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"Hallelujah" chorus greets Cohen
May 5, 2009
In Leonard Cohen's first Twin Cities appearance since 1993, the legendary bard's marathon was like a religious experience.
By JON BREAM
They don't make men like that anymore," a woman was overheard saying to her man at the intermission of Leonard Cohen's concert Sunday at the Orpheum Theatre. "He's such a gentleman."
Courtly would have been the word to describe the 74-year-old Canadian's demeanor onstage. So would romantic, sexy, spiritual, political, poetic, profound and ageless.
The Mick Jagger-thin man in the sharp black suit, bolo tie and fedora trotted onstage and skipped off during a two-set, three-hour, four-encore performance. This was deeply satisfying, tantric concertizing by the Jewish Buddhist monk. And the worshipful sell-out audience responded as if they were having a religious experience at the House of Cohen.
In his first Twin Cities appearance since 1993, the revered songwriter and rumbling singer dressed his poems of hope, love and despair in a rich tapestry of smooth-jazz, gospel-lite and gypsy-tinged world music. Like a jazz concert, the approach allowed each of the six musicians and three backup singers to shine. Javier Mas, from Barcelona, was especially outstanding on bandurria, laud, archilaud and 12-string acoustic guitar, and the Webb Sisters, Hattie and Charley, did some lovely Irish vocalizing on the prayer-like "If It Be Your Will" and eye-popping cartwheels during "The Future," following Cohen's own little soft shoe routine.
Seeming more like a performance artist than a Rock and Roll Hall of Famer, Cohen was lost in his own world, head bent down, eyes closed, right hand clutching the microphone, left hand clenched around the microphone chord. He often dropped to one knee and once to both (during "Chelsea Hotel #2" about his fling with Janis Joplin), but this routine began to seem like an affectation. He plucked a guitar on a few tunes and plunked a couple of notes on an electric piano on "Tower of Song" in a way that was so slight that fans applauded and he joked about their applause.
Making his first U.S. tour in 15 years in order to replenish his retirement fund squandered by an ex-manager, Cohen is finding many new converts, who may have discovered him in the lyrics of a Nirvana song or via versions of his "Hallelujah" by Jeff Buckley, "American Idol" finalist Jason Castro or in the movie "Shrek."
Not surprisingly, the increasingly famous "Hallelujah," done with hymn-like restraint by Cohen, received a standing ovation on Sunday. The brightest of the other highlights included the hauntingly spare "Chelsea Hotel #2" (with the great line: "we are ugly but we have the music"); the spoken-word poem about wanting the relationship to go 1,000 kisses deep; "First We Take Manhattan" with its soulful groove; "I Tried To Leave You" as a fittingly false finale, and the gypsy soul strut "I'm Your Man," a perfect combination of the playful and the profound, just like the gentleman himself.
Leonard Cohen @ Orpheum
Posted on May 4th, 2009 – 3:04 AM
By Jon Bream
It wasn’t surprising to see all the Pitchfork-obsessed young hipsters at the Orpheum on Sunday for Leonard Cohen. I expected all the graybeards and all the women of various ages (one critic dubbed Lenny the Barry White of the bookclub set). But the number of guys surprised me a bit.
Maybe guys are romantic, too. Or they just appreciate one of the greatest songwriters of our time.
We could all probably fill a college bluebook with our thoughts about the Cohen concert. You can read my full review elsewhere but let’s just say I appreciated Mr. Cohen’s courtliness (loved how he doffed his cap to thank the audience for their applause and his soloists for their musicianship), his choice of material (did miss “Sisters of Mercy”), the varied textures of his tunes (even though we know his vocals are limited) and the fabulous picking of Javier Mas on various stringed instruments. (I could have done withouth the Kenny G-evoking wind man Dino Soldo, though his harmonica was effective).
The set list and many of the between-song comments were almost identical to what can be heard on Cohen’s new Live in London CD/DVD. Here’s what he played at the Orpheum:
Set I: Dance Me to the End of Love; The Future; Ain’t No Cure for Love; Bird on a Wire; Everybody Knows; In My Secret Life; Who By Fire; Chelsea Hotel #2; Waiting for the Miracle; Anthem
Set II: Tower of Song; Suzanne; The Gypsy’s Wife; The Partisan; Boogie Street (sung by Sharon Robinson); Hallelujah; I’m Your Man; untitled poem ; Take This Waltz
ENCORES: So Long, Marianne; First We Take Manhattan; Famous Blue Raincoat; If It Be Your Will; Democracy; I Tried To Leave You; Wither Thou Goest
jslauver wrote:Leonard & the tour group were far better live than the london concert recording.
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