This is a story about how Austin once again tried to broaden my musical horizons, only to encounter my resistance. But the upshot is that in the end, I was broadened and I have grown to really enjoy Peter Gabriel’s music. I, like everybody, knew the song Sledgehammer, and that’s it.
I have always been more interested with how an artist sounds live rather than in the studio. Anyone can sound good in the studio. The real test of a performer is what they can do with one take in a live environment, with no over-dubs (and now, the dreaded pitch correction technology - Garfunkel, we have your number). I’d rather listen to newer concert DVDs than older ones. I don’t care that Elton John’s voice has dropped an octave, it’s all about the songs, and energy level. These guys have more energy on stage now, than they did when they were younger and that’s all that matters. I got Peter Gabriel’s best of CD, called Hit to sort of get ready for the show. The other CD in this 2 CD collection is called Miss. How cool is that? PG can admit that not all of his stuff is “hit” worthy, but still good to listen to. PG seems like a really cool bloke, and I bet it’d be interesting to talk to him.
I got tickets through an American Express pre-sale thanks to my Aunt and her green card. They weren’t the best seats, but they were in the orchestra and the sound in RCMH is superior wherever you sit. I was happy to have tickets and even happier I didn’t need to play “Russian Roulette” on the official ‘on sale’ day. I can do a whole post on what is wrong with Ticketmaster/Live Nation, but I digress.
Took the train in and met Austin and his GF (at the time) Rosa. We met at a pre determined time in Grand Central. We hoofed some 15 blocks to go to a Chinese restaurant that specialized in vegetarian/vegan food. See the pic of the fried rice below. It was divine. It was a hole in the wall, no air conditioning and the service was terrible, but I was pleasantly surprised with the quality and taste of the food. They served fried gluten and it tasted and had the texture of chicken. It’s amazing what these vegans can do these days.
After dinner, we hoofed back to RCMH and sat on the water fountain across the street for a bit, letting our food digest. At 7:15 precisely, we walked across the street and went to where they usually let us in only to find they were letting people in on the opposite side of the building. They rarely ever use the front to let people in, maybe it gets too busy there. I remember that my camera’s strap got stuck on one of the interlocking barriers as I walked by and snapped the strap off. I will have to dig out a few pics and post.
We found our seats in the very lush gold and red art deco interior of RCMH. It is a sight to see if you have not seen it. In the bathrooms, they even have the antique hand dryers, they don’t really work well, but they’re so vintage that they’re cool anyway. We got some drinks, water, etc and found our seats. We were on the extreme house right, section one in the orchestra. I prefer to sit in the orchestra, when I’m up in the mezzanine, I feel like I will fall out, weird, but what are you going to do?
PG came out and introduced Ane Brun who was going to sing a few songs. She has an amazing voice and we found out she was going to join PG for the show too. After two songs (not really an opening act), PG came out and explained that he was going to sing the new album from start to finish with no interruption. Since the concert sounded just like the album, there is no need to review each song as I usually do. But there was a part where he screwed up the words to Paul Simon’s Boy in the Bubble. Good thing Paul wasn’t in the crowd.
His new album called Scratch My Back, is a reciprocal cover album. He is covering some of his favorite artists’ songs, and in return those artists (or producer affiliated with them in the case of David Bowie) will cover a PG song. Paul Simon covered Biko on a tuned down 12 string, and the song is beautiful and simple, almost better than the PG recording. The funny thing is in one case, the artist didn’t like PG’s take on their song and decided no to do a cover.
After he finished singing the album, there was an intermission. I was really excited to hear PGs solo stuff with an orchestra. Peter was playing back to back nights at Radio City, and I was kind of bummed because on the next night, the day after our show, Lou Reed came out during the intermission and sang his cover version of Solisbury Hill. Thanks to YouTube, I saw it anyway.
Without any fanfare, PG walked back on stage and the orchestra lead by Ben Foster started San Jacinto. The orchestra really mellowed out the harsh rhythm and synthesizer used in the studio version. PG was really reaching for the high notes, and hit most of them. Next up was Digging in the Dirt. The intro was, to my ears played on a few oboes. It sounded really cool played staccato with an orchestra. Melanie (his back up singer and daughter) and Ane Brun really shined with the “this time you’ve gone to far” bit. Melanie has such an incredible voice that was showcased on the next song, Downside up. Halfway through there was a bass and percussion breakdown with a 54-piece orchestra. Only PG! PG dedicated Mercy Street to Anne Sexton, who wrote the poem it’s based on. I was not familiar with this song even though it’s on So, his break through 1980’s commercial success. For the intro to Signal to Noise, PG told a story about how cell phones will change the world. An even less familiar song came next, Washing of the Water, but enjoyable none the less.
We were treated to a grand treat when PG announced that this is the first time this next song was going to be sung with an orchestra. Red Rain sounded breathtaking with an orchestra. PG sort of fudged the opening lyric. The stage was washed with red light for this song. Since PG is getting older and never seems to remember the correct order of the verses on the next song, had a Presidential style teleprompter set up on stage right in case he forgot the words, which only happened once during the evening (The Boy in the Bubble).
PG closed the show with Solsbury Hill. He said “and this one may be a little familiar.” The orchestra started on the downbeat with the infamous opening melody line. He did his usual stage shtick like prancing around the stage and usual hand gestures on stage during this song. He may have be pushing 60, may be a bit heavier and may not have any hair on his head, but there he was, Peter Gabriel singing one of his most iconic songs, for me. The song had borrowed a sample of Ode To Joy, it fit and was a welcome addition. After this song he took the customary encore break. But before he did, he introduced the St. Lukes Orchestra and the ‘man behind the stick,’ Ben Foster.
PG came back on stage to sing In Your Eyes. I was never sold on the recorded version of this song; I think the orchestra livened it up a bit. The show ended with Don’t Give Up. It’s such an inspirational song and Ane Brun really sang her little heart out for this one. PG sent us home to the instrumental, The Nest That Sailed the Sky. After, Peter thanked his crew, the local crew, the players and most of all he thanks us, his audience.
Heroes
The Boy in the Bubble
Mirrorball
Flume
Listening Wind
The Power of the Heart
My Body is a Cage
The Book of Love
I Think it’s Going to Rain Today
Apres Moi
Philadelphia
Street Spirit
San Jacinto
Digging in the Dirt
Downside Up
Mercy Street
Signal to Noise
Washing of the Water
The Rhythm of the Heat
Red Rain
Solsbury Hill
In Your Eyes
Don’t Give Up
The Nest That Sailed the Sky
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