Dead Can Dance Tour 2005
I can tell you from experience that the more you know about stagecraft, the harder it is to let go of the critique when you’re in the audience. At last night’s Dead Can Dance concert at the Paramount, I was of two minds about the experience, but the exquisite musicianship of Lisa Gerrard, Brendan Perry, and their five supporting players overcame the deficiencies of the show, and left me with a smile and runny mascara.
For those not in the know, Dead Can Dance is the epitome of fusion music, folding ancient air into medieval melody into gothic thrum, adding a Middle Eastern spice here, and a Celtic flair there. They defy description. I dared fellow Metroblog writer, Cat, to describe them in three words, and her answer was, “a reporter’s bane!” I can only assure you that it is worth the listen. Their live recording, “Toward the Within” contains just the right mix to tantalize.
One might wonder why anyone would be so picky about a Dead Can Dance concert. We should all be grateful to see them at all after a 9-year hiatus, shouldn’t we? Of course we are! But the way the show was staged removed any promise of rapport with the audience, much less between musicians. Each person was set up in a specific area, and they did not interact except to look for their cues.
Ms. Gerrard, in a glowing yellow gown and severe braid-crown, shifted between statuesque and stiff, except for a few gracious smiles during thunderous applause and standing ovations. If I could have shut off the sound and just watched her, she would have appeared more like a lector at Mass than a musician. In addition to her flawless, resonant voice, she played the hammered dulcimer (a main feature in “Rakim”), cymbal, and zils.
Brendan Perry was a much warmer, more charismatic presence on the stage, and he even took a few moments during the silence between songs to say a few words. Just a few, though. The most memorable words preceded “Saltarello,” when he informed us, “This next number went all the way to number one – in 1416.” His deep, velvety voice was rich and comforting throughout, particularly during “American Dreaming,” which is admittedly one of my favorites.
Much of my disappointment regarding the music was that most strings and all wind instruments were samples coming from the synthesizers instead of live performers. Mr. Perry switched out instruments often – from bass guitar to dulcimer to doumbek to hurdy gurdy, making each one look effortless.
My only other complaints were about the audience. Come ON, Seattle – I hate calling you out during my first post to Metroblogs as much as I hate being embarrassed by you at live shows! When a class act like Dead Can Dance says they’re going to start at 8 with no opener, they start at 8:03, and we should be in our seats, eager to begin! I don’t understand how people can fight for second-row seats (or even the VIP seats in the orchestra), pay the horrendous Ticketmaster fees, and come in 45 minutes late, causing the staff to interrupt the experience with their little flashlights so they can catch the last five songs. I had two seats open next to me, and I was dreading the moment during the show when I’d have to stand up and let the latecomers in. Luckily for me, they never even bothered to show up. Thank you, I enjoyed the extra leg-room.
It was a seated show – much like the opera or the symphony. Standing up and waving your arms in the third row really detracts from the moment. Sometimes silence can hold as much emotional weight as the music itself. It could have been magical, but it was often interrupted by song requests, proclamations of love, and ill-timed zaghareets. Why do the biggest fans show the littlest respect?
In spite of the annoyances and yearning for a connection with the players on-stage, the execution was beautiful. I ordered the CD of the performance, and they’re re-mastering it and sending it out before the holidays. I think I’m going to enjoy it more at home than I did at the Paramount, but I am still happy to have seen them live from the third row. I may never get the chance again.
Lisa Gerrard closed the evening with something very different – a sweet lullabye called “Hymn for the Fallen,” which again brought tears to my eyes, and somehow brought me closer – where I’d wanted to be the entire time.
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Thanks for the report on this show — I was wondering what it was like. I really should have gone to see it, but somehow missed the original announcement. I hadn’t realized that DCD hasn’t toured for so long. Are they supporting a new CD, or was this a greatest hits tour?
No new CD that I know of – just a reunion. I guess they need to scrape up some dough for their side projects… I’m psyched about the concert CD, though – they’re selling a limited number for every show on the tour. (The Pixies did the same thing sans the remastering. You could take the CD home right after the show.) It’s a fantastic idea, providing your own show bootlegs.
Thanks! I found A Passage In Time available on emusic, downloading it now. Looking forward to some new music.
Excellent choice – you’re going to love it!
Was there no accompaniment at all? We’re seeing them tomorrow down here in L.A. at The Hollywood Bowl and it’s supposed to be with an orchestra.
It seems they have different lineups for different venues. There were only 5 people on percussion/synths in Seattle, but I’ve heard they’ll have a whole orchestra at Radio City Music Hall, NYC. I think it just depends on the venue.
Just wanted to post, that I just saw the Hollywood Bowl concert last night with a downsized LA Philharmonic. AMAZING!! Sorry to hear that Seattle didn’t get live orch. Although they had the live orchestra perfomers they still used synth on about half the tunes. Regardless, it was the best ever. It was extremely emotional and I did not want them to leave the stage after the 3rd encore. The energy at this performance was absolutely exactly everythig I was expecting and MORE. The die hard dcd fans were there, like you said, screaming adorations and requests, as they always have done at every one of their concerts. Unfortunately they did not record this one, probably having to do with royalties and fees having to be paid to the LA Phil when the cds sell. All in all the best DCD concert I have been to, mostly being becuase it’s been 10yrs since I have seen them live. There’s rumor of them collaborating again and quoted saying how their “paths have crossed” at this time and will do what transcends naturally. I hope so, with this day and age and everything going on, we need some new DCD!!! Thanks for your review Colleen it was good to read. Stay Well!
