Ian Anderson in the Milky Way - Concert Review
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Written by
Edwin Ammerlaan ... Tuesday, November 20, 2012 1:44 p.m.
Shortly before the occurrence of dust jackets men walking on stage to get things supposedly in order.
Between "work" by finding them condoms and bras that they almost surprised to show the public.
Oh, it is such an evening, is the first thought. The flauwigheden fortunately quickly disappeared
when Ian Anderson are equally applicable as legendary opening the evening kicks off:
"I really do not mind if you sit this one out ..."
When the posters is announced that the Jethro Tull frontman parts one and two of Thick As A Brick will play,
then you know that it is a long journey. Nevertheless, the Milky Way already sold out weeks in advance
stiff by a remarkably diverse mix of visitors that the veteran had some good old-fashioned work wanted to see.
The original from 1972 is not without a symphonic folk-rock classic, which earlier this year was complemented
by the thematic sequel Thick As A Brick 2: Whatever Happened To Gerald Bostock.
The start is solid, which rapidly and almost continuously throughout the first act is performed.
Without his old companions-Tull (it keeps guessing the reason) but with a tight,
well-oiled, but rather faceless group of musicians.
Most appreciation goes out to the young drummer Scott Hammond who excels in not so much virtuosity,
but much appreciation harvest for the way in which he leads the way in the numerous,
rapidly succeeding one another tempo and rhythm changes.
Drama PieceStriking is the role of Ryan O'Donnell
(in the past including Pete Townshend's involved in theater production of Quadrophenia),
the evening a musical-like atmosphere tries to give. As a younger version of his boss Anderson moves
not only the same, also he takes between dress and mime-parties with the same voice part of the vocals for his account.
Undoubtedly intended to captain more space for his flute to give.
Still works alienating to see how the second vocalist as any band member continuously staging a play.
And the maestro himself? Who plays alternately on acoustic guitar and flute are still the stars of heaven.
Of course he balances thereby regularly in characteristic pose on one leg impressive is the passion,
energy and dexterity that he 65-year-old prog rock legend on stage brings.
Although the dynamics of his vocals to power has lost,
he forces forty years with musical virtuosity and his engaging personality much respect.
Long sitA successful evening of nostalgia? No, far from it.
It shows not only a very long stretch, the concert lacks some key ingredients to the attention two hours
to be able to keep. Anderson has anticipated this by relativizing some moments to install.
So suddenly the phone and let violinist Anna Phoebe know 'not to save tonight,
after which they appear on the video screen - supposedly Skype
- alternately with her instrument and a baby on the arm can be seen.
A little later, a comic interlude in which the theme of old men and rectal examination 'is central.
After this seems Anderson even as seriously as he calls to the men
present themselves anyway especially annually to check for prostate cancer.
The most hilarious video in which the host as 'posh bloke in the garden'
the audience with a big fat upperclass-nod by his estate leads.
Welcome interruptionsThese moments provide welcome interruptions and self-mockery.
The implementation itself is unfortunately full of clichés. Is it about Babylon, the famous tower projected?
Anderson sings about rain, O'Donnell appears for a few seconds with umbrella.
It does forced and adds nothing. The Gerald Bostock-diptych is also only by connoisseurs to follow.
Fortunately there are a lot of in the hall, but an outsider with this kind of 'props'
probably no idea where the Thick As A Brick-suite're really about.
The biggest shortcoming is the total lack of musical emotion. Of tension, emotion or excitement is absolutely no question.
However this band is more capable of doing its best, everything is there to serve as exact and tight possible execution.
And that has a large effect on the reaction of the audience, matt and polite.
Only when an encore a nice bluesy accentuated version of Locomotive Breath is used,
is the room upside down and the show comes far too late to live. Since we had like more heard of.
Why? Because Ian Anderson, if he wants, can actually swing like a train.
Seen on Monday, November 19th at the Melkweg in Amsterdam