It was hard to believe, but it was finally happening. We walked into the foyer at the Bridgewater, tickets in hand, and yes, sure enough - it WAS happening. After 27 years, I was indeed going to witness David Sylvian live on stage. I know he's been around occasionally before, but this time I heard about it and got the tickets in time......
The Hall was just about full - there was an almost church like hush in the auditorium and music played very quietly over the p.a. - so quietly I couldn't really hear it. Add to that a predominance of black-clothed audience, the impressive array of organ pipes and the hard chairs, and it could have been a church. This impression was broken as soon as the 5 band members strolled out onto the stage in the dim light. The crowd applauded - and applauded more- in fact we applauded for some time while things got sorted out on stage.
Sylvian himself - quickly check with the binoculars - yes it IS him - sat on a tall chrome legged stool, centre stage, feet on the rails, perched, almost hunched, cradling an electric guitar, his effects and water bottle laid out before him on a scrunched up black sheet, like a rather well presented busker might appear in fact. The whole band were dressed in black, Sylvian seemed to have a jacket on and a pair of what he would never call "drainies", and a very swish pair of white shoes that later evoked a cry from the crowd: "Where'd you get yer shoes David?"
When they started playing you knew it was going to be just fine. A grand piano, the top strewn with electronics and a further keyboard, sheet music and a laptop nearby with it's own keyboard, an alto sax, bass and a rather sparse looking drum kit with yet more keyboards and a cymbal imbalance completed the line-up behind - no repeat of the "just 4 keyboard's" we, and others we heard, had worried about beforehand. First up was "Wonderful World" - the single from the debut release from Nine Horses - "Snow Borne Sorrow". This was going to be good - the arrangement of the song for these rather more acoustic instruments was sparse and yet the sound was rich and repaid listening. David Sylvian's guitar was gentle and the Takuma Watanabe's piano was just so - the bass and drums providing a good solid base and the lovely sax seemed to weave in and out of the texture laid down by the others.
Bassist Keith Lowe alternated between electric and one of these modern body-less upright jobs - resplendent in kilt and boots and for some reason stationed on his own little plinth, Lowe was seen at one point to duck and weave as if he was - dancing - we'll have none of that here! I have not yet been able to discover who was playing the flute and sax - he is not listed in the tour brochure - (and more on that later!) - but I think it was Theo Travis.
"World Citizen" demonstrated the careful inter-weaving of the band's electronic sound, with "live" percussion from Steve Jansen mixing it with the programmed sounds which I suspect Steve was in full control off from the look of his array of black boxes mixed in with the drums.
It is David Sylvian whose name appears on the tickets - and it is David Sylvian's voice that leaves the biggest impression on the listener - not in a harsh LISTEN-TO-ME-excited kind of way, but a sweet, deep, autumnal and melancholic sound that he produces with hardly any visible effort and reminds one rather of a really good chewy pint of dark bitter. In "Ride" - a song "from the eighties" - released on the 2000 compilation "Everything and Nothing", his vocals were backed by the flute, I just noted down a sigh. I know David has been a smoker in the past, and may still be, certainly his throat sometimes has a sound that may well be a smoke induced growl, yet later he sang - in fact "Atom and cell" ended on - such a low note that came over so smoothly.....
The range of material we heard was impressive too - I had expected to hear a lot of the new Nine Horses material, and there was plenty of that - yet Steve Jansen's latest "Playground Martyrs" was included (to great applause) and we had already had "Ride", so I was delighted - nay thrilled! - when a piece that I didn't know experienced a key change and suddenly there was "Ghosts", but not as I've ever heard it before, with piano and - well it was almost going to be "Nightporter" judging by the sound of it, but "Ghosts" came out and afterwards there was rapturous applause, even my neighbour, who up till then had just been rapt, suddenly burst into clapping mode and we exchanged approval! There was more "old stuff" to come - "Waterfront" and "Mother and Child".
A word for the lighting - or the backcloth projection which was a themed display of abstract images, sometimes still, sometimes moving or slowly changing - all executed in a suitably subdued palette and sometimes overlaid with spots of light, perhaps from a camera aimed at the lighting gantries, but I couldn't be certain. It certainly fitted in well with the atmosphere of the music.
The audience, by and large were enjoying the music and there was a real sense of respect for what was going down here, although a number choose to ignore the requests to stay seated except between songs and to disturb everybody while they edged along the rows to get out - then back in again. Gilly and I agreed later that at the very least we would have preferred a cozy sofa for this gig - even better if it had been in our front room - it was that kind of night - and then they stepped things up a bit in "History of Holes" which built up very nicely with Steve Jansen giving a very sharp beat indeed. Things calmed down again with a return to more historical material - the long flute notes that introduced "Before the Bullfight" producing welcoming applause, and there was "Nostalgia" in there too, both from "Gone to Earth" before the end came (so soon?) with the clock like lilt of "The Librarian" and finally David got down off that stool and gave a slight bow before waving and leaving the stage.
By now the brain was ticking and while we clapped and clapped for more, I wondered what the encore might bring - no need to guess for long as the distinctive opening notes of "Any Colour You Are" drifted up from the stage - it was a beautiful, haunting rendition of this dreadfully sad song, aided by the flute and then to heap sugar onto the pie, there was a verse or two of "Riverman". We demanded - and got - a second encore - after some considerable time and the band rounded the night off with the apt "Wanderlust" which contains the lyric:
And we’re out on the road again
It’s given us this wonderful wanderlust
It’s given us this wonderful wanderlust
It’s given us this wonderful wanderlust
I don’t doubt it, I feel it
I no longer doubted either - I had felt it, heard it, seen it and bought the tour brochure - at 20 quid maybe a bit steep - but with a hard cover and a CD with collectible cuts it seemed a fitting souvenir. Come back soon David.
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