoorden terwijl ze een plaatstje zochten. Onbegrijpelijk dat een aantal mensen de serene sfeer stoorden door voortdurend af en aan te lopen met bier en frieten. Alsof Cohen niet meer dan achtergrondmuziek was.

Tijdens In My Secret Life gaat een koppeltje aan het slowen. En tijdens Who by fire neemt Cohen voor het eerst de gitaar ter hand. Net op het moment dat de laatste zonnestralen op de Sint-Pietersabdbij stralen zet Cohen The Darkness in. Tijdens Born in Chains gaat Cohen een duel aan met zijn backing zangeressen.

Het publiek zit erbij en kijkt ernaar. In stilte. Geconcentreerd. De teksten van Cohen zijn dan ook stuk voor stuk pareltjes. Bij momenten heeft het iets sacraal. 8.000 mensen die zien hoe een stel topmuzikanten zich met oprechte passie door een set worstelen die ze de voorbije jaren tientallen keren hebben gespeeld.

Na Waiting for the miracle neemt Cohen voor het eerst het woord. Een uitgebreide publieksbedanking gaat naadloos over in Anthem, het laatste nummer voor de pauze. Tijdens dat nummer stelt Cohen ook zijn band voor. Ook dat is haast poëzie.

Cohen geniet duidelijk nog van elk moment op het podium. Van de topmuzikanten én stemmen die hem omringen. Wanneer iemand aan het soleren gaat, neemt de aimabele Cohen de hoed af en kijkt bewonderend toe.

Na de pauze laat Cohen de band even op stal voor Tower of Song en Suzanne. Tijdens dat nummer vallen de grote schermen even uit, maar dat euvel raakte snel opgelost. Het concert kabbelde rustig voort en kreeg pas meer vaart bij The Partisan, duidelijk één van de publieksfavorieten. Voor de eerste keer die avond stampt het publiek op de tribunes met de voeten. Eén van de hoogtepunten van de avond.

Na Boogie Street (gezongen door Sharon Robinson), gaat Cohen door de knieën voor Hallelujah, een song die ontelbare keren gecovered werd, maar zelden zo doorleefd gebracht wordt als door de grootmeester zelve. Een aantal mensen in het publiek neemt Take This Waltz letterlijk en doet voor de tribunes een walsje. En ook op een tribunes zelf wordt er heen en werd gewiegd.

So long Marianne, het eerste nummer van de bisronde, is het eerste meezingmoment van de avond. Ook het disco-achtige First We Take Manhattan wordt enthousiast onthaald door de fans. Cohen gaat zelfs al dansend het podium af.

Tijdens de tweede bisronde is het moment van de zusjes Webb aangebroken. De zusjes, door Cohen ook met een grapje geïntroduceerd als verantwoordelijk voor de acrobatie tijdens zijn show, begeleiden zichzelf op harp en gitaar tijdens If it Be Your Will.

Na Closing Time lijkt het echt over, maar Cohen komt nog een keer terug voor I Tried To Leave You. Een deel van het publiek verlaat de tribunes en neemt plaats voor het podium. Cohen stelt een allerlaatste keer zijn band voor en neemt dan voor de allerlaatste keer zijn hoedje af. Absolute wereldklasse.

  







Translated by Google Translate

Hat off to Leonard Cohen

De Standaard - August 21, 2010 by Bart Van Belle

The Canadian singer-songwriter Cohen was Friday night for the first of three sold-out concerts at the Ghent Saint-Peter's Square. With Saint Peter as the backdrop Cohen brought a selection from his extensive oeuvre.

Since three years ago, Cohen began to tour again, he chooses arranged for special sites. So he stood still in recent years on the San Marco Square in Venice next week and he plays a concert at the foot of the Santa Croce in Florence. St. Peter's Square in Ghent may well not of the same caliber, its location and the pleasant summer evening, was magic in the air.

Cohen who is already working saw during his passages in our country in 2008 (and Cactus National Forest) or 2009 (Sports Palace), was more or less the same concert presented. To the (rare) binding text.

No one will forgive Cohen. Three hours to captivate Cohen knows: no frills, no fireworks and no spectacular light show. A beautiful voice and a stack of world songs were enough to St. Peter's Square deeply touching.

Promptly at eight hours Cohen stepped onto the stage. Like the singer was also the rest of the band neatly in the suit. A warm applause rolls from the stands. Cohen takes the standing ovation in his usual style reception: hat and bowing to the audience. Cohen is playing a game, that much is clear.

