Tour Reviews and Other Memories from
LEONARD COHEN WORLD TOUR Summer 2009

July 11, 2009
Weybridge, UK
Mercedes Benz World

 Set List for July 11
HELLO! photo
Youtube
July 14, 2009
Liverpool, UK
Echo Arena

 Set List for July 14
Liverpool Echo review & photo
NME article & photo
Liverpool Echo review
Champion Newspaper review
Youtube
July 16, 2009
Langesund, Norway
Langesund Festival

 Set List for July 16
ABC Startsiden AS review & photo
Dagbladet.no review & photo
Varden.no review & photos
Verdens Gang AS review & photo
Telemarksavisa photos
Telemarksavisa review & photo
Youtube
Notes with photo
July 17, 2009
Molde, Norway
Jazz Festival

 Set List for July 17
Spjelkavika.no review & photos
Side 2 review & photos
Sunnmørsposten review & photos
Dagbladet review & photo
Puls review
Sunnmørsposten article & photo
Adresseavisen AS review & photo
Romsdals Budstikke review & photos
Youtube





Previous
Köln/Cologne, Germany
Berlin, Germany
Antwerp, Belgium
Nantes, France
Paris, France
Toulouse, France

Next Page
Dublin, Ireland
Belfast, Northern Ireland
Lisbon, Portugal
Léon, Spain
Venice, Italy








Weybridge, UK

Set List - July 11, 2009

Per Andy Barnes and John Etherington 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
Heart With No Companion
Democracy
Anthem

Second Set

Tower Of Song
Suzanne
Sisters Of Mercy
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
Whither Thou Goest










Weybridge, UK

Legendary crooner Leonard Cohen wows a wind-swept crowd in England

HELLO! - July 13, 2009 (Photo: Getty Images)



As he took to the stage at Mercedes Benz World in Weybridge, southern England, on a wet and blustery evening over the weekend, veteran crooner Leonard Cohen thanked the roaring audience.

The night was opened by Suzanne Vega, who also celebrated her 50th birthday on the night and said in a prior interview: "I think of it as a kind of birthday present... even if it wasn't my birthday".

Meanwhile the 74-year-old singer is set to travel northwards and play at Liverpool's Echo Arena on Tuesday night.








Liverpool, UK

Set List - July 14, 2009

Per commonweal 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
Heart With No Companion
Waiting For The Miracle
Anthem

Second Set

Tower Of Song
Suzanne
Sisters Of Mercy
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
Whither Thou Goest










Liverpool, UK

SUMMER POPS REVIEW: Leonard Cohen performs at Liverpool's ECHO arena

Liverpool Echo - July 15, 2009 by Jo Kelly (Photo: Getty Images)

WHEN I told my taxi driver he was taking me to see Leonard Cohen, he came out with the familiar criticism of: "That's music to slash your wrists to."

As a smiling 74-year-old Cohen skipped on to the Liverpool ECHO arena stage to explode into a version of Dance Me to the End of Love, he was far from depressing.

Wearing a smart black suit, buttoned-up grey shirt and his iconic hat, Cohen often kneeled, singing with his face down and eyes closed. Cradling his microphone between two frail hands he seemed to be more a man worshipping than simply singing hits.

Perhaps the most religious moment came during his performance of Hallelujah. The care with which he shaped, uttered and offered each word gave the song a sacred, prayer-like quality which softly wrenched it far above its X-factor pop cover.

Cohen shook with passion, wringing out, "Love is not a victory march" and never broke out of his trance as he jokingly altered a famous line to, "I didn't come to Liverpool to fool you."

During I'm Your Man, he sniggered before lifting his hat to reveal his face and changing "I'll wear a mask for you" to "I'll wear an old man's mask for you." He may ache in the places where he used to play but as he flirts with the audience, there are echoes of the young charmer he was famous for being.

Although my favourite Cohen song, Chelsea Hotel # 2, was missing, classics including Famous Blue Raincoat, Suzanne, Marianne and First We Take Manhattan found their way on to the playlist.

Collaborator Sharon Robinson took centre stage for Boogie Street as did the Webb Sisters for a haunting rendition of If It Be Your Will, which Cohen started by speaking the first lines without music.

He shared his spotlight with the musicians on stage, often slinking into the darkness, hat in hand, while they crafted solos on a myriad of instruments from guitars to bandurrias and keyboards to the chromatic harmonica.

Song after song flowed until we thought Closing Time had brought the night to an end only for him to jokingly follow it up with I Tried to Leave You.

As he brought the song to its final words, "And here's a man still working for your smile" I remembered my taxi driver's criticism. Cohen humbly works for the audience's smile and seems almost relieved when he completely achieves it.

DEMONSTRATORS campaigned outside the Echo Arena Liverpool calling for Cohen to cancel his forthcoming gig in Israel.

As the crooner performed at the venue, up to 35 Palestine solidarity activists spoke out against the 74-year- old’s Tel Aviv concert in September.

Cohen has responded to the criticism by scheduling a performance for a Palestinian audience, in Ramallah.








Liverpool, UK

Leonard Cohen plays huge Liverpool show

NME - July 15, 2009 (Pic: Guy Eppel)

Legendary singer provokes several standing ovations

Leonard Cohen what could be his last-ever UK tour date last night (July 14) with a three-hour gig at the Liverpool Echo Arena.

Jogging onto the stage, the 74 year-old singer-songwriter opened with 'Dance Me To End of Love' in a greatest hits set that saw several standing ovations.

Backed by a six-piece band and three backing singers, Cohen introduced his band twice with such titles as the "prince of precision" for drummer Rafael Gayol and the "maestro of breath" for saxophone player Dino Soldo.

On second song 'The Future', the Webb Sisters, two of Cohen's backing singers, did cartwheels during the line, "and the white girls dancing", while on 'Hallelujah' he provoked huge cheers when he changed a line to sing: "I didn't come to Liverpool to fool you".

After the 15-minute interval, he resumed with 'Tower of Song' which had him laughing when he sang: "I was born like this, I had no choice, I was born with the gift of a golden voice", an ironic reference to his gravelly vocal tones.

The crowd remained respectfully quiet for the majority of the set, but perked up on 'First We Take Manhattan' by clapping along.

He closed the set with the fitting 'Closing Time', co-written with backing singer Sharon Robinson, before coming back on to play the tongue-in-cheek 'I Tried To Leave You' to another round of rapturous applause...

The gig was only his second UK date of his European tour, after playing the Mercedes-Benz World in Surrey last week (July 11).








Liverpool, UK

Leonard Cohen review: Arrival of a ladies man at the Echo arena

Liverpool Echo - July 15, 2009 by Marc Waddington

WHERE music is concerned, the term “legend” is bandied around a bit too much for my liking. But where Leonard Cohen is concerned, forget the Beatles and Elvis – he’s right up there with King Arthur.

With a voice like he’s just been exhumed from a deep grave of whiskey and cigarettes, Cohen is one of those who most of the uninitiated greet the name of with some witty jibe about his greatest hits being called “Now that’s what I call suicide” or some other such jape.

But no, at last night’s ECHO Arena Summer Pops outing, Cohen was about as summery as you’re going to get.

He may be ageing, he may be looking like a cross between Tony Bennett and Leonard Nimoy these days, but he is still quite energetic for a man who by rights should have been drawing his pension for nearly a decade.

At 74, Cohen cuts a mysterious figure. Having, it appears, joined the elite of Van Morrison and Bob Dylan and all other ageing troubadours who take to wearing fedoras to hide their well-earned baldness, he is by no means as backwards in coming forwards where the audience is concerned.

In fact, he regularly engaged with the audience in that famous, deep Canadian drawl like a priest presiding over his congregation.

And he turned it to good effect when layered over the top of one of the tightest bands to be seen at the Arena for some time. While some of us may prefer to hear the likes of Bird on a Wire and Suzanne rendered just with Cohen’s voice and acoustic guitar, the treatments of his oldies were sympathetic and understated, although the tempo was pretty much the same for every number.

Most of the old favourites were there, including the recently butchered Hallelujah and So Long, Marianne, interspersed with some more recent numbers which showed that no matter how old you get, if music is in your blood, you never run dry of inspiration.

If any songwriter and musician deserved to be referred to as a poet, Cohen is that man, and if anyone deserved the respect and adulation of a Liverpool crowd this summer, again, he is that man.

OK, so he is often interpreted as morose, but it’s all a question of perspective. At first There’s a crack in everything might sound defeatist. But qualify it with the line ‘it’s how the light gets in’, and you realise maybe Cohen is of a sunnier disposition than most of us.

Still Cohen strong: 9/10








Liverpool, UK

Review: Leonards the man

Champion Newspaper (Sefton & West Lancashire) - July 15, 2009 by Paul Nenna

Leonard Cohen at the Liverpool Echo Arena - 14.07.09

Over the years Leonard Cohen has acquired various acronyms , such as “Laughing Len”, “The Godfather of Gloom” and ” the Grocer of Despair”. Last year saw the return to stage of an artist in his mid 70’s, after a near 15 year sabbatical.

This was due in part to the financial ruin that his manager allegedly left him in whilst Cohen was dealing with the small matter of becoming Zen Buddhist monk. However I was given the distinct impression that the audience in the arena were grateful of the opportunity to see the artist regardless of the circumstances. Outside the concert there was a relatively small protest group using placards inscribed with Cohen’s song titles urging him not to play Israel due to the Gaza situation.

Cohen arrived on stage shortly after the band to a rapturous reception kicking off proceedings with “Dance Me to the End of Love”. The second song “The Future” had the 3 female backing singers perform a cartwheel after the line “see the white girls dancing” which caused the audience to applaud widely. “Bird on a Wire” resulted in cheering before and thanks to a pause in the proceedings, during and after the song. “In My Secret Life” was followed by what can only be described as an acoustic axe solo, whilst Len took a break from proceedings.

