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included almost everything from 'I'm Your Man', except for "Jazz Police" haha

Like his poetry, Cohen is timeless

Robert Reid
RECORD STAFF

KITCHENER

Leonard Cohen took Berlin -- for the second time.

Kitchener hasn't been called Berlin since 1916. But that historical fact didn't diminish the adoration he received from the sell-out crowd at Centre in the Square.

Nor did it diminish the deep gratitude he extended to his adoring fans.

Cohen's loss has been our gain.

It's highly unlikely he would be touring were it not for a former manager, an ex-lover, bilking him out of millions of dollars of retirement savings.

But touring the world is exactly what the celebrated poet-novelist-singer-songwriter is doing these days on the heels of being inducted into the Rock 'n' Roll Hall of Fame, including a visit to Kitchener.

Cohen last appeared at the Centre in 1993 in support of his 11th album The Future. He remembered the previous visit.

"It's been 15 years since I last stood on this stage," he recalled with customary self-deprecating humour. "I was 60 then, just a kid with a crazy dream."

Despite the line in The Tower of Song of being "born with the gift of a golden voice," Cohen has never claimed to be a great vocalist.

Still, his bedroom rumble has always served his lyrics exceptionally well. He sounded as good Monday night as he did 15 years ago.

Although he had three terrific backup female singers in longtime musical collaborator Sharon Robinson and the "sublime Webb sisters" (Charley and Hattie), not to mention a sextet of superb musicians, his voice remained front and centre.

Cohen didn't so much sing as caress lyrics and his clear diction ensured you heard every word.

When he sang he often bent over slightly, as if drawing the words from somewhere deep within. And, when he wasn't singing, he gently sashayed like a proud grandfather at his granddaughter's wedding.

Notwithstanding his voice, he has built his performing career on two essential qualities.

First is charisma.

The term is overused in casual conversation. But Cohen has the real thing, a compelling attractiveness or charm that inspires devotion in others.

Nattily attired in a dark, double-breasted suit, blue dress shirt sans tie, topped with fedora, Cohen looked like he just stepped out of a 1940s romantic comedy. He epitomized debonair.

But his charisma is not the result of fashion, sex appeal or even force of personality. It's a form of grace, a gift with appeal that transcends mere attractiveness.

After each song, and in response to thunderous applause and regular standing ovations, the Monk of Rock offered his beaming, crooked grin, with his hand over his heart in a gesture of humility and gratitude.

Second is language.

Whether writing poetry or songs, Cohen has remained a poet. W.B. Yeats has been called the Last Romantic Poet. But Cohen deserves the title.

His best songs have the allure of poetry -- compelling, engaging, haunting. Melody, while often memorable, remains secondary to lyrics.

His use of imagery and metaphor is unsurpassed in popular song. His language is so rich and so evocative, it's impossible to select specific examples; they are simply too abundant.

His songs ranged over his career, extending back to the 1960s with a fresh Bird on a Wire, Who By Fire, I've Tried to Leave, and the forever haunting Suzanne.

Cohen's unique style of fingerpicking is often overlooked and it was wonderful seeing him play guitar for these and a couple of other songs.

Most of the material was drawn from the 1980s and 90s including a number of songs he co-wrote with Robinson, who contributed several duets and solos.

Cohen is celebrated for his songs from what he refers to as the Book of Love. And, indeed, love is a major theme, as was evident in such songs as The End of Love, Ain't No Cure for Love, My Secret Life, The Gypsy's Wife and A Thousand Kisses.

But he has also been one of the very best political songwriters over the last quarter century as was confirmed by Democracy, The Future and Anthem.

Similarly, while acknowledged as the poet melancholy, his subtle humour shone through in many songs including The Tower of Song and I'm Your Man.

Cohen did a short first set, longer second set and returned for three encores, so the concert ended up featuring 25 songs over three hours, minus intermission.

His songbook brims with enough exceptional material to fill three concert programs. So, there were undoubtedly fans who left the Centre without hearing personal favourites.

But, it's a guarantee nobody left disappointed. He delivered a superb concert

He ended by singing, "here's a man still working for your smile."

He worked not only for smiles, but for tears of joy.

"It was a privilege and honour to play for you," he concluded. "I hope I can come back someday."

That would be nice, very nice.

rreid@therecord.com