European Tour : Gateshead – Nottingham

The Sage, Gateshead – April 29th, 2015

Setlist

Water’s Edge
The Weeping Song
Red Right Hand
Brompton Oratory
Higgs Boson Blues
Mermaids
The Ship Song
Baby, You Turn Me On
From Her To Eternity
I Let Love In
Love Letter
Into My Arms
Up Jumped The Devil
Black Hair
The Mercy Seat
Jubilee Street

Encore

We No Who U R
Wide Lovely Eyes
Breathless
God Is in The House
And No More Shall We Part
Jack The Ripper
The Lyre of Orpheus

Encore 2

Push The Sky Away

Reviews:

Louder than War

Videos:

Royal Concert Hall, Nottingham / England – April 30th, 2015

Setlist

Water’s Edge
The Weeping Song
Red Right Hand
Brompton Oratory
Higgs Boson Blues
Tupelo
Mermaids
The Ship Song
Into My Arms
From Her To Eternity
West Country Girl
And No More Shall We Part
I Let Love In
Up Jumped The Devil
Black Hair
The Mercy Seat
Jubilee Street

Encore

We No Who U r
God Is In The House
Breathless
Stranger Than Kindness
Jack The Ripper
The Lyre Of Orpheus
Push The Sky Away

Videos:

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2 thoughts on “European Tour : Gateshead – Nottingham

  1. My review of Nottingham:

    I arrived at the venue much later than planned, but still early.
    My first call was to find the stage door (just in case), but cold and a feeling of unease drove me inside to the bar.
    Besides, a fellow fan had already seen him outside. Much like at the Sick Bag Song launch in London two weeks previous, I was just half an hour too late to catch him.

    I went to my seat once the doors were open (buying a beautiful tour print along the way) and was thrilled by my position – just around 4 rows back, and towards his seemingly favoured side of the stage.
    This was the first time I would see him play live since Manchester on the Push the Sky Away tour, as well as the first of three times I would see him over four days, and I was literally shaking with excitement.

    As soon as the lights dimmed the atmosphere became electric, so thick it weighed heavy.
    And as the whirring drone of Water’s Edge kicked in, the first tears broke the surface.
    You could feel the blow and spray of the sea in the air as you walked you along the sands, and the slight lyric change for the end of the song gave a new abyss-like depth.
    I had managed to avoid set lists from the tour so far, and couldn’t hold back a yelp as the water got deeper when they went with The Weeping Song. This water we would become familiar with, dipping in and out of throughout the show – until we were plunged into flames instead later in the night.

    Higgs Boson Blues was what truly tested the environment of a seated venue. It took every ounce of strength to hold myself back from clambering over the seats and people infront to reach for his hand, for the heartbeat.

    His good humour was shining – responding readily and with a smile to shout-outs, not letting a few technical faults ruin the flow, and making personal heartfelt dedications to audience members. Particularly a very lucky letter writer who he shouted down from top circle.
    Even thanking me directly when I was one of two people driven from their seats to cheer in thanks at the end of Higgs Boson Blues.
    At one point a young man approached the stage and handed him a fluorescent yellow t-shirt featuring a slogan (his band perhaps?) and he held it out to show, responding to calls telling him to put it on with a chuckle of “it’s not my colour”; but as he seemed to guess it could be a band or piece of promo slotting, pointing at the gift giver and telling him he’d go far.

    The endless shout out’s from the audience became a bit disruptive after a while and began to grate, not to mention sound issues which would have left lesser musicians reeling.
    To combat, they simply moved through the set a little quicker. However he was unable to ignore a few which brought him to laughter, and a couple of telling off’s.
    The hall filled with a loving reverence as they made their way through The Ship Song, Into My Arms, before dropping into a frenzied stupor for From Her to Eternity.
    I found myself again losing control of the actions of my feet and face, focused on Cave’s grimaces and Ellis’ screaming viola.

    Warren kept to his seat through the show, with a slightly unfamiliar conservative stance, only letting out glimpses of the grasshopper like mania a few times – including one moment where he threw something backward hard, hitting Thomas square in the head.
    Tommy has truly become a Seed this tour. His jazz-blues drumming not just permeating the songs, but helping change and reform them. Adding another dimension which completely complimented the songs for this style of performance.
    Thomas and Martyn underpin the whole sound unfailingly, carrying it through.

    West Country Girl spoke to me in a way that it never really had before, and I identified and took much from it. The same for the ‘mantra like’ as he described it over the weekend, Black Hair.
    The mood dipped peaked and reeled with the progression through the set list, until it came to the seemingly natural stop point of the all-encompassing and heart exploding Jubilee Street.
    Every person in there raised to their feet stamping and shouting, and that is where we would all stay until the end.

    On their return to stage, God is in the House became a Hymn-like rendition – directed by the perfected preacher now also choir master. Reaching and pointing to conduct the audience as he had done to members of the band all night. We had finally be deemed worthy not just to observe and comment, but to truly be a part of the proceedings, another input to the songs.
    This initiation rite was celebrated with an all-smiling bounce through Breathless.
    Then double checked with the darkness and intimacy of Stranger than Kindness.

    After breaking into it sneering “play it real fucking evil Tommy”, we were then coerced and caressed by the long-fingered hands of the drippingly drawing and sexual sleaze of Jack the Ripper, carrying a razor sharp threat. Stalking the stage as an immaculately turned out spectre from a dream or cautionary tale, searching the sinful to damn and take under his wing.
    I think any soul in there would have happily jumped in that bucket of butchers knives with the slightest gesture.
    Appeased by the obvious self-offerings we were rewarded by involvement again in a rousing and similarly scintillating rendition of Lyre of Orpheus.
    His register reaching operatic heights in an escalating “Oh mama” you felt may have no limits.

    The rite complete, we were confirmed into the fold and readied to continue living out the inspiration of tonight in our own lives with the now crucial to me, Push the Sky Away.
    I wept as he raised his hand in thanks to the crowd and kissed Warren on the head like a brother before leaving the stage.

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