He finished the first set by introducing the band with compliments ranging from indispensable and incomparable to maestro, at the same time he removed his hat and bowed to each. He then spoke to the audience about how fortunate we were not to be living in different circumstances, to more desperate situations occurring around the world, perhaps aware of the protest outside. He then offered advice regarding staying in hotel rooms with magnifying mirrors stating that you should never use them if your over 11 years of age, as someone who has a similar profile to Mr Cohen, it is wise advice. He then skipped off the stage like a 10 year old.

After the interval Cohen produced a keyboard for the “Tower of Song” joking that he was not very good with the equipment. He played three notes and was greeted with applause, which in turn brought a wry smile. When he sang the line “I Was Born with a Golden Voice” he was greeted with cheers and whistles which caused him to appear to laugh, though it can be hard tell. “I’m Your Man” followed with ”Hallelujah” where he managed to insert the line “didn’t come to Liverpool just to fool you” again this brought about more rapturous applause and several more standing ovations.

The audience appeared to cover all spectrum of age groups and were more reverential to the great man than many other concert audiences would be to other live artists and appeared to hang on his every word. Although the majority of the audience knew the songs nobody sang or danced, preferring to listen and absorb his words or just mouth the lyrics softly.

There was a brief interlude by the backing singers Sharon Robinson and the two Webb sisters, who in turn sang respectively “Boogie Street” ,and “If It Be Your Will” beautifully , Cohen had previously described them as “angels” and they certainly sang like celestial beings.

Afterwards, Leonard Cohen attempted to finish the set however he received several standing ovations every time he tried to leave he stage, he completed 3 encores, each one involving him skipping off the stage.

His final song appropriately enough was “I Tried to Leave You” which also contains the line “I hope you are satisfied”. Previous hints had been attempted with the song “Closing Time” and even him stating to the audience that he did not wish to keep everyone all night because of train schedules and people needing to get home etc did not deter. In fact I was under the impression that the audience would have walked swam or even contemplated the Cohen skip home if he wished to play through the night and into the morning.

The audience, however, dispersed at the final song grateful to have had the opportunity to see one of the few singing poets. Bob Dylan is possibly his only comparable in this sense.

However the difference is that Dylan is angry about situations in life where as Cohen is emotive and passionate about humanity no matter how dark the feelings and disturbing that subject matter may be.

Over the years Cohen has been unappreciated by the masses and in terms of fellow Canadians probably registers lower in popular culture than Bryan Adams and Celine Deon, this concert and others on his World Tour though should readdress this obvious error and bring his music to a wider audience.








Langesund, Norway

Set List - July 16, 2009

Per Anne Riise

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
Waiting For The Miracle
Anthem

Second Set

Tower Of Song
Suzanne
Sisters Of Mercy
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
Whither Thou Goest










Langesund, Norway

ENGLISH VERSION.

Gamlefar imponerer fortsatt

ABC Startsiden AS - July 17, 2009 by Tom Skjeklesæther (Foto: Scanpix)

Molde Jazzfestival kan glede seg.



LANGESUND (ABC Nyheter): Værgudene viste seg med upåklagelig musikksmak da Leonard Cohen (75 år i september) valset innom lille Langesund, under sitt andre norgesbesøk i den svært omfattende comebackturneen som sangeren og poeten har blitt tvunget ut på.

Alle som bryr seg om Leonard Cohen og hans musikk er kjent med at kanadieren ble frastjålet sine oppsparte pensjonspenger av sin egen manager, mens han oppholdt seg i et buddhistisk kloster i California.

Men en mann av Cohens kaliber lar seg ikke vippe av pinnen av slike jordiske fortredeligheter. Om han ikke synger, knelende foran sin spanske bandurriaist (strengeinstrument), trio av korister eller lett foroverbøyd, ned i mikrofonen, smiler han hele tiden fra øre til øre.

Da han etter tre timer og to minutter (inkludert en kort pause) takker sitt norske publikum for å ha holdt interessen for sangene hans i live i mange, mange år føles det som genuin takknemmelighet, ikke bare showbiz-smisking.

- Krystallklar tydelighet

I motsetning til sine sammenlignbare størrelser i låtskriverfaget, Bob Dylan, Bruce Springsteen og Neil Young, er Cohens presentasjon av musikken preget av forutsigbarhet og krystallklar tydelighet. Således er programmet i Langesund i liten grad annerledes enn det han bød på i Oslo i fjor sommer og som kom på konsert CD/DVD-en «Live In London» tidligere i år.

Bandet er også det samme, med Cohen-veteraner som Bob Metzger (gitar, steel) og Roscoe Beck (bass) som bunnsolide forankringer i et lydbilde som er så velmodulert at mann innimellom tar seg i å savne en touch friksjon. Som Cohen selv synger, «There's a crack in everything, that´s how the light gets in».

Men selvfølgelig dreier det seg om å bygge opp rundt og tydeliggjøre tekster som gjennomgående er blant musikkens aller flotteste. Tekster som Cohen selv sier på ingen måte kommer lett til ham. Som er resultat av, i noen tilfeller, uendelighet av finstemt pussing.

Cohens poesi

Således er Cohens poesi ladet av setninger som kan oppfattes, tolkes, brukes, rammes inn, siteres, trykkes på t-skjorter («There is a mighty judgement coming», løftet fra sangen som kanskje er Cohens aller tyngste, «Tower Of Song»).

De er å betrakte som gamle kjente de fleste av dem, «Dance me to the end of love», misantropiske «The Future», «Ain't No Cure For Love», «Bird On A Wire» (hvorfor sørget ikke noen for en reunion av hjemfylkebandet Midnight Choir i sakens anledning?), «Everybody Knows», «Waiting For The Miracle», «Susanne», «Sisters Of Mercy», og «So Long Marianne». Den siste med sangens objekt ringside i en sommerkveld som må ha fått tankene ekstra lett til å flytte seg til sekstitallets Hydra, der Cohen «stjal» Marianne fra den norske forfatteren Axel Jensen.

Cohen skal ha sagt at karrieren hans som visesyngende poet var resultatet av en distraksjon da han på midten av sekstitallet var på vei til Nashville for å bli countrysanger. Det er ikke sikkert at det er så mange som får med seg at Cohen letter på Fleksnes-hatten(!) til denne tapte karrieren med en countryversjon av «Heart With No Companion» fra 1984-albummet «Various Positions».

Selv om Cohen har dratt den ene gigantsangen etter den andre opp av hatten (hattene er viktige symboler på denne siste (?) Cohen-turnéen, Cohen avslører at de har folk som tar seg av alle hattene, backstage), så er den siste timen, om mulig, ytterligere stinn av rockhistorie.

Mer enn ekstranummer

I forrige uke kom meldingen om at Cohen ydmykt ber om en liten pause i den globale cover-tolkingen av «Hallelujah». Et ønske som sannsynligvis skaper et delikat dilemma for den pågående turneen til platinum-karaoke-kvartetten Nilsen-Fuentes-Lind-Holm.

I Langesund tok Cohen kontroll over sangen med en autoritet som det tar steinhuggere for å få notert seg.

Andresettet avsluttes med en ekstra humoristisk «I´m your man» og «Take This Waltz», der hovedpersonen kan forlate scenen som den «song and dancemannen» han er.

Ekstranumrene fortjener alt annet enn å bli kalt «ekstra». Denne kvelden er de å betrakte som en egen konsert, først «So Long, Marianne», deretter Cohens overgang til tekno i 1988, massive «First We Take Manhatten», så sangen som er for blå for varme sommerkvelder, «Famous Blue Raincoat», «If It Be Your Will», der Cohen først bare resiterer og deretter overlater mikrofonen til koristene The Webb Sisters. «Closing Time» lurer oss, så det blir «I tried to leave you» som får oppgaven å være bandets rulletekst.

Til slutt danser Cohen av scenen, han overbeviser oss alle om at tre-kvart århundre er nothing for en mann som har kjærligheten til musikken i livet sitt.

Leonard Cohen spiller fredag under jazzfestivalen i Molde.




Translated by Google Translate

Gamlefar still impresses

ABC Startsiden AS - July 17, 2009 by Tom Skjeklesæther (Foto: Scanpix)

Molde Jazz Festival rejoice.

LANGESUND (ABC News): experience proved with flawless taste in music since Leonard Cohen (75 years in September) rolled into small Langesund, during his second visit Norway in the very extensive comeback tour as a singer and poet has been forced out of.

All who care about Leonard Cohen and his music is known that the Canadians were robbed of their own pension funds of their own manager, while he stayed in a Buddhist monastery in California.

But a man of Cohens caliber will not tilt the stick of such earthly fort called honest. If he does not sing, Knelende ahead of his Spanish bandurriaist (stringed instrument), trio of backing singers or slightly bent forward, into the microphone, he smiles all the time from ear to ear.

When he after three hours and two minutes (including a short pause) thank his audience for having kept the interest of his songs alive for many, many years it feels like genuine grateful, not only showbiz-smis king.

- Crystal clarity

In contrast to their comparable sizes in the subject songwriter, Bob Dylan, Bruce Springsteen and Neil Young, the Cohens presentation of music characterized by predictability and brilliant clarity. Thus the application of the sea in a small degree different than what he offered in Oslo last summer, and that came on the concert CD / DVD-a "Live In London" earlier this year.

The band is also the same, with Cohen-veterans as Bob Metzger (guitar, steel) and Roscoe Beck (bass) as the rock-solid foundations of a sound that is so velmodulert that the man sometimes takes him to miss a touch friction. As Cohen himself sings, "There's a crack in everything, that's how the light gets in".

But of course the aim is to build up around and to highlight the text that consistently are among music's finest. Texts that Cohen himself says in no way comes easily to him. As a result, in some cases, large universe of finstemt polishing.