Treats the audience with the Bard Dance Me to the End of Love immediately a classic. After The Future and Ain't No Cure for Love, Bird on the wire led to a first magical moment. Rarely, we saw an audience so quiet and focused and enjoy a concert.

Too bad that dozens of people, despite the communication of the organization about the start, too late and people were disturbed while they sought a plaatstje. Understand why some people are disturbed by the serene atmosphere that constantly and to run with beer and chips. As if Cohen had no more than background music.

At In My Secret Life is a couple to slow. And while Cohen Who By Fire takes for the first time the guitar. Just when the last sun rays on St. Pietersabdbij put Cohen in The Darkness. Born in Chains is Cohen during a duel with his backing singers.

The audience sits there and looks up. In silence. Concentrated. The lyrics of Cohen are thus each, they boast. At times there is something sacred. 8,000 people who see a bunch of musicians are sincere passion with which they struggle through a set of recent years have played dozens of times.

After Waiting for the Miracle Cohen takes the first word. A comprehensive publieksbedanking integrates seamlessly in Anthem, the last song before the break. Cohen also suggests that number during his band for. That is almost poetry.

Cohen clearly still enjoys every moment on stage. The musicians and voices that surround him. If someone is going solo, the amiable Cohen hat and looks amused.

Cohen leaves after the break the band here at the barn for Tower of Song and Suzanne. While that number includes the big screens here, but that evil became quickly resolved. The concert flowed quietly and was only speeding at The Partisan, clearly one of the audience favorites. For the first time that evening the audience stomps on the bleachers with their feet. One of the highlights of the evening.

After Boogie Street (sung by Sharon Robinson), Cohen goes through the knees of Hallelujah, a song that was gecovered countless times, but rarely lived as charged by the grand master himself. Some people in the public, Take This Waltz and literally doing a waltz for the stands. And one stands on itself and has previously been rocked.

So Long Marianne, the first number of the bisronde is the first sing-along moment of the evening. The disco-like First We Take Manhattan is enthusiastically welcomed by the fans. Cohen even goes dancing off stage. During the second bisronde is the moment of the Webb sisters arrived. The sisters, by Cohen also introduced as a joke responsible for acrobatics during his show, accompanying himself on harp and guitar during "If It Be Your Will.

After Closing Time seems to really, but Cohen is back again for I Tried To Leave You. Part of the audience leaves the stands and take place on the podium. Cohen suggests one last time his band and take over for the last time his hat off. Absolutely world class.










Gent, Belgium

ENGLISH VERSION.

Gent draagt Leonard Cohen op handen

Nieuwsblad - August 23, 2010 by Dominique Dierick (Photo: Dominique Dierick)

GENT - Van alle singer-songwriters is hij ongetwijfeld de meest charmante. En superpopulair: Leonard Cohen (bijna 76) gaf dit weekend liefst drie uitverkochte concerten in Gent.

De Canadees met de fluwelen stem liet het Gentse Sint-Pietersplein drie keer vollopen. Wie geen ticket had kunnen bemachtigen, nestelde zich op terrassen in de buurt, beklom daken met zicht op het podium of hield een picknick op straat, gewoon luisterend naar de meester.

'Ik weet niet wanneer ik nog eens naar Gent zal komen, maar ik kan jullie verzekeren: vanavond gaan we alles geven wat we in huis hebben.' Zo klonken zaterdagavond de openingswoorden van de Canadese bard. En hij hield woord: Cohen en zijn band brachten het publiek meer dan drie uur in vervoering. Hij opende met Dance me to the end of love, gevolgd door het donkere The Future, een bijna profetische stomp in de maag. Een mooie jongedame naast me - Cohen heeft fans van alle leeftijden - zong daarna zachtjes het refrein van Ain't no cure for love mee. Mooi, maar dan toch liever de Webb Sisters, twee van de drie backing zangeressen van Cohen. Ze mochten later in de set even op de voorgrond treden voor If it be your will.