The only shows to get a full orchestral accompaniment were last night’s Hollywood Bowl show and the upcoming Radio City Music Hall.
I’ve been going to concerts since 1973 and last night’s show was easily in my Top 10 – if not Top 5 – of all the shows I’ve ever witnessed. It was f’ing incredible – mind-blowing. The band was tighter than an ant’s arse, the orchestra was perfect – appropriate when needed, silent when not – and the sound system was amazing (if you were within 100 feet of the stage, which I was). I can’t think of a voice better to hear booming out of such a magnificent sonic setup than Brendan’s. The audience was even properly attentive (there were a few moronic fanboys screaming “ILOVEYOULISA” with thrusting fists skyward, but at times you could literally hear a pin drop – how many times can you say *that* will happen in a non-Classical Music audience of 13,478 people?)
My only disappointments: (1) They didn’t play either of my 2 favorite DCD songs, “Cantara” or “Ulysses”. I was especially disappointed that “Ulysses” wasn’t played, primarily because it’s already so orchestral in nature to begin with, it would’ve made a perfect fit for the LA Philharmonic Orchestra backup; and (2) the pacing – alternating the uptempo rave-up songs (with people dancing in the aisles) with Lisa’s somber tone poems made for a roller-coaster ride at times. It’s OK to string together a few uptempo numbers, guys …
It’s a bloody shame if it won’t be released like the other live shows were, if the last poster is correct. The best show to release a recording of out of the whole bunch, and they won’t release it?!?
Does anyone here remember the names of the musicians that supported them live? I am especially interested in the percussionists names?
Niall Gregory – Percussion
Lance Hogan – Percussion, Bass, Guitar
Simeon Smith – Percussion
Patrick Cassidy – Keyboards
Micahel Edwards – Keyboards
these are the musicians listed in the program.
They also had one more keyboardist at the LA show which I was surprised was not listed in the program as he seems to be the resident live keyboardest for DCD for all of their older shows.
Does anyone know of a DCD message/discussion board they could link me to?
I was not able to make the Hollywood show, and wanted to so badly… Can anyone tell me how the opening act, Nouvelle Vague was. Did they begin promply at 7:00PM?
Nouvelle Vague were great. They went on promptly at 7:00, yes. Maybe 7:01 or 7:02. It was the keyboardist (Mr. Nouvelle Vague himself), a drummer and acoustic guitarist, and 2 female chanteuses.
They proceeded to play a great Lounge set of Your Punk Yesteryear classics:
XTC – Making Plans For Nigel (I think – was still coming into the Bowl at that moment)
Buzzcocks – Ever Fallen In Love (With Someone You Shouldn’t Have)
The Cramps – Human Fly
The Clash – Guns Of Brixton
PiL – This Is Not A Love Song
Bauhaus – Bela Lugosi’s Dead (big crowd cheer, natch)
The Sisters Of Mercy – Marian
Joy Division – Love Will Tear Us Apart
(I may be forgetting one or two songs here – a woman blogger elsewhere on Rotten Tomatoes claims they did Depeche Mode’s “Just Can’t Get Enough” and The Cure’s “A Forest”, but I don’t recall those being played.)
and, to top it all off …
The Dead Kennedys – Too Drunk To F*ck
Priceless!
The first song that Nouvelle Vague performed was Depeche’s “Just can’t get enough”. And stop complaining, the show at the Bowl was fenomenal. Brendan’s voice has never sounded better.
I attended the Toronto show last night and am still reliving the moments in my mind and heart as I post this-
DCD has been my perennial favorite *band* since I was an underage crushed velvet goth girl trying to get into the Continental here in Buffalo, NY. I matured as they have, and it was so amazing to see how much they’ve grown in the past 9+ years! No longer adorned in crushed velvet and Fluvelogs, married (w/ DCD as the processional music) and living in the countryside, DCD and Lisa Gerrard/Brendan Perry together and separately have become the soundtrack to my life. The deeply resonant lyrics and sounds are embedded in my soul, unlocking the gateway to sacred space.
I went to Toronto without even a second thought and sat in the 3rd row taking in what has become a shared experience. I enjoyed sharing in the collective experience, but DCD has always been such a personal one sice that last concert almost 10 years ago-
I have to say- i love the solo albums, but the synergy of creativity between Lisa & Brendan is unmatched. Lisa’s voice is ethereal, transitioning in an instant from thunderous to to a whisper. Albeit a diva with a bit of a stern temper for perfection, she complements the genius of Brendans natural rhythm, deeply resonant voice and amazing comfort with the most awkward of instrumentation. i hope their paths cross agin, if its in the stars.