Cohens poetry

Thus the Cohens poetry suggestive of phrases that can be perceived, interpreted, used, frame, quoted, printed on t-shirts ( "There is a mighty judgment coming", lifted from the song, which may be Cohens's heaviest, "Tower Of Song" ).

They are regarded as old-known most of them, "Dance me to the end of love", misantropiske "The Future," "Is not No Cure For Love," "Bird On a Wire" (not sure why some of a reunion of the home county band Midnight Choir in case the opportunity?), "Everybody Knows," "Waiting For The Miracle," "Susanne," "Sisters Of Mercy", and "So Long Marianne." The last song with the object ringside in a summertime that must have been mind extra easy to move to the sixty's Hydra, where Cohen "stole" Marianne from the Norwegian author Axel Jensen.

Cohen has stated that his view that singing poet was the result of a distraction when he is in the middle of the sixties were on their way to Nashville to be countrysanger. It is not clear that there are so many that even the Cohen letter on Fleksnes hat (!) To this lost his career with a country version of "Heart With No Companion" from 1984-albummet "Various Positions".

Although Cohen has gone one giant song after the other out of the hat (hats are important symbols of this last (?) Cohen-Tour, Cohen reveals that they have people who take care of all the hats, backstage), so is the last hour , if possible, more full of rock history.

More than the extra number

Last week came the message that Cohen humbly ask for a small pause in the global cover-interpretation of "Hallelujah." A desire that probably creates a delicate dilemma for the ongoing tour of platinum-karaoke-kvartetten Nilsen-Fuentes-Lind-Holm.

I Langesund Cohen took control of the song with an authority that it takes Steinhuggeren to get itself listed.

Other set concluded with an extra humorous "I'm your man" and "Take This Waltz", where the main character can leave the scene as the "song and dance man" he is.

Additional numbers deserve anything but to be called "extra". This evening is regarded as a separate concert, the "So Long, Marianne", the Cohens transition to technology in 1988, massive "First We Take Manhatten", as the song that is too blue for warm summer evenings, "Famous Blue Raincoat" , "If It Be Your Will", which Cohen initially only resiterer and then hands the microphone to the backing singers The Webb Sisters. "Closing Time" concerns us, so it becomes "I tried to leave you" that will have the task to be the band's credits.

Finally, Cohen dances of the scene, he convinces us all that the three-quarter century is nothing for a man who has the love of music in his life.

Leonard Cohen plays Friday during jazz festival in Molde.










Langesund, Norway

ENGLISH VERSION.

En stemme i svart hatt

Dagbladet.no - July 17, 2009 by Fredrik Wandrup (Foto: JOHN TERJE PEDERSEN)

Vakker konsert med himmelen som tak.



LANGESUND (Dagbladet) Den gamle sjarmøren Leonard Cohen svikter ikke. I sitt 75. år starter han med å invitere alle frammøtte til en helaften: «Dance Me To the End of Love». Deretter følger tre timer (med ett kvarters pause) fra Canadas store poet og sanger.

Cohens synger bare dypere og dypere. Sangene hans er tilpasset stemmen, og blir på en måte ett med dem. Supplert med et orkester på ni musikere som gjør akkurat det de er på scenen for; å understreke røsten og ordene.

Utadvendt

Leonard Cohen serverer sangene sine omtrent slik han har spilt dem inn på plate. Her er ingen gjettekonkurranse a la Bob Dylan. Og i motsetning til sin amerikanske kollega synger Cohen med en diksjon som gjør det mulig for publikum - stort sett «voksne» mennesker, men også forbausende mange unge - å høre formuleringene, både de enkle og de mer kryptiske.

I skrånende solnedgang fra venstre innleder Cohen sin vakre konsert. Sangene er stort sett velkjente; med favoritter som «Ain?t No Cure for Love», «Bird On a Wire» og «Everybody Knows» som høydepunkter i første sett. Cohen er blid og imøtekommende, takker for en varm mottakelse, forklarer at det er en stor ære å få synge i det vakre Langesund.

Chill out

Monotonien er Leonard Cohens varemerke, en gyngende, varm, virtuost enkel melodiføring. I blant kunne det høres ut som om det er Cohen som har oppfunnet chill out-sjangeren. Virkemidlene er forsiktige, lyden vel avstemt (selv om den visstnok var altfor svak for de som befant seg bakerst). Dagens forsøk på å selge sand i Sahara kom fra en fyr som stod utenfor og solgte hørselvern, meget billig etter hvert.

På det flate gressteppet var det ikke lett for alle å se scenen. En videoskjerm på høyre side hjalp, men knapt for de som sto langt bak på venstre banehalvdel. Her har arrangørene en utfordring. Men dette skal ikke Cohen svare for.

Marianne var der

Med sin svarte hatt, som han stadig tok av og på seg med elegante bevegelser, framstår Cohen som en rockens gentleman, enten han står alene med gitar og synger «Suzanne» eller han drar en kraftfull utgave av «First We Take Manhattan» - avsluttet på kne i en slags duett med sin særdeles dyktige spanske gitarist - en musiker som tilføyde flere av sangene temperament og virvlende energi.

Og selvsagt kom «Hallelujah». Cohen viste eventuelt tvilende nordmenn hvem som er kongen av denne sangen, godt supplert av høyspente innslag på orgel. I den første av i alt tre avdelinger med ekstranumre kom også en annen Norges-favoritt, «So Long, Marianne», som fikk en egen dimensjon i og med at kvinnen låta er skrevet til, Marianne Ihlen, sto og lyttet omtrent en halv meter unna i folkehavet. Mens hennes fordums kjæreste, Leonard Cohen, danset ut av scenen, smilende, grasiøst, som en Fred Astaire i sakte film.




Translated by Google Translate

A voice in the black hat

Dagbladet.no - July 17, 2009 by Fredrik Wandrup (Foto: JOHN TERJE PEDERSEN)

Beautiful concert with the sky as the ceiling.

LANGESUND (Dagbladet) The old charmer Leonard Cohen fails not. In his 75. years, he started to invite all met up at an evening: "Dance Me To the End of Love". Then follow three hours (with a minutes break) from Canada's great poet and singer.

Cohens sings only deeper and deeper. His songs are adapted to the voice, and is in a way one of them. Supplemented with an orchestra of nine musicians who do what they're on stage for; to emphasize voice and words.

Outgoing

Leonard Cohen serves their songs about the way he has played them on the plate. There is no gjettekonkurranse a la Bob Dylan. And in contrast to its U.S. counterpart Cohen sings with a Diction that allows the audience - mostly "older" people, but also surprisingly many young people - to hear formulations, both simpler and more cryptic.

I cannot sunset from presenters, Cohen left his beautiful concert. The songs are mostly familiar, with favorites such as "Ain? T No Cure for Love," "Bird On a Wire" and "Everybody Knows" as the highlights in the first set. Cohen is gentle and courteous, thank you for a warm reception, saying that it is a great honor to get to sing in that beautiful sea.

Chill out

Monotonicity is Leonard Cohens trademark, a gyngende, warm, virtuost tune routing. Sometimes it might sound as if it is Cohen who invented chill-out genre. The tools are cautious, the sound matched well (although it apparently was too weak for those who found themselves back). Today's attempt to sell sand in the Sahara came from a guy who stood outside and sold the ear protection, very cheap for a while.

On the surface gressteppet it was not easy for everyone to see the stage. A video screen on the right side helped, but hardly for those who were far behind on the left half of the field. Here the organizers have a challenge. But this should not reply to Cohen.

Marianne was there

With their black hats, which he increasingly took on and off with elegant movements, appear to Cohen as a rock gentleman, whether he's alone with a guitar and sing "Suzanne" and he takes a powerful version of "First We Take Manhattan" - completed on his knees in a kind of duet with his very talented Spanish guitarist - a musician, which added several of the songs temperament and swirling energy.

And of course, was "Hallelujah." Cohen showed any doubt Norwegians who are the king of this song, well supplemented by høyspente elements of the organ. In the first of three units with the extra numbers also came another Norwegian-favorite, "So Long, Marianne", which had a separate dimension in that the woman song is written to, Marianne Ihlen, stood and listened about half a meter away from the people in the ocean. While being her boyfriend, Leonard Cohen, danced out of the stage, smiling, grasiøst, as Fred Astaire in slow motion.










Langesund, Norway

ENGLISH VERSION.

Hatten av for Cohen

Varden.no - July 17, 2009 by Marit Schulstok (ALLE FOTO: PER-ÅGE ERIKSEN)

12.000 mennesker samlet seg innenfor gjerdene i Krogshavn da en av rocke- poesiens grand old men skapte øyeblikk som ikke blir glemt så fort.



Haugesundsbandet Vamp fikk den tyngste jobben i går. De måtte starte det hele med å varme opp menneskemengden mens regnet pøste ubarmhjertig ned.

Jobben gjorde de så godt at regnet etter hvert stilnet. Og da «Tir na Noir» endelig kom, skinte sola ned på de håpefulle i Krogshavn. Og den forsvant ikke igjen resten av kvelden.

Sivert Høyem holdt varmen oppe underveis med låter som «Into the Sea» og «Kids are on Highstreet».

Resirkulerte tenåringer

Venneparene Inga og Torstein Halvorsen og Olav og Nina Eggum var blant dem som hadde tatt turen fra Kongsberg via hytta på Bjørkøya og til Krogshvan i går.

– Jeg har vært Cohen-fan siden han bodde i Norge på 60-tallet. Han er en fantastisk artist, visesanger og poet. Han er en av de aller største, sier en entusiastisk Olav Eggum. Han legger til:

– Men jeg må med skam å melde innrømme at dette er den første konserten jeg er på.

Nina Eggum sa det som mange på plassen var enige i:

– Med Vamp og Høyem også er det et ganske tøft program for oss resirkulerte tenåringer... haha.