Net voor de pauze stelde Cohen op poëtische wijze de band voor. Hij hield daarbij beleefd zijn hoed in de handen, iets wat de man wel vaker doet om het publiek te bedanken. Zijn charmante glimlach en pretoogjes blijven daarbij ontwapenend. Na de pauze kregen we met Suzanne, Hallelujah, I'm your man en Take this waltz duidelijk meer tempo voorgeschoteld. Bij de eerste noot van The Partisan begon het publiek luid met de voeten te stampen. Voeg daarbij een dreigend wolkendek en je krijgt een absoluut kippenvelmoment. Cohen sloot af met een trits bisnummers - zaterdag eentje meer dan vrijdag - waaronder So Long Marianne en First we take Manhattan. Meer dan veertig jaar na zijn debuut staat de man er nog steeds.

  








Translated by Google Translate

Gent wearing Leonard Cohen on his hands

Nieuwsblad - August 23, 2010 by Dominique Dierick (Photo: Dominique Dierick)

GHENT - Of all the singer-songwriters, he is undoubtedly the most charming. And super popular: Leonard Cohen (almost 76) gave up three sold-out concerts this weekend in Ghent.

The Canadian with the velvet voice had the Ghent Saint Peter's Square three times flooding. Who could not get tickets, nestled on terraces in the area, climbed rooftops overlooking the stage and held a picnic on the street, just listening to the master.

"I do not know if I ever will come to Ghent, but I can assure you: Tonight, we give everything we have to offer." So Saturday night sounded the opening words of the Canadian bard. And he kept his word: Cohen and his band brought the audience into raptures over three hours. He opened with Dance Me to the End of Love, followed by the dark The Future, an almost prophetic punch in the stomach. A beautiful young lady next to me - Cohen fans of all ages - then softly sang the chorus of Is not No Cure for Love them. Beautiful, but still prefer the Webb Sisters, two of the three backing singers from Cohen. They were later in the set just to the fore on "If It Be Your Will.

Just before the break put Cohen in a poetic way the band. He kept taking his hat politely hands, something the man so often does to the public thanks. His charming smile and friendly eyes remain while disarming. After the break we got with Suzanne, Hallelujah, I'm your man and Take this waltz rhythm more clearly presented. At the first note of The Partisan began the public starting with the feet stomping. Add to that a menacing cloud and get an absolutely magical moment. Cohen finished with a triad encores - one more Saturday than Friday - including So Long Marianne and First we take Manhattan. More than forty years after his debut is still the man.












Gent, Belgium

ENGLISH VERSION.

Genieten van Leonard Cohen zonder ticket

Nieuwsblad - August 23, 2010 by Dominique Dierick (Photo: Dominique Dierick)

GENT - 24.000 mensen konden een ticket bemachtigen voor de concerten van Leonard Cohen op het Gentse Sint-Pietersplein. Wie er geen had, probeerde dan maar op een andere manier een graantje mee te pikken. Een terras, de straat of een dakraam, het kwam allemaal in aanmerking voor een zitje klank zonder beeld - al boden de grote videoschermen wel soelaas. Martine Vandenkerckhove fietste rond het plein en bracht onderstaand videofilmpje mee. Gezien het aantal compactcamera's en gsm's op het plein zelf, zal u allicht een ruim aanbod van concertvideo's vinden op YouTube.



  







Translated by Google Translate

Enjoy Leonard Cohen without ticket

Nieuwsblad - August 23, 2010 by Dominique Dierick (Photo: Dominique Dierick)

GHENT - 24,000 people could get a ticket for the concert of Leonard Cohen at the Ghent Saint-Peter's Square. Who had none, but then tried another way to ride a piece. A terrace, street or a skylight, it was all qualify for a seat without a sound picture - all the big video screens have offered solace. Martine Vanden Kerckhove cycled around the square and took the following video clip along. Given the number of compact cameras and mobile phones on the square itself, you will probably a large selection of concert videos found on YouTube.










Gent, Belgium

ENGLISH VERSION.

Minister-president woonde samen met echtgenote optreden Leonard Cohen bij

Nieuwsblad - August 23, 2010 by Dominique Dierick

GENT - Zelfs een Vlaams minister-president heeft nood aan ontspanning. Samen met zijn echtgenote woonde Kris Peeters zaterdag het concert van Leonard Cohen bij op uitnodiging van Lieven Decaluwe, de Gentse schepen van Cultuur. Die uitnodiging werd gretig aangenomen want de minister-president had achter het net gevist bij de ticketverkoop. Zowel Peeters als zijn echtgenote zijn fans van de Canadese singer-songwriter. Mevrouw Peeters kocht in haar jeugd nogal wat langspeelplaten van Cohen.