Wow, thanks for the reviews. It took me a bit of searching. My wife and I couldn’t get tickets to the Toronto show (we live nearby) but found Radio City Music Hall to still have tickets a few months ago. So we said, LETS GO TO NYC! (I heart NYC)
I’m glad to hear this show will likely have a full orchestra to back them up.
For the Colleen who started this thread, I have to say that what you noted about Lisa’s (and Gerrard’s) lack of audience participation sounds EXACTLY like it was when I saw them first so many years ago in Toronto. I think she’s shy. And we all know her to be a perfectionist and takes her music VERY seriously.
It also can’t be easy to do what she does, (ie lots of concentration). So I’m not surprised she’s not jumping around or even chatting up the audience.
The problem with a crowd of people is that there are always a few who just don’t get the feel of the show. I remember a Love and Rockets show at a small club called Lee’s Palace in Toronto. For some reason the crowd at the front of the stage were just standing there enjoying the music. TWO guys thought it should be a mosh pit and were pushing people around. A few of us made sure they got the message that we weren’t interested in that in this situation.
I’ll post a quick review after our trip to NYC.
cheers,
‘Fish
I saw DCD in Montreal on Sunday and it definitely was a top 5 concert of all time for me. I’m in my 50s and have been attending live concerts for over 35 years now, so that says quite a bit. I live in NC but flew up to Montreal to see DCD because, IMHO, Montreal is the best place to see live music in North America. The audiences are generally respectful of the musicians but show their enthusiastic appreciation w/o disgracing themselves. I’m sorry to hear about your Seattle experience and I’m afraid that is par for the course with most American audiences. Many concerts I have attended here in the US have been ruined by over-zealous *fans* or brutish *security* personnel or just general inconsiderateness. A shame really. My only complaint about the Montreal concert was the sound … a little too crisp and the cymbals could have been toned down a tad. A trifle really, because all in all I will go to my grave remembering this experience.
saw radio city last night-incredible. Absolutely incredible. Full orchestra, silence and bliss. Only words from Lisa after “hymn” to audience…”You’re fantastic.” Cried through the whole freaking thing.
Thanks for the Seattle review. Insert New York where the word Seattle is and you have exactly the same review. The music, bliss, the audience shamefull!
I was embarrased by the lack of respect the audience had for DCD. Why buy tickets six month in advanced and then ruin it for yourself and everyone around you by shouting out song requests (CANTARA) and screaming in between songs. This was a orchestral concert not a baseball game.
Even more disrupting was that people couldn’t even wait for a song to finish before exiting or returning to their seats. And on top of that, Radio City Music Hall was letting people drink in the theatre. Once people realized that, it was a mad rush to the concession stand to get beers for their group.
I finally resigned, closed my eyes for the last 1/2 of the concert and concentrated on DCD. I got goosebumps when she sang Devorzhum and had tears in my eyes when she sang Yulunga. Lisa has a voice from heaven.
Does anyone know where to find set lists for DCD’s 2005 tour? I’d really like to see what kind of selection they played from venue to venue.
Saw the Chicago performance last night. No where near the band I saw 15 odd years ago. The keyboards were totally unwelcome and the band is now toothless IMO. I wish it moved me like it did years ago – it did not at all. Seeing DCD backed by all the keys would be like seeing Cocteau Twins play with all keyboards. I regret going. They turned into new-age mush when I wasn’t looking I guess. Yuk.
I got a copy of the Set List at the Washington, DC show. The list was obviously a copy of the original computer printout which had been placed next to Lisa Gerrard’s podium between her and Branden’s microphone. On the top right hand corner was a note in italics which read “DCD 2005 Tour Set List.” To me this indicated that the same list was used at every show.
From all that I have seen posted, the list I have applies to all of the shows that DCD did on this tour, though there may have been alterations for the symphony backed shows I could not be aware of.
-John
Note to goer: I think that you are the one who changed. There were many natural instruments on the stage. The music was a reprise of their original recordings, not new inventions. Except the “HYMN FOR THE FALLEN” in which Lisa Guerrard experiments hauntingly with the incredibly difficult use of quarter tones with the human voice. I found the effect to be profound and indicative of a whole new direction for BLUES if ever the typical untrained artists could master her technique.
As for the synthesizers, modern technology allows the ability to sample natural notes and reproduce them with haunting accuracy. For a band that is playing symphony halls on what is most likely a beer hall budge, DCD was quite well equipped for the wide variety of sounds they required.
Methinks that Chicago Goer was meerly pouting that they were unable to have DCD perform at their own Gothic ritual in an ancient Catholic Cathedral for calling up the Sacred Dead. How spoiled our Ego becomes by our own personal fantasies, wouldn’t you say?
:-D
Am looking for the latest Dead Can Dance box set for my boyfriend, at a reasonable price. He is a huge fan, and the sets seem hard to come by these days. I would appreciate any ideas.
Thanks for the review. I bought the cds of this event and was wondering if I could find pictures of it too :-) I’ve seen DCD several times, the first being in 1984 in ULU (Central London)…and they’ll always have a special place in my heart. I agree about Brendan’s voice – really gets to you. Thanks again!