Lugn, god stemning

Og endelig var det klart for den poetiske låtskriveren fra Canada. Kvart på åtte kom 75-årige Leonard Cohen løpende inn på scenen i svart dress, løftet på hatten og inviterte tilhørerne med på dans til «Dance me to the end of love». Og publikum kvitterte med begeistret applaus.



– Det er et privilegium å være i et så fredfullt land når så mange steder i verden er kastet ut i kaos, sa han før han resiterte fra «Anthem» og fulgte opp med låta.

Etter over førti år som låtskriver kan han kalles en levende hitparade. Før pause leverte han også velkjente toner fra slagere «Everybody knows» og «Aint no cure for love» og «Bird on a wire». Og vi kan bare ane at «I'm your man» og «Hallelujah» fulgte på mot slutten.

Stemningen var lugn og god, og publikum fulgte oppmerksomt med. Med seg hadde han utmerkede musikere som tidvis fikk skinne på scenen ved siden av stjernen selv. Og de koristene sørget for å opprettholde Cohens varemerke med sin dype bass koret av lyse kvinnestemmer.

Den eneste andre konserten han skal holde i Norge i sommer er i Molde i dag. Gled dere!




Translated by Google Translate

Lights for Cohen

Varden.no - July 17, 2009 by Marit Schulstok (ALLE FOTO: PER-ÅGE ERIKSEN)

12,000 people gathered in gjerdene in Krog Harbor as one of rock-poetry grand old men created the moment that can not be forgotten so quickly.

Haugesund band Vamp did the hard work yesterday. They had to start it all over to warm up the crowd while the rain post merciless down.

The job they did so well that the rain suddenly. And when "Tir na Noir" finally came, skinte the sun sets on the hopeful in Krog Harbor. And it did not again the rest of the evening.

Sivert Høyem kept the heat up along the way with songs like "Into the Sea" and "Kids are on High Street."

Recycled Teenagers

Friend pairs Inga and Torstein Halvorsen and Olav Eggum and Nina was among those who had taken the trip from Kongsberg through the cabin on Bjørkøy and Krogshvan yesterday.

- I've been a Cohen-fan since he lived in Norway for 60-century. He is a fantastic artist, songs, and poet. He is one of the largest, "says an enthusiastic Olav Eggum. He adds:

- But I must with shame to admit that this report is the first concert I'm at.

Nina Eggum said that many of the place were agreed:

- With Vamp Høyem and also it is a pretty tough program for us recycled teenagers ... haha.

Lugnet, good mood

And finally, it was clear for the poetic låtskriveren from Canada. Each of the eight was 75-year-old Leonard Cohen continuously on the stage in black dress, lifted the hat and invited the audience with the dance to "Dance me to the end of love". And the public get rid of failing with enthusiastic applause.

- It is a privilege to be in such a peace full country when so many places in the world is thrown into chaos, "he said before he returned resistant from" Anthem "and came up with the song.

After over forty years as a musician he is called a living Hitparade. Before the break, he also delivered the familiar tones of "hits" Everybody knows "and" aIntet no cure for love "and" Bird on a wire. " And we can only suspect that "I'm your man" and "Hallelujah" came on towards the end.

The mood was Lugnet and good, and the audience was watching. With him, he had excellent musicians who occasionally got shine on stage next to the star itself. And the singers provided to maintain the Cohens with his trademark deep bass chorus of bright female voices.

The only other concert he will hold in Norway in the summer is in Molde today. Rejoice!










Langesund, Norway

ENGLISH VERSION.

Øm og ydmyk

Verdens Gang AS - July 17, 2009 by Morten Ståle Nilsen (Foto: Alf Øystein Støtvig/VG)

Flere burde pensjonere seg på Leonard Cohen-måten.



Innlede livets høst i kontemplasjon i et buddhistisk kloster i California. La publikumet ditt føle hvor sårt de har savnet deg. Komme tilbake, og gjennomføre det som kan bli din siste turné som en eneste lang, varm takknemlighetsdans.

Leonard Cohen i Langesund i går var en mjuk triumf.

Han spilte i tre timer, hvori innlagt en kort pause, og hver eneste sang hadde klassikersus over seg. Under de mest sublime av dem - «Anthem», «Who By Fire», «If It Be Your Will», «Famous Blue Raincoat» - var det simpelthen magisk å være i live og tilstede.

Cohen danset, jogget, hoppet og valset inn og ut av scenen, satt hatten til brystet, knelte for sin spanske mestergitarist og så med faderlige øyne på sine tre korister. Han introduserte sitt seks mann sterke, eminente band av multiinstrumentalister to ganger; ikke fordi han hadde glemt at han allerede hadde gjort det én gang, men som en grasiøs gest, av respekt og kjærlighet. Da han sa at han takket oss, «hans venner», føltes det ikke bare genuint. Det var genuint.

Da han smilte, og det gjør han ofte nå om dagen, lignet Cohen til forveksling på Peter Sellers i «Velkommen, Mr. Chance». Det duse lydbildet lot instrumentdetaljene komme til sin rett, og stemmen hans - mindre værbitt nå enn på de siste studioinnspillingene hans - loddet dypt og sensuelt i sentrum. Den gamle sølvreven plukket opp en rose og forærte den til Sharon Robinson, gjorde «Suzanne» til noe mer gripende nå enn da, ga romslig plass til solopartiene og lot alle både på og bak scenen få skinne. Selv roadiene var ikledd sorte klær og hatter. Helt til sist takket Cohen ikke bare Norge, men lyd-og lysmennene, gitarstemmerne, cateringfirmaet og bussjåførene også. Han kjente navnene deres.

Det var, simpelthen, svært rørende. Om dette er farvel - og det får vi vel kanskje tro at det var - er det bare å takke ham tilbake. Og misunne de som har billetter til konserten hans i Molde i kveld.




Translated by Google Translate

Øm and humble

Verdens Gang AS - July 17, 2009 by Morten Ståle Nilsen (Foto: Alf Øystein Støtvig/VG)

More should retire for Leonard Cohen-way.

Launch of life fall in Contemplation in a Buddhist monastery in California. La audiences like to feel how much they missed you. Getting back, and carry out what may be your last tour as a single long, warm gratitude dance.

Leonard Cohen in Langesund Yesterday was a smooth triumph.

He played in three hours, and the running for a short break, and every song had klassikersus over him. Under the most sublime of them - "Anthem," "Who By Fire," "If It Be Your Will", "Famous Blue Raincoat" - it was simply magical to be alive and present.

Cohen danced, jogger, jumped and rolled in and out of the stage, set the cap to the chest, knelte for his Spanish master guitarist and then with fatherly eye on his three backing singers. He introduced his six man strong, eminent band of multi-instrumentalists twice; not because he had forgotten that he had already done it once, but as a graceful gesture, of respect and love. When he said that he thanked us, "his friends", it not only felt genuine. It was genuine.

When he smiled, and he often does these days, compared Cohen to the confusion of Peter Sellers in "Welcome, Mr. Chance." The subdued music lot instrument details to the forefront, and his voice - less værbitt now than in the past his studio recordings - the ticket is deep and sensuelt in the center. The old silver fox picked up a rose and forærte it to Sharon Robinson, was "Suzanne" to something more gripping now than then, ga spacious space to solo and let all parties both on and behind the scenes get shine. Even roadiene was clothed with black clothes and hats. At the very last thanked Cohen not only Norway, but the audio and lysmennene, gitarstemmerne, catering company and the bus driver also. He knew their names.

It was, simply, very touching. If this is goodbye - and we may well believe that it was - it is just to thank him back. And envy those who have tickets to his concert in Molde in the evening.










Langesund, Norway

Photos

Telemarksavisa - July 16, 2009 (Foto: Ole N. Olsen)

  

  

  

  

  

  

  












Langesund, Norway

ENGLISH VERSION.

Mektig solnedgang med Cohen

Telemarksavisa - July 16, 2009 by Martin Fremstad (Foto Ole N. Olsen)

Med sol fra lettskyet himmel, om lag 12 000 lystige publikummere og en Leonard Cohen i praktslag, var årets konsertopplevelse i Telemark et faktum. Akkurat slik arrangøren hadde lovet på forhånd.



Ganske presis klokka kvart på åtte gikk den canadiske legenden på scenen. Ulastelig antrukket i svart dress og en ditto kledelig hatt, ønsket han velkommen med «Dance Me To The End Of Love» – sittende på kne foran en banduriaspillende Javier Mas. Da hadde solen for lengst varmet publikum. Nå var det de ti musikerne på scenen sin tur.

STERK INNLEVELSE

Responsen fra folkehavet var umiddelbar; hender i været og allsang til kjente og kjære toner. Cohen fortsatte det intime samspillet med sine musikere. Etter å ha knelt for Mas reiste han seg og sang duett med sin høyt aktede korist og samarbeidspartner, Sharon Robinson. Et sterkt øyeblikk som det kom flere av utover i den herlige sommerkvelden. Få andre musikere, om noen, synger med en så dyp innlevelse som Cohen. Blant annet derfor ble konserten i går en svært betagende opplevelse.

HUMOR

Leonard Cohen er først og fremst melankoliens mester. Men nesten like karakteristisk er hans sans for underfundig humor. Et særtrekk som går igjen både i tekstene og mannens sceneopptredener. Denne gang hadde han også fått med seg de sublime Webb-søstrene på leken. Under låt nummer to, «The Future», slo tvillingene hjul idet Cohen byttet ut verselinjen «the white man dancing» med «the white girls dancing» – til stor latter blant de frammøtte. Ellers var det en svært ordknapp hovedperson som først etter åtte sanger talte til menneskemengden. Men det spilte liten rolle, for det var musikken vi var kommet for. Og den fikk vi til gagns.