Na het concert was Kris Peeters zeer te spreken over de sfeer op het Sint-Pietersplein: 'De klankweergave is fantastisch op dit plein, ik heb er echt van genoten! En wat een stem heeft die man toch. Ik wil Gent van harte proficiat wensen met dit concert op deze prachtige, sfeervolle locatie.'

Gevraagd naar de hoogtepunten van het concert moet de minister-president niet lang nadenken: "Suzanne en First we take Manhattan." De Vlaamse first lady is zo mogelijk nog enthousiaster: "Hoogtepunten? Het was één groot hoogtepunt."

Ook Cohen moet genoten hebben van zijn Gentse concerten, want hij gaf voor zijn entourage zaterdag nog een privéfeestje in het nabijgelegen Geuzenhuis.






Translated by Google Translate

Prime Minister's wife lived with Leonard Cohen in action

Nieuwsblad - August 23, 2010 by Dominique Dierick

GHENT - Even a Flemish Prime Minister is in need of relaxation. Together with his wife Kris Peeters attended Saturday's concert at the invitation of Leonard Cohen Decaluwé Lieven, Ghent ships of Culture.

That invitation was eagerly accepted as the prime minister had been caught behind the net in ticket sales. Both Peeters and his wife are fans of Canadian singer-songwriter. Ms Peeters bought a lot in her youth LP Cohen.

After the concert was Kris Peeters praised the atmosphere in St. Peter's Square: "The sound playback is great on this square, I really enjoyed it! And what a voice this man anyway. I want to congratulate warmly Ghent with this concert at this beautiful, attractive location. "

Asked about the highlights of the concert, the Prime Minister not long thinking: "First we take Manhattan, and Suzanne." The Flemish first lady is even more enthusiastic: "Highlights? It was a big highlight."

Cohen also must have enjoyed his concert in Ghent, for he gave his entourage for a private party Saturday in nearby Geuzenhuis.










Gent, Belgium

ENGLISH VERSION.

Leonard Cohen betovert Gent

De Standaard - August 23, 2010 by Bart Van Belle (Photo: Pieter Morlion)

GENT - Leonard Cohen stond het voorbije weekend voor drie uitverkochte concerten op het Gentse Sint-Pietersplein. Hij bracht er een drie uur lange bloemlezing uit zijn omvangrijke oeuvre.

Van onze redacteur

Sinds de Canadese singer-songwriter Leonard Cohen drie jaar geleden opnieuw begon te toeren, is de setlist nauwelijks veranderd. Veel verrassingen had de bard dan ook niet in petto voor de fans die Cohen de voorbije jaren al zagen in Brugge, Antwerpen of Vorst. Al stonden er wel drie nieuwe songs op het programma: het religieus getinte 'Born in chains', het gitzwarte 'The darkness' en 'Feel so good' (een verwijzing naar zijn voormalige manager/vrouw die er met al zijn geld vandoor ging).

Toen Cohen stipt om acht uur op het podium stapte, bleek meteen dat de man een gewonnen match speelde. De oude meester nam de staande ovatie die hem te beurt viel dankbaar in ontvangst: hoed af en buigen naar het publiek.

De opener 'Dance me to the end of love' zette meteen de toon voor de rest van de avond en eens te meer bleek dat de 76-jarige zanger ondanks (of is het dankzij?) de leeftijd nog geniet van elk moment op het podium.

Cohens verleden als dichter bleek niet alleen uit de prachtige teksten, zelfs de bandvoorstelling vlak voor de pauze was haast pure poëzie. De man heeft zich omringd met een stel topmuzikanten, die net als hun meester keurig in het pak zaten. Hij eerde hen niet alleen woordelijk, maar gunde elk bandlid ook zijn moment. Op die momenten cijferde Cohen zichzelf weg en keek hij genietend toe. Tijdens 'Boogie Street' liet hij de zanglijn zelfs aan de achtergrondzangeres Sharon Robinson en nam hij zelf de achtergrondzang voor zijn rekening.

Een concert van Cohen is een bijzondere ervaring. Niet alleen omdat de kansen om Cohen aan het werk te zien, beperkt worden. Maar bovenal omdat hij het publiek elke keer weer diep weet te raken. De 24.000 fans die Cohen het voorbije weekend aan het werk zagen, trokken alvast huiswaarts met de verheugende vaststelling dat er nog artiesten zijn die drie uur kunnen boeien. Zonder vuurwerk of special effects. Met niets meer dan een prachtige stem en een stapel wereldsongs. Hoeveel artiesten van dit kaliber lopen er nog rond?

