I saw Mr. Cohen twice the last week (for the first and second time in my life) and both concert were absolutely amazing, one of the best shows I have ever seen, so I am posting my review here. I am curious if there are any LC fans here, but I guess there must be. My advice is - if you have a chance to see him, don't hesitate and go! I missed the 2008 and 2009 concerts in Prague, since I thought the tickets were too expensive and I regretted it ever since. This time I bought the tickets the minute the pre-sale started.

The best thing about seeing someone live for the first time is that feeling „Wow, that is REALLY HIM!“ That never happens again on second, third or tenth concert, and that was my very first thought when Mr. Cohen appeared on stage in Prague. He got a standing ovation right at the beginning and when he started to sing, my first impressions were that the sound was absolutely outstanding and that Leonard’s voice was even deeper and smoother than on the live recordings. Well, his voice is actually exactly the same as on the recordings of course, but the real live experience is much much stronger than listening to any DVD. The sound in the hall was really perfect though. The sound in an arena is always a compromise, sometimes it is acceptable, sometimes horrible, sometimes very good. Mr. Cohen had the best sound I have ever heard in an arena.

As the concert went, it fulfilled all my very high expectations and there were some things that surprised me. I have seen the Live In London and Songs From The Road DVDs many times, but it was right there at the concert that I realised how incredibly good the Webb sisters (backing vocals) were. Of course, the DVDs concentrate mostly on Leonard, but at the concert you can concentrate on anyone on the stage as you will and when Come Healing came, I couldn’t believe my ears. It is a nice song on the CD, but the live rendition was absolutely outstanding, one of the finest pieces of music I have ever heard. In one review in one Czech paper, there was writen, that Cohen had the best backing vocalists in the world. Well, I haven’t heard them all, but from those I have heard, they are the best indeed. Needless to say, they are the best looking ones :-)

Now, it is fair to say, that everybody on the stage was really great, Sharon Robinson’s Alexandra Leaving was beautiful.

So after the first set (about 1 hour 5 min.), there was a 20 min. break, then the second set – another hour and then came another big surprise – the rush for the stage. Now, when I read some reviews, I know it is a common thing at Leonard’s concerts, but I am glad I didn’t read it before, since the fact that I spent the last 45 minutes absolutely unexpectadly 1 meter from the stage, was a great bonus that lifted my mood another great deal, if that was possible. The concert was over too soon it seemed, though incl. The 20 min. break it lasted 3 hours 15 min.!

If I wrote the review right after the concert, I would have probably writen that it was the best show I have ever seen, now in a slight retrospect it would not seem fair. The truth is, that I have seen many concerts and there were some that were truly outstanding. The Leonard Cohen experience stands up there with the absolutely best ones, like The Stones, Springsteen or McCartney, but I really can not say which one was a bit better than another. And there would be no point in trying to do so. Some concerts are just perfect down to every little detail and this was one of them. As was the next one in Vienna.

So six day passed and I went to Vienna. I almost missed the concert, since for months I thought that it was on Sunday the 28th, while it was actually on Saturday the 27th. I realised my mistake by pure chance in the evening on Friday 26th, which was pretty much the last moment, since it it takes me half a day to get to Vienna. The thought that I could have travelled to Vienna on Sunday, accomodated myself in the hotel and and gone to the hall in the evening only to realise that the concert had been the day before is highly unpleasant :-)

Anyway, while in Prague I had a ticket on the tribune, a very good one, but still rather far, I had a second row in Vienna (for the same money actually - the conert in Prague was surprisingly more expensive than the one in Vienna). On a side, but a great seat really.

The show was similar to the one week before with the exception of one song – Hey, That’s No Way To Say Goodbye in Prague and Save The Last Dance For Me in Vienna. What was different was the audience. The audience in Prague was really good actually, considering that the Czech audience isn’t usually very warm. It was very acceptive and the mood was great, but it was waaay better in Vienna, which showed mainly during the encores.

At that point I still didn’t know that the before-the-encores rush for the stage was a common thing and I was curious whether it would happen again. There was actually a little gathering in front of stage before the second set started and it looked for a moment that there would be a standing in front of the stage for the whole second set, but the security let people to take pictures for about two minutes and then asked them to sit down, which was logical, since it would probably ruin the show for the people in the centre of the first rows. I thought it was actually a nice gesture from the security, that they let those people in front of the stage for a while.