«TIGHT» STORBAND

Det var en slagerparade med en twist som ble servert fra scenekanten. Selvsagt. Cohen har en backkatalog som noen og hver kan misunne ham. I 2009 framstår han som en aldrende maestro for et storband som inkluderer noen av de ypperste musikanter en kan tenke seg. Flere av dem har han samarbeidet med i en årrekke, og gjengen har turnert i godt over et år nå – nærmest sammenhengende. Akkurat det behøvde man knapt et trenet øre for å høre. I tur og orden høstet de stor applaus, kanskje aller størst Dino Soldo – som ved flere anledninger imponerte med elegante soloer på saxofon og klarinett. Et delikat lydbilde preget konserten, men den kunne med fordel vært skrudd opp et hakk eller to.

SUVEREN HELAFTEN

Den musikalske treretteren var utvilsomt en velkomponert meny. Først på kartet sto folkekjære Vamp, som åpnet i regndrypp og senere øs. Men perler som «Tir n´a Noir», «Ingeborg» og «Kim Du No Va», samt et sjarmerende publikumstekke sørget for en velsmakende forrett. Og fikk samtidig solen tilbake til Krogshavn. Sivert Høyem ga oss en behagelig hvilerett, der låter fra solokarriere mot slutten ble blandet med Madrugada-låta «The Kids Are On High Street». Etter at han avsluttet med «Johnny» var publikum mer enn klare for aftenens hovedrett. Som altså svarte til forventningene. Og vel så det.

Det var rett og slett en mektig opplevelse å se solen gå ned til lyden av smektende Cohenlåter.




Translated by Google Translate

Mighty sunset with Cohen

Telemarksavisa - July 16, 2009 by Martin Fremstad (Foto Ole N. Olsen)

With the sun from the cloudy sky, about 12 000 lystige public and Leonard Cohen in the magnificent battle, was this year's concert in Telemark a fact. Just as the promoter had promised in advance.

Quite precise at a quarter to eight the Canadian legend on stage. Irreprochable antrukket in black dress and a ditto becoming experienced, desired he welcomed with "Dance Me To The End Of Love" - sitting on his knees in front of a banduriaspillende Javier Mas. When the sun had long heated audience. Now it was the ten musicians on stage turn.

STRONG empathic

The response from the people the sea was immediate; hands in the air and allsang to recognize dear tones. Cohen continued the intimate interaction with his musicians. Having knelt for Mas He and sang a duet with his high aktede Korist and collaborator, Sharon Robinson. A powerful moment that it was more of the excess in the delicious summertime. Few other musicians, if any, sings with a deep understanding that Cohen. Among other things, why was the concert yesterday a very stirring experience.

HUMORFORESTILLING

Leonard Cohen is first and foremost melankolien champion. But almost as characteristic is his sense of devious humor. A special feature that appears in both texts and the man's stage performances. This time, he had also been joined by the sublime Webb Sisters on the toy. During the song number two, "The Future", struck tvillingene wheels as Cohen replaced verse line "the white Monday dancing" with "the white girls dancing" - to great laughter among those present met. Otherwise, it was a very ordknapp hovedperson that after eight songs spoke to the crowd. But it played little role, for it was the music we had come for. And it got us to benefit.

"TIGHTS" STORBAND

It was a kind of parade with a twist that was served from the scene edge. Of course. Cohen has a back catalog that any and each can envy him. In 2009 he appears as an aging maestro for a big band that includes some of the superb musicians one could imagine. Several of them, he has worked with for years, and the gang have toured in well over a year now - almost coherent. Just the needed Monday barely a trained ear to hear. I turn and order won the great applause, and perhaps the greatest Dino Soldo - who repeatedly impressed with the elegant solos on saxophone and clarinet. A delicate sound dominated the concert, but it might with advantage have been turned up a notch or two.

Suveren evening

The musical treretteren was undoubtedly a well-menu. First, the map was beloved Vamp, which opened in the rain drip and later Fix. But the beads as "Tir n'a Noir", "Ingeborg" and "Kim Du No Va" and a charming publikumstekke provided a tasty appetizer. And while the sun was back to Krog Harbor. Sivert Høyem ga us a comfortable resting right, where songs from the solo towards the end was mixed with Madrugada-song "The Kids Are on High Street." After he finished with "Johnny" was the audience more than ready for the evening entree. As thus responded to the expectations. And then some.

It just was a powerful experience to see the sun go down to the sound of smektende Cohen songs.










Langesund, Norway

Notes

ENGLISH VERSION.

Gleder seg til konserten

Telemarksavisa - July 15, 2009 by Kirsti Carr (Foto Kirsti Carr)

Leonard Cohen har inntatt Langesund. - Jeg gleder meg til konserten. Det er fantastisk her, sa Leonard Cohen til TA i går kveld.



En annen som gleder seg er Bjørn Melleby, produsent for forestillingen «Ulv og engel - et møte med Leonard Cohen», som hadde tatt turen fra Stavern til Langesund med ett eneste ærend.

På oppdrag fra NRK Sommeråpent skulle han invitere Leonard Cohen på båttur i Langesundsfjorden.

På den mulige båtturen skulle også Leonard Cohens ekskjæreste, Marianne Ihlen, også kjent fra låten «So long Marianne», og skuespiller Nicolai Lange-Nielsen, fra forestillingen fra «Ulv og engel», være med. Turen var tenkt å finne sted klokka to i Langesund i dag.

PUBLIKUMSGJEST

Det var en spent Melleby som satt på utsiden av Quality hotell og resort Skjærgården. Med seg hadde han et innrammet bilde. Bildet viser Leonard Cohen, Al Gore, Gro Harlem Brundtland og Cohens kjæreste Anjani under Skavlans «Først og sist»-sending i mars 2007. Under sendingen var Bjørn Melleby gjest blant publikum.

Det var egentlig fotoforbud, men Skavlan spurte om det var noen blant publikum som hadde med seg kamera. Han sa det var det beste tv- showet han noen gang hadde gjort, erindrer Melleby.

SLAGPLAN

Da Stavern-karen fikk kjennskap til at Leonard Cohen skulle opptre i Langesund, la han en liten slagplan. Ønsket om å overrekke bildet til Cohen personlig, samt muligheten for å få møte sitt store idol, gjorde at han kontaktet NRK's Sommeråpent-redaksjon, som tente på båtturideen.

Melleby satte seg ned i sola på utsiden av hotellet. Bakpå bildet skrev han en hilsen til Cohen. Han overbrakte også en personlig hilsen fra Marianne Ihlen, som han har lært å kjenne gjennom de norske Cohen-forestillingene.

«Jeg sender masse lys til deg før konserten i Langesund», lyder hilsenen fra gamlekjæresten.

HADDE IKKE MULIGHET

I hotellets restaurant fikk Bjørn muligheten han hadde ventet på. Blant hotellets gjester forsynte superstjernen seg fra buffetbordet.

- Velkommen til Langesund og Norge. Jeg gleder meg til konserten i morgen, sier Bjørn Melleby og spør Cohen om han husker Skavlans tv- show.

Cohen smiler og nikker.

- Det er sjelden jeg gjør tv-show, så det husker jeg godt, sier Cohen og legger til at han også fant det veldig interessant å diskutere miljøpolitikk.

- Jeg er opptatt av miljøet, sier han.

Og bildegaven faller godt i smak. Båtturinvitasjonen var derimot ikke Cohen like positiv til.

- Jeg gjør 100 konserter i året. Det er helt utelukket for meg å dra på båttur. Vi har lydprøve klokka ett. Da må jeg være der, sier Cohen.

Heller ikke en hilsen og lovnad om at ekskjæresten skal bli med, hjalp.

- Jeg gleder meg til konserten. Det er fantastisk her, sier Leonard Cohen og tittet ut av vinduet mot den idylliske Langesundsfjorden.

Men når han ser utover havet fra scenen i Krogshavn i kveld, så kan det jo hende han angrer på at han ikke takket ja til båtturtilbudet.




Translated by Google Translate

Looking forward to the concert

Telemarksavisa - July 15, 2009 by Kirsti Carr (Foto Kirsti Carr)

Leonard Cohen has admitted Langesund. - I look forward to the concert. It is fantastic here, "said Leonard Cohen to the TA last night.

Another who is looking forward Bjørn Melleby, producer for the show "Ulv and angel - a meeting with Leonard Cohen", who had taken the trip from Stavern to Langesund with a single errand.

On assignment from NRK Summer should he invite Leonard Cohen on the boat trip in Langesund Bay.

On the possible trip would also Leonard Cohens ekskjæreste, Marianne Ihlen, also known from the song "So long Marianne", and actor Nicolai Lange-Nielsen, from the show from "Ulv and angel", to be with. The trip was planned to take place at two in the sea today.

PUBLIKUMSTJENESTER GJEST

It was a tense Melleby who put on the outside of the Quality hotel and resort construction. With him he had a framed picture. The picture shows Leonard Cohen, Al Gore, Gro Harlem Brundtland and Cohens boyfriend ANJANI under Skavlan "First and last" broadcast in March 2007. During the broadcast was Bjørn Melleby guest among the audience.

The photo was actually banned, but Skavlan asked if there was someone among the audience who had their camera. He said it was the best TV show he ever had done, remember Melleby.

KIND PLAN

Da Stavern-karen had knowledge of that Leonard Cohen was acting in Langesund, he a small battle plan. The desire to present the picture of Cohen personally, as well as the opportunity to visit with his idol, that he contacted NRK's Summer Open-editors, who fired on the boat trip idea.

Melleby sat down in the sun on the outside of the hotel. Bakpå image, he wrote a message to Cohen. He also brought a personal greeting from Marianne Ihlen, that he has come to know through the Norwegian Cohen-performing.

"I send lots of light to you before the concert in Langesund" sounds greeting from old girlfriend.

WERE NOT THE OPPORTUNITY

In the hotel restaurant had Bjørn opportunity he had waited for. Among our guests supplied the superstar from the buffet table.