Leonard Cohen, gezien op 20/8 in Gent.








Translated by Google Translate

Leonard Cohen charms Ghent

De Standaard - August 23, 2010 by Bart Van Belle (Photo: Pieter Morlion)

GHENT - Leonard Cohen was the last weekend for three sold-out concerts at the Ghent Saint-Peter's Square. He spent a three hours long pieces from his extensive oeuvre.

From our editor

Since the Canadian singer-songwriter Leonard Cohen three years ago began to tour again, the setlist has hardly changed. Bard had many surprises in store, therefore not for the fans who saw Cohen in recent years in Bruges, Antwerp or Frost. Though there are three new songs on the program: the religiously tinged "Born in chains, jet-black 'The Darkness' and' Feel so good" (a reference to his former manager / wife out there with all his money ran off).

As Cohen pointed to eight hours on stage stepped showed immediately that the man won a match played. The old master took him standing ovation Wariner bait: hat and bowing to the audience.

The opener "Dance Me to the End of Love" set the tone for the rest of the evening and once again showed that the 76-year-old singer despite (or is it due?) Age still enjoy every moment on stage.

Cohen's past as a poet was not only the beautiful lyrics, even the band show just before the break was almost pure poetry. The man has surrounded himself with a bunch of musicians who, like their master sat neatly in the suit. He did them not only verbally, but each member also awarded its moment. At those times cijferde Cohen herself away and looked to enjoy. During "Boogie Street" he's singing line to even the backup singer Sharon Robinson and took his own background vocals.

A concert of Cohen is a special experience. Not only because the opportunity to work with Cohen to see reduced. But most of the audience because he knows every time deeply touching. Cohen, the 24,000 fans who over the weekend to work saw allready home with the pleasing conclusion that there are artists who can captivate three hours. Without fireworks or special effects. With nothing more than a beautiful voice and a stack of world songs. How many artists of this caliber, there are still around?

Leonard Cohen, as seen on 20 / 8 in Gent.










Gent, Belgium

ENGLISH VERSION.

Leonard Cohen, Sint-Pietersplein Gent

Cutting Edge - August 23, 2010 by Steven Raeman (Photo: Kris Kellens)

Hey, that's a hell of a way to say goodbye

ag daar opgetogen over zijn. Sinds hij in 2008 uit financiële noodzaak besloot om weer op te treden, heeft hij reeds vele malen België aangedaan. Voor de jongere lezers: Leonard Cohen is een zanger die bij de allergrootste (niveau Johnny Cash, Marvin Gaye) kan worden ingedeeld. Het moet een imposant getal zijn, het aantal huwelijken dat een Cohen-song als openingsdans had. Om nog maar te zwijgen over het aantal begrafenissen waar zijn troostende stem nodig was. Conclusie: Leonard Cohen heeft zich in het hart genesteld van menig individu op sleutelmomenten in het leven.

Ondergetekende was er ook bij die historische avond in het Minnewaterpark in Brugge toen grootmeester Cohen voor de eerste keer zijn fans weerzag. Dat concert blijft het beste dat ik ooit heb mogen aanschouwen en dus was er (on)gegronde vrees dat de magie misschien doorbroken zou worden.

Leonard Cohen tekende voor drie avonden na elkaar present op het authentieke Sint-Pietersplein in Gent. Het was de eerste keer dat daar een optreden georganiseerd werd en dit mag best voor herhaling vatbaar zijn. Het was een voltreffer. Wij waren op zondagavond aanwezig, het laatste concert van de reeks. De geluidsmix was werkelijk perfect afgesteld. Qua sound was dit concert waarschijnlijk beter dan in Brugge.

De criticus heeft altijd nog opmerkingen. De setlist was bijna volledig dezelfde gebleven. Bijvoorbeeld de eerste zeven nummers, van 'Dance me to the end of love' tot 'Who by the fire', waren een kopie van 2008. Ook de (overigens uitstekende) gelaagde grapjes waren dezelfde: 'I didn't came to Gent/Brugge just to fool you' (in 'Halleluja'), 'I've tried to leave you' als een van de laatste nummers na een set van vier uur. Toen hij echter in dat nummer 'The years go by, don't they' zong, was dat natuurlijk wél een mooie knipoog. Het is detailkritiek. Mensen die Cohen voor de eerste keer live aan het werk zagen, hadden daar geen last van.

