The squares can never really out. Rod Stewart performed with twelve more or less talented, more or less anonymous fellow musicians on Mamo Arena.
Rod Stewart reached Malmo, with a show that right soon and very clearly presented himself as a traveling salesman from Las Vegas. Well, it was noticeable that for a while was stationary in Vegas: the decor, lavish listings, attitude and lightweight hollow luxury but luxury nonetheless.
it’s a mighty long way down rock’n’roll , which Ian Hunter sang when Rod Stewart was the first of many peaks in his career, but also a flashy Las Vegas show has its spots. And patchy, this was very good.
We start there – just where his voice, his understanding of a song denominations and his ability to quite apart from the size of the audience and white sprawling expectations manages to get into the heart of a worn song and give it immediate lifesaving. We begin with his shooting Etta James’ I’d rather go blind “, itself a cover of his very fine recording of 1972.
The program was it just for a change of clothes and a breathing space in which the latter was certainly the most important. His grant was a little more cautious than usual, which gave him the ability to both feel for and creating dynamics without too much fanfare. He took liberties with the melody and rhythm; he circulated around the melody that everybody knows inside and out, he conditioned phrase with style and Fakt term, a sense of risk. He sang with a warmth and empathy that no soul can live without. He was a brilliant moment.
And it was contagious. Saxophonist surprised with a “Look Who’s Talking” torques, after spending most of the evening mostly just visited in his tenor sax.
The idea was unabashedly hitcentrerat ; we got most of the songs were waiting. Though surprisingly, many of these turn out to be stompiga anthems with the British folk somewhere in the bottom. “Rhythm of My Heart” is the right pompous, but it was the new tjo-and-tjimmiga “Love is” that everything really capsized.
The type of songs can be presented with a chipped and drunken charm, it where as Neil Young called “Ragged Glory”, otherwise it just becomes hejigt. More like Rods threadbare hairdresser, less like paint his Rolls-Royce. By “Ooh la la”, he and the band pretty close, but quite often featured folk rock band instead of the plinth – completely free of it we rock romantic call “soil”. Also, when the two violin players in the middle of “Forever young” tally up in a jig music sounds as if we are on WORKOUT.
Rod himself was of course to some extent just that: on a workout. In the evening both rock’n’roll numbers, he devoted more energy to kick the ball to the audience than to sing. Clean distraction, of course: he fixes not quite where they apply and oborstat cocky top notes of “Stay With Me” and “Hot legs”. And so it may well be; we have them all grow up.
With “Tonight’s the night”, he took note of this. Instead of imitating the intolerable, self-conscious youth who flaker out in the original he adopted something much more sophisticated. Unfortunately, do not vote for it; it floated right properly. Urbane at that desaturate crying innings charming way – think Bryan Ferry – he will not, he’s too mischievous for that.
The mischievous arrived in the new wave / disco pop “Young Turks”, tonight’s best in the bag. But there’s no getting away from that evening’s best songs all of them were ballads. With Cat Stevens’ The First Cut Is The Deepest “, performed with the band near the edge of the stage, suddenly put it all together. He sang his prayerful “I’ll try to love again, but I know …” as if he had to fight with every tone and every word, but he overcame the obstacles – which is the whole point. Here, too, he was an excellent soul vocalist.
Even better: Van Morrison’s “Have I told you Lately That I Love You” was the voice velvet and sandpaper in perfect proportions. Again reminded you of how Rod Stewart can provide the most worn-out phrases and mannerisms sense. A big effort.