- Welcome to Langesund and Norway. I look forward to the concert tomorrow, "says Bjørn Melleby and ask Cohen if he remembers Skavlan tv-show.

Cohen smiles and nods in agreement.

- It's rare I make TV shows, as I remember it well, "says Cohen, and adds that he also found it very interesting to discuss environmental policy.

- I am concerned about the environment, "he said.

And picture the gift falls well in the taste. Cruise invitation was not Cohen as a positive.

- I do 100 concerts a year. It is absolutely impossible for me to go on a boat trip. We have lydprøve at one. When do I need to be there, "says Cohen.

Neither a greeting and lovnad that ekskjæresten to be with, helped.

- I look forward to the concert. It is fantastic here, "says Leonard Cohen, and looked out the window at the idyllic Langesund Bay.

But when he looks beyond the sea from the scene in Krog Harbor in the evening, so you may jo he regrets that he not declined to the boat trip offer.








Molde, Norway

Set List - July 17, 2009

Per Snow

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
Democracy
Anthem

Second Set

Tower Of Song
Suzanne
Sisters Of Mercy
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
Whither Thou Goest










Molde, Norway

ENGLISH VERSION.

”The Man”, Leonard Cohen

Spjelkavika.no - July 18, 2009 (Foto: Einar Gaaeide)

Den karakteristiske gamle artisten sørget for den største suksessen som har vært på Moldejazz. Mannen har gledet folk med god musikk i generasjoner, og skuffet ikke de over 11 000 fremmøtte publikum i går på Molde.



I strålende sol og vakre omgivelser kom Cohen på scenen presis. Den ærbødige gamle mannen takket flere ganger publikum og sine musikere, også på sine knær, vakkert. Med årene har den dype stemmen blitt enda dypere, det har også følelsene for en av de store gjenlevende artister av dette kaliberet.

Sjeldent har man kunne oppleve en konsert med så dyktige musikere og lydteknikere. Det var mulig å nyte konserten i solnedgangen uten hørselvern, en nydelig avbalansert opplevelse, en opplevelse for livet. Heldig var de som hadde billetter og fikk oppleve dette.



Han åpnet med ” Dance Me To The End of Love”, så kom flere kjente låter som perler på en snor med ”Suzanne”, ”So Long, Marianne”, ”Democracy”, og ”First We Take Manhatten”. Tre timer etter han gikk på scenen, forlater han oss på samme gripende måte som han startet.




Translated by Google Translate

”The Man”, Leonard Cohen

Spjelkavika.no - July 18, 2009 (Foto: Einar Gaaeide)

The distinctive old artist provided the greatest success has been on Moldejazz. The man has delighted people with good music for generations, and disappointed they are not over 11 000 forward met the public yesterday at Molde.

In brilliant sun and beautiful surroundings Cohen came on the scene precisely. The respectful old man thanked the audience several times and his musicians, on their knees, beautiful. With years, the deep voice was deeper, it also has feelings for one of the surviving artists of this Kalibera.

Rarely has one could experience a concert with such talented musicians and sound engineers. It was possible to enjoy the concert in the sunset without hearing protection, a beautiful rebalance experience, an experience for life. Lucky were those who had tickets and got to experience this.

He opened with "Dance Me To The End of Love", came as several well-known songs as beads on a string with "Suzanne", "So Long, Marianne", "Democracy" and "First We Take Manhatten". Three hours after he went on stage, he leaves us on the same gripping way that he started.










Molde, Norway

ENGLISH VERSION.

For et menneske!

Side 2 - July 18, 2009 (Foto: Emil Marøy)

Med sine 74 år med livserfaring og klokskap i bagasjen, øste Leonard Cohen sine tanker, visjoner og sin medmenneskelighet ut over oss. For en opplevelse!



Molde (Side2): Ryktene har gått helt siden Cohen besøkte Oslo i fjor – mannen var meldt i strålende slag og rapportene fra konserten i Langesund på torsdag dempet på ingen måte forventningene.

Med sitt glitrende 10-manns band inkludert tre kordamer av en annen verden, festet Cohen grepet umiddelbart i «Dance Me to the End of Love» – og han slapp det aldri seinere. Tre timer til ende med ei lita pause i midten var ikke et sekund for mye for de godt og vel 10.000 på det vakre Romsdalsmuseet som lå badet i sol fra start til mål.

Cohen har en enorm produksjon å øse fra. Han har betydd og betyr fortsatt mye for generasjoner kloden rundt. Når han så velvilligst ga oss både «Ain’t No Cure for Love», «Everybody Knows», «Democracy», «Suzanne», «Boogie Street» – nydelig sunget av Sharon Robinson, «Hallelujah» i en versjon som fortalte oss at noen kamerater her til lands har noen mil igjen, «I’m Your Man», «So Long, Marianne», «First We Take Manhattan» før han takket for seg med «I Tried to Leave You», så blei dette ei høytidsstund av de veldig sjeldne.

  


«I’ve not come all the way Molde to fool you» sang sjefen over alle sjefer i «Hallelujah» og alle tilstedeværende visste at han snakket sant. Han framstod som den kloke og reflekterte mannen vi alltid har trodd han var, men å få oppleve det i levende live for første gang i slike omgivelser, var likevel en nesten noe i nærheten av en ut-av-seg-sjøl opplevelse.

Lyden var perfekt, Cohen koste seg noe så voldsomt og jeg tror man skal lete svært lenge etter noen blant dem som var så heldige å slippe inn for å finne noe de kunne klage på denne magiske kvelden. Verden blir et bedre sted etter slike møter.




Translated by Google Translate

For a man!

Side 2 - July 18, 2009 (Foto: Emil Marøy)

With its 74 years of life experience and wisdom in your luggage, cheese Leonard Cohen's ideas, visions and his medmenneskelighet out of us. For an experience!

Molde (Side2): Rumors have been ever since Cohen visited Oslo last year - were reported in glorious battles and reports from the concert in Langesund on Thursday in no way dampened expectations.

With its sparkling 10-man band including three female choir of a different world, Mount Cohen grip immediately in "Dance Me to the End of Love" - and he never got it later. Three hours to the end with a small pause in the middle was not a second too much for the more than 10,000 in the beautiful Romsdal Museum, which was bathed in sun from start to finish.

Cohen has a huge production at our fingertips. He has meant and still means a lot for generations around the globe. When he saw velvilligst ga us both "Is not No Cure for Love," "Everybody Knows," "Democracy," "Suzanne," "Boogie Street" - beautifully sung by Sharon Robinson, "Hallelujah" in a version that told us that some comrades in our country has some mil again, "I'm your man," "So Long, Marianne", "First We Take Manhattan" before he thanks for it with "I Tried to Leave You", so this was a Holidays moment of the very rare.

"I've not come all the way Molde to fool you" sang the boss of all bosses in the "Hallelujah" and all present knew that he spoke the truth. He stood as the wise and thoughtful man we always thought he was, but to experience it live live for the first time in such areas, was still an almost anything near an out-of-the-neck experience.

The sound was perfect, Cohen cost them anything so violently, and I think you should play very well after a few among them who had the fortune to drop in to find something they could appeal on this magical evening. The world is a better place for such meetings.










Molde, Norway

ENGLISH VERSION.

Takk, Mr. Cohen

Sunnmørsposten - July 18, 2009 by Ingunn Viken (foto: marius beck dahle)

Leonard Cohen takket bandet sitt og publikum flere ganger under konserten fredag. Det er vi som skal takke.



"God kveld, mine venner". Stemmen som jeg har hørt gjennom uendelig mange høyttalere uendelig mange ganger, står her på scenen på Romsdalsmuseet og jeg vet nesten ikke helt hvordan jeg skal forholde meg til det. Han åpner med "Dance me to the end of love" og så er hele hitparaden i gang.

Gammel og ærbødig. Den lille, men akk så store poeten har blitt gammel og krokete, men stemmen, smilet og sjarmen har han ennå.

Han sender et sleivspark til USA med "Democracy", han skøyer med sin egen alder i "I'm your man". Han takker bandmedlemmene sine og publikum flere ganger, han bukker og tar av seg hatten. 10.000 mennesker får høre "The Future", "Ain't no cure for love" og "Everybody knows". Så kommer "So long Marianne", og når "Take this waltz" skyller over museet, blir valsen og Leonard Cohen virkelig det eneste som finnes.



Han danser seg av scenen flere ganger i løpet av den nesten tre timer lange konserten, men kommer alltid sprettende tilbake med et stort smil.

Det eneste som kunne trekke konserten ned var lydnivået, som til tider var altfor lavt. Selv to meter fra de største høyttalerne kunne en lett høre sidemannen småprate. Når Leonard Cohen først står foran deg, vil du gjerne kjenne bassen fra stemmen hans i kroppen.

Vakkert. Samspillet med bandet på seks og de tre sangerne, deriblant låtskriver og samarbeidspartner Sharon Robertson, er helt fantastisk. Og når Web Sisters, som to av dem kaller seg, fremfører "Let it be your will", kan en nesten tro at det ikke blir vakrere. Så slår hele bandet til med "Closing Time", og Romsdalsmuseet koker. Jeg må springe fra konserten, for avis må det jo bli neste dag også, og jeg vet at jeg går glipp av noe stort. Da vil jeg bare si takk, Leonard Cohen. Du kunne danset meg til verdens ende.










Translated by Google Translate

Thank you, Mr. Cohen

Sunnmørsposten - July 18, 2009 by Ingunn Viken (foto: marius beck dahle)

Leonard Cohen thanked his band and the audience several times during the concert Friday. It is we who should thank you.

"Good evening, my friends." Voice that I have heard through the infinite number of speakers infinitely many times, here's the scene in Romsdal Museum, and I almost do not quite know how to respond to it. He opens with "Dance me to the end of love" and so is the whole Hitparade started.