Bovendien waren we zeer opgetogen dat klassiekers als 'Famous blue raincoat' en 'The partisan' wél op de setlist terecht waren gekomen. De mandoline van fenomeen Javier Mas zorgde er mee voor dat dit laatste nummer een feilloos hoogtepunt van de avond was.

De batterij (ras)muzikanten en achtergrondzangeressen zijn Leonard Cohen ook al die tijd trouw gebleven. De manier waarop ze op elkaar ingespeeld zijn, zorgt letterlijk voor tal van kippenvelmomenten. De meester geeft ze ook alle erkentelijkheid om hun talent te tonen.

'Boogie street' werd deze keer door Sharon Robinson solo gebracht en werd dankbaar gesmaakt. 'If it be your will' was een spiritueel moment onder die imposante Sint-Pietersabdij en de manier waarop de Webb-zusjes het nummer brachten. Vier uur lang was het zweven en stil genieten. Ook een visuele blijver is het oudere echtpaar voor mij tijdens 'Chelsea hotel'. Toen Leonard zong 'You told me again you preferred handsome men but for me you would make an exception' playbackte de echtgenoot dit nadrukkelijk naar zijn grinnikende eega.

Limburg had dit weekend Pukkelpop, Antwerpen zijn Duiker en Reuzin maar Gent had Leonard Cohen. Hulde!








Translated by Google Translate

Leonard Cohen, Sint-Pietersplein Gent

Cutting Edge - August 23, 2010 by Steven Raeman (Photo: Kris Kellens)

Hey, that's a hell of a way to say goodbye

Leonard Cohen must have something in our country and Belgium, there are excited about. Since 2008 he decided to return from financial necessity to act, he has many times visited Belgium. For younger readers: Leonard Cohen is a singer who with the greatest (Level Johnny Cash, Marvin Gaye) can be classified. It should be an impressive number, the number of marriages that a Cohen song as the opening dance had. Not to mention the number of funerals where his soothing voice was needed. Conclusion: Leonard Cohen, nestled in the heart of many individuals at key moments in life.

The undersigned was there on that historic night in the Lake of Love in Bruges when GM Cohen for the first time fans weerzag. That remains the best concert I have ever witness, and so there was (un) reasonable fear that the magic might be broken.

Leonard Cohen was responsible for three nights in succession present at the original St. Peter's Square in Ghent. It was the first time that there was an organized action, and this can best could be repeated. It was a hit. We were there on Sunday, the last concert of the series. The sound mix was actually perfectly aligned. In terms of sound, this concert was probably better than in Bruges.

The critic has always comments. The setlist was almost entirely the same. For example the first seven songs, from "Dance Me to the End of Love" to "Who By The Fire" had a copy of 2008. The (otherwise excellent) layered jokes were the same: "I did Came to Ghent / Bruges just to fool you ' (in 'Hallelujah'), 'I've Tried to Leave You "as one of the last numbers after a Set of four hours. When he learned that the song "The years go by, Do not They" sang, that was obviously a nice twist. The detail is critical. People who Cohen for the first time live at work saw had no problems with it.

Moreover, we were delighted to classics like "Famous Blue Raincoat and The Partisan 'or on the setlist came. Mandolin phenomenon Javier Mas made sure that with the latter song a highlight of the evening was flawless.

The battery (race) musicians and background singers are Leonard Cohen even then remained faithful. The way they have responded to each other, will literally for many goosebump moments. The master gives them all to acknowledge their talent show.

"Boogie Street" by Sharon Robinson, this time solo and introduced gratefully appreciated. 'If It Be Your Will "was a spiritual moment below that imposing St. Peter's and the way the Webb sisters, brought the song. Four hours was the float and still enjoy. Also a visual stayer is the older couple to me during 'Chelsea Hotel'. Leonard then sang "You told me again you preferred handsome one but for me Would you make an exception" playbackte husband emphatically that his grinning wife. Limburg had this weekend, Pukkelpop, Antwerp, Gent Diver and giant but was Leonard Cohen. Congratulations!










Gent, Belgium

Blogs and Other Fan Reports

Blog & Photos - "Gentblogt" - "Leonard Cohen embraces Ghent"
"We were spoiled and embraced by a whole set of beautiful songs... Leonard danced through the night with us, through love and grief, hope and loss for over three hours and left us after a lavish farewell with a warm feeling."


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