Old and respectful. The small, but such large Akk poet has become old and winding, but the voice and the smile and charm, he has yet.

He sends a sleivspark to the United States with "Democracy", he wag with his own childhood in "I'm your man". He thanks his band members and audience several times, he bows and takes off his hat. 10,000 people to hear "The Future", "Is not no cure for love" and "Everybody knows". Then comes "So long Marianne", and "Take this waltz" washes over the museum, the roller and Leonard Cohen really the only thing that exists.

He dances on the stage several times during the almost three hour long concert, but will always bounce back with a big smile.

The only thing that could pull down the concert was the sound level, which at times was too low. Even two meters from the main speakers could easily hear the man page chatter. When Leonard Cohen's first in front of you, would you like to feel the bass from his voice in the body.

Beautiful. The interplay with the band of six and the three singers, including songwriter and collaborator Sharon Robertson, is just fantastic. And when the Web Sisters, as the two of them call themselves, will perform "Let it be your will", an almost believe that it is not beautiful. Then turn the whole band with "Closing Time" and Romsdal Museum koker. I have to leap from the concert, the newspaper must be the next day also, and I know that I miss something big. Then I just say thank you, Leonard Cohen. You could danced me to the edge of the world.










Molde, Norway

ENGLISH VERSION.

Fortsatte suksessen i Molde

Dagbladet - July 18, 2009 by Terje Mosnes (Foto: John Terje Pedersen/Dagbladet)

Langesund torsdag, Moldejazz fredag - Leonard Cohen er fortsatt vår mann.



MOLDE (Dagbladet): Leonard Cohen og bandet hans tok et rekordstort Moldejazz-publikum på mer enn 11000 med storm fredag kveld.

Med ei settliste nesten identisk med den fra Langesund torsdag kveld entret veteranen den store scenen på Romsdalsmuseet på slaget 19.00, lettet galant på hatten idet følgespot'en traff ham og gikk rett inn i «Dance Me To The End of Love», omgitt av et band som så ut som søndagsskoleutgaven av The Blues Brothers.

Med de tre koristene og seks musikerne forsynte poeten/sangeren med all den støtten han trengte, også når han selv pirket på tangentene eller hektet på seg gitaren.

Da han gikk av scenen nærmere tre timer seinere, hadde publikum fått hele perleraden av sanger, fra «Suzanne» og «So Long, Marianne» til «Democracy» og «Whither Thou Goest». Det eneste savnet var «Hey, That's No Way To Say Goodbye», men gleden over det som ble spilt overgikk langt skuffelsen over det som ikke ble det.

Skåret i gleden var, også som i Langesund, lyden lengst bak på arenaen. Den var for lav, og gjorde konsertopplevelsen for deler av publikum dårligere enn den burde vært. Nærmere scenen var lyden klar og balansert, og sikret konserten plass som en av de fineste utendørs i Moldejazz-historien.




Translated by Google Translate

Continuing success in Molde

Dagbladet - July 18, 2009 by Terje Mosnes (Foto: John Terje Pedersen/Dagbladet)

Langesund Thursday, Friday Moldejazz - Leonard Cohen is still our man.

MOLDE (Chennai): Leonard Cohen and his band took a record-large Moldejazz audience of more than 11,000 with the storm Friday night.

With a set list almost identical to that from Langesund Thursday night entered the veteran stage of Romsdal Museum of the Battle 19.00, relieved galant hat on as følgespot'en met him and went right into "Dance Me To The End of Love", surrounded by a band that looked like a Sunday edition of The Blues Brothers.

With three singers and six musicians supplied the poet / singer with all the support he needed, even when he even touch the keys or hooked on the guitar.

When he took the stage nearly three hours later, the audience had been given the whole bead row of songs, from "Suzanne" and "So Long, Marianne" to "Democracy" and "thou Whith Goest". The only thing missing was the "Hey, That's No Way to Say Goodbye", but the joy of it that was played over the long disappointment over what was not there.

Cut in the joy was, as also in the sea, the sound at the back of the arena. It was too low, and made the concert experience for the audience share of less than it should have been. Further stage sound was clear and balanced, and secured the concert space as one of the finest in outdoor Moldejazz history.










Molde, Norway

ENGLISH VERSION.

Molde Jazz 2009: Vitale Cohen vant publikums gunst

Puls - July 18, 2009 by Anders Dyrkorn

Leonard Cohen har over førti års fartstid i musikkbransjen. Men 74-åringen har fortsatt mye å gi til sitt publikum. Denne kvelden får vi over tjue låter fra mannen, som er et levende bevis på at alder kun er et tall.

Leonard Cohen er en levende legende innen sjangeren melankolsk og mollstemt populærmusikk. Det er over førti år siden debutplata Songs Of Leonard Cohen ble utgitt, og i år har han endelig tatt turen til Moldejazz.

Kveldens utendørskonsert starter med at Cohen tar noen svært så spreke løpesteg inn på scenen. Han har med seg et knippe dyktige musikere på de sedvanlige rockeinstrumentene i bandet sitt. Koristene Sharon Robinson, og søstrene Charley og Hattie Webb bringer en ekstra dimensjon til Cohens karakteristiske bassrøst gjennom hele konserten.

Bandet finner straks soundet vi kjenner fra plateutgivelsene til Cohen fra de siste tjuefem årene. Visesangeren fra 70-tallet oppdaterte soundet sitt på 80-og 90-tallet, og keyboards og saksofon har en sentral plass i lydbildet til den canadiske artisten.

Vi får en sterk rekke med låter som Dance Me To The End Of Love, In My Secret Life, og eldre favoritter som Bird On A Wire og Who By Fire. Sistnevnte låt mister noe av nerven sin i et litt pompøst og langtekkelig arrangement.

Etter en pause entrer bandet scenen igjen, og Cohen gir oss en nedstrippet versjon av Tower Of Song, hvor han stort sett kun akkompagneres av et keyboard med rytmeboks, og koristene sine. Den etterfølges av klassikeren Suzanne, og publikum begynner for alvor å la seg rive med av den vakre og mollstemte musikken.

Under Hallelujah forvandles publikummet til et stort sangkor. Denne låta ser ut til ha en helt spesiell virkning på folk, noe både Jeff Buckley, og de fire norske herrene med gitarer sikkert kan skrive under på.

Herfra og ut blir konserten en parademarsj for canadieren. Han oppildnes tydelig av den stadig økende responsen fra publikum, og finner fram frontfiguren og "rockevokalisten" i seg under en inspirert versjon av So Long Marianne. Den etterfølges av First We Take Manhatten, og da danser publikum til den kjente protestvisa med diskorytmer.

If It Be Your Will, overlater han til søstrene Webb som alene gjør en nydelig versjon av låta, med gitar, harpe og tostemt sang. De bringer tankene hen til greske sirener, og tilskuerne blir dørgende stille.

Med låtene Closing Time og I Tried To Leave You gir Cohen publikum en siste smakebit fra sitt reportoar. Han avslutter med å takke band, publikum og organisatorer for "keeping my songs alive", som han uttrykker det. Og det er nettopp sangene som er den største forcen til Cohen, også live. Vi har hørt et imponerende antall låter av høy kvalitet, som tilsynelatende aldri går ut på dato.

Det samme kan sies om Cohen selv, som må være den mest vitale 74-åringen som kan oppleves på en konsertscene i dag. Han holder det gående i over to effektive timer, og sprenger den øvre aldersgrensen for liveutøvere av rocka populærmusikk med klar margin.




Translated by Google Translate

Molde Jazz 2009: Vitale Cohen won public favor

Puls - July 18, 2009 by Anders Dyrkorn

Leonard Cohen has over forty years of experience in the music industry. But 74-year-old still has much to give to their audience. This evening we will have over twenty songs from the man, who is a living proof that age is just a number.

Leonard Cohen is a living legend in the genre of melancholy and minor popular vote. There are over forty years since the debut album Songs Of Leonard Cohen was released, and this year he has finally made the trip to Moldejazz.

Tonight's outdoor concert starts at Cohen takes a very strong run so step into the scene. He has with him a doing all the musicians on the usual rock instruments in his band. Singers Sharon Robinson and sisters Charley and Hattie Webb brings an extra dimension to the Cohens distinctive bass voice throughout the concert.

The band immediately found sound we know from the recordings to Cohen from the last twenty-five years. Visesangeren from 70-century updated their sound for 80-and 90-century, and the keyboards and saxophone has a central role in the sound of the Canadian artist.

We get a strong number of songs that Dance Me To The End Of Love, In My Secret Life, and older favorites such as Bird On a Wire and Who By Fire. The latter song loses some of its nerve in a bit shamelessly and tedious arrangement.

After a break the band enters the scene again, and Cohen gives us a nedstrippet version of Tower Of Song, where he mostly just accompanied by a keyboard with a rhythm box, and their backing singers. It is followed by the classic Suzanne, and the audience begins in earnest to get caught up in the beautiful and did minor music.

Under Hallelujah convert audience to a large choir. This song seems to have a special effect on people, something both Jeff Buckley, and the four Norwegian gentlemen with guitars certainly can sign.

From here and the concert will be a parade marshal for the Canadians. He oppildnes clear of the ever-increasing response from the audience, and find the front shape and "rock vocalist" in under an inspired version of So Long Marianne. It is followed by First We Take Manhatten, and when the audience dances to the famous protest visa with disco beats.

If It Be Your Will, he leaves to the Webb sisters who do a lovely version of the song, with guitar, harp and tostemt song. They bring to mind hen Greek sirens, and the spectators are Dorge set.

With songs Closing Time and I Tried to Leave You give Cohen the public a last bite from his reportoar. He concludes by thanking band, audience and organizers of "keeping my songs alive," he says. And it is precisely the songs that are the greatest force for Cohen, also alive. We have heard an impressive number of songs of high quality, which apparently never go out of date.

The same can be said of Cohen himself, who must be the most vital 74-year-old that can be experienced on a konsertscene today. He keeps in over two powerful hours, and blasts the upper age limit for live performers of popular music rocked by a clear margin.










Molde, Norway

ENGLISH VERSION.

Cohen-mania

Sunnmørsposten - July 17, 2009 by Stig Vågnes (Foto: Stig Vågnes)

Årets plakathøydepunkt under Moldejazz ble ingen nedtur for de over 12.000 publikummerne som møtte opp på Romsdalsmuseet fredag kveld.



Presis klokka 19 startet Leonard Cohen og hans ulastelig antrukkede band opp en flere timer lang hit-parade og veteranen var ikke gnien på hit'ene. "Dance me to the end of love", "Ain't no cure for love", "Hallelujah", "I'm your man", "Take this waltz" osv. Du har helt sikkert hørt dem.

Moldejazz opplyser at det er solgt over 12.000 billetter til konserten, som starett i strålende sol og 22 grader. TIl og med de ekstra 100 billettene som ble lagt ut for salg i døra ble revet bort på kort tid.

I forkant av konserten ble det meldt om rekordlange køer på Vestnes, noe som kan tyde på at mange sunnmøringer ville ha med seg Leonard Cohen og hans melankolske, mørke stemme.






Translated by Google Translate

Cohen-mania

Sunnmørsposten - July 17, 2009 by Stig Vågnes (Foto: Stig Vågnes)

This year's poster highlight under Moldejazz was no decline for those over 12,000 publikummerne who came on the Romsdal Museum Friday night.

Precise started at 19 Leonard Cohen and his immaculate antrukkede band up a several hours-long hit parade and the veteran was not gnien on hit'ene. "Dance me to the end of love", "Is not no cure for love", "Hallelujah", "I'm your man", "Take this waltz" etc. You have surely heard them.

Moldejazz said that it sold over 12,000 tickets to the concert, which starett in bright sun and 22 degrees. Even with the extra 100 tickets that were made available in the door was torn off in a short time.

In advance of the concert, it was reported that a record-long queues at Vestnes, which may suggest that many sunnmøringer would have with the Leonard Cohen and his melancholy, dark voice.










Molde, Norway

ENGLISH VERSION.

Forfører i form

Adresseavisen AS - July 17, 2009 by Vegard Enlid (Foto: JENS PETTER SØRAA)

Over tre timers myk og slentrende eleganse fra Leonard Cohen i toppform. Alltid verdig, til tider hypnotisk og magisk.



Rammen var perfekt. Strålende, lav kveldssol, idylliske omgivelser og nærmere 11 000 forventningsfulle tilskuere på et fullstappet Romsdalsmuseum i Molde. Det eneste som manglet var at hovedpersonen leverte.

Og det viste seg at de gode kritikkene fra Langesund kvelden i forveien ikke fór med løgn. Cohen er i strålende form. Smilende mellom låtene minnet han aller mest om en bestefar som har dumpet opp i sin egen overraskelsesfest – men når han tar mikrofonen er det med den autoriteten og sensualiteten han er dypt elsket for. Kul, elegant og dypsindig.

Settet er en eneste lang hitparade, med klassikere på løpende bånd. Den som har skaffet seg det flotte albumet «Live in London» som ble gitt ut tidligere år, ble neppe overrasket verken over sangutvalget eller kvaliteten på framføringen.

Heldigvis er Cohens synth-fascinasjon et tilbakelagt stadium, og de klassiske sangene kles nå i et varmt, organisk lydbilde som kler dem perfekt. Et band og korister som musiserer etter regelen «less is more», slentrende tilbakelent – til tider slepende sakte, men alltid med et stødig, sjelfullt driv.

Med en slik «sakte film»-følelse over det hele, hadde det ikke skullet mye til før det ble tamt eller kjedelig. Måten de tviholder på oppmerksomheten i så lang tid fra et andektig, hovedsakelig godt voksent publikum, tyder derfor både på sanger med sterk kraft, men også på en artist og et band med sterk tilstedeværelse. Det er hele tiden uhyre verdig fra en artist som er komfortabel med sin produksjon og kjenner sine styrker.

Dødpunktene var faktisk så å si fraværende, og på enkelte sanger tar musikken og stemningen også steget opp til det virkelig magiske. «Everybody Knows», «Anthem», «Sisters of Mercy» - Selv «Hallelujah» framføres med så stor overbevisning og intensitet at man lurer på hvordan i all verden man kunne bli lei av den. Disse øyeblikkene er mer enn mange nok til at kvelden blir en begivenhet. Lyden er meget god, muligens i laveste laget – men med den positive effekten at en godt hører hva Cohen synger.

Da vår deadline passeres har han spilt i tre timer – og har fortsatt mer på lager. De tidvis beske tekstene til tross, Cohen har fortsatt evnen til å smelte gråstein som smør og til å synge klærne av hvem det skulle være. Jeg tror det ble riktig så trivelig på en del soverom i Molde utover natta¿




Translated by Google Translate

Seduces the form

Adresseavisen AS - July 17, 2009 by Vegard Enlid (Foto: JENS PETTER SØRAA)

Over three hours of soft and gently flair from Leonard Cohen in top form. Always worthy of, at times hypnotic and magical.

The frame was perfect. Brilliant, low evening sun, idyllic surroundings and nearly 11 000 excited spectators on a full Romsdal Museum in Molde. The only thing missing was the main person is delivered.

And it turned out that the good criticisms from Langesund evening in advance not for the lie. Cohen is in splendid form. A smile between songs he recalls most about a grandfather who has dumped into his own surprise party - but when he takes the microphone, it is with the authority and sensualiteten he is deeply loved for. Cool, elegant and profound.

The set is a single long Hitparade, with classics in the running band. Those who have acquired the great album "Live in London" which was released earlier years, was hardly surprised neither of the song selection or the quality of performance.

Fortunately, the Cohens synth-fascination past, and the classic songs now dress in a warm, organic sound that suits them perfectly. A band and singers who musiserer by the rule "less is more" gently back - at times towed slowly, but always with a steady, soul full drive.

With such a "slow motion" feeling of it all, had it not be much before it was tame or boring. The way they insist on attention in so long from a devout, well mainly adult audiences, therefore, suggest both the songs with strong power, but also an artist and a band with a strong presence. It is always extremely worthy from an artist who is comfortable with its production and its forces.

Dead spots was virtually absent, and on some songs take the music and mood also step up to the truly magical. "Everybody Knows," "Anthem," "Sisters of Mercy" - Even "Hallelujah" are performed with so much conviction and intensity that you wonder how in the world you could be tired of it. These moments are more than NOK many that evening will be an event. The sound is very good, possibly in the lowest layer - but with the positive effect that a well hear what Cohen sings.

When the deadline passes, he has played in three hours - and still have more in stock. They sometimes beske texts notwithstanding, Cohen still has the ability to melt like butter and gråstein to sing clothes by whom it should be. I think it was correct so pleasant for some bedrooms in Molde evening.










Molde, Norway

ENGLISH VERSION.

Cohen foran folkehav

Romsdals Budstikke - July 17, 2009 by Hogne Bø Pettersen (Foto: Hogne Bø Pettersen)

Over 12 000 mennesker står akkurat nå på Romsdalsmusett og ser Leonard Cohen opptre.



Cohen gikk på scena presis klokka 19, med et ulastelig antrukket band, som også bestod av tre vakre kordamer.

Først kom applausen fordi Cohen kom på scena. Etter en lengre instrumental intro begynte han så å synge, og da runget applasuen nok en gang. Stemmen til Cohen er særegen, og det er noe helst spesielt å oppleve den live.

Cohen har en uutømmelig kilde å ta låter fra, og når allerede andrelåta var "There ain't no cure for love," så var den allerede kjempefine sommerstemningen løftet til nye høyder.

Siden det er så stappfullt av folk på Romsdalsmuseet, er det dessverre forbudt å sitte. Det er nok mange som skulle ønske de kunne sittet med sine kjære for å nyte Cohens musikk, men det virket ikke som om stemningen sank noe særlig på tross av sitteforbudet.

Om dette er publikumsrekord på Romsdalsmuseet er foreløpig usikkert, men sjelden har etterspørsel etter billetter vært større. Mange stod utenfor å ville kjøpe billetter. De 100 ekstra billettene Moldejazz la ut ble revet bort på kort tid.

Så de som er inne på Romsdalsmuseet nå kjenner seg nok ekstra heldige, i tillegg til det musikalske.














Translated by Google Translate

Cohen front folkehav

Romsdals Budstikke - July 17, 2009 by Hogne Bø Pettersen (Foto: Hogne Bø Pettersen)

Over 12 000 people are right now on Romsdalsmusett and see Leonard Cohen act.

Cohen went on the stage precisely at 19, with an immaculate antrukket band, which also consisted of three beautiful female choir.

First came applause fordi Cohen came on the stage. After a lengthy instrumental intro, he then began to sing, and when rung applasuen NOK once. Cohen's voice is unique, and it is something special time to experience it live.

Cohen has a uutømmelig source to take the songs from, and when already the second song was "There is not no cure for love," as it was already huge summer mood lifted to new heights.

Since it is so packed full of people on the Romsdal Museum, it is forbidden to sit. It is NOK many wish they could sit with their loved ones to enjoy the Cohens music, but it did not like the mood decreased slightly especially in spite of their prohibition.

If this is the public record on the Romsdal Museum is currently uncertain, but rarely demand for tickets has been greater. Many stood outside wanting to purchase tickets. The 100 extra tickets Moldejazz out was torn away in a short time.

So those who are in the Romsdal Museum now feel NOK extra lucky, in addition to the musical.







Speaking Cohen Home

Archives - Search Engine


Backgrounds provided by Eos Development