The rush came with the first notes of Take This Waltz, so one song earlier and that was the time when the atmosphere in the hall took off. I ended up even a bit closer than in Prague this time. People sang along, the line „There is a concert hall in Vienna…“ was loudly appreciated as one would expect, but the best thing came during So Long, Marianne – people sang along from the beginning, but with the start of the refrain it sounded as if an incredibly loud chorus was played from some loudspeakers from the back. It took me by surprise and I am sure it did Leonard too. He stopped singing and looked absolutely taken aback. The same happened during the other refrains too, and Leonard obviously enjoyed it and smiled broadly, but the first time he was stunned. I was filming at that moment and I watched it many times. The look on Leonard’s face was priceless. I don’t know, maybe I am just describing something that is common at Cohen’s concerts, I can only compare it with Prague and it didn’t happen there. And it was magic. There were other great moments – during Closing Time for instance, when every line „It’s closing time…“ was followed by loud „No, no, no!“ from the audience to Leonard’s obvious amusement. Again, I have no idea whether it is normal or not, but it didn’t happen in Prague and it was great.

Save The Last Dance For Me...and just like in Prague, after more than 3 hours it was over too soon, and I can only hope that, in a year or two I will have another chance to experience it again. If so, I will be among the first ones to buy tickets again. And if there would be a chance to see the Webb sisters solo, I will be there for sure, I checked the YouTube for some of their solo stuff and it is excellent. Thank you all for two unforgetable nights! I mean everyone on stage and everyone in the audience.

My pictures from Prague:

































And my pictures from Vienna:






















































Edited 3 time(s). Last edit at 2013-07-31 15:37 by Happy24.

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Happy24
The best thing about seeing someone live for the first time is that feeling „Wow, that is REALLY HIM!“

YES, so true. I had that feeling when I saw him last year in Amsterdam. It was wonderful. Thanks for your great review and pictures.

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Keep On Rolling

I saw him last tour. He was amazing. Top notch band. Really treated his audience well & gave them all they could want +.

Yikes!

Catched him on the last tour in Oslo.

The show was way, way better than I thought it would be

This man is a Gift and a Legend, and anyone within distance of a show should try to catch him if they haven't already. He is truly tanscendent.

Cohen is amazing. Also, no teleprompters!

Yes, yes, yes and yes.

I was always a lukewarm fan of Cohen's; big enough of a fan to wonder why Hallelujah is his most popular tune considering all the great songs he's put out there, but not big enough to really devote much time to him outside a nice two-disc Greatest Hits package (The Essential Leonard Cohen) I bought after seeing a video for "Closing Time" about ten years ago on MTV in Lodz, Poland while travelling through Eastern Europe.

He was in Wiesbaden, Germany - not that far from where I live - a few years back so, on a whim, I decided to see him and was absolutely floored. I saw him in Mannheim recently, as well, and nothing's changed.

There's nothing rock'n roll about Cohen's show so it's the complete opposite of what I'm generally used to seeing (ie. Stones, Springsteen, etc.) but there's a certain genuineness to his performance that I just can't get over. Here's a guy who's led an examined life, had some minor and major pitfalls (didn't I read somewhere that he went back out on the road in 2008 after many years not touring because he'd been completely duped by his manager/friend), but also some success, and he just comes across so real. When he says, "thanks so much, friends," it doesn't sound contrived (I've never heard an artist refer to the audience as "friends." Vince Neil of Motley Crue called us all a bunch of Motherf*ckers back in the day but that's much different). It comes across as if he really values your listening and devotion to his music - and his fans reciprocate. I've never seen such a "subdued" performace be met with such enthusiasm.

I kept marvelling at the quality of the music. The musicians on tour with him really are that great. I've never heard such a perfect sound come from a group of players and what was said by the Webb Sisters really is true, although I enjoy their back-up singing more than their solo spot, maybe because "If It Be Your Will" really isn't a Cohen tune I can get into. And Sharon Robinson with "Alexandra Leaving." On the last tour she did "Boogie Street," which was good but nothing compared to the words and melodz of what's being done now.

While Springsteen leaves me physically drained when I exit a stadium (or arena) after seeing him, Cohen leaves me mentally and emotionally drained. Don't pass him up as he really is that good. It's one of the best shows I've seen. Nobody can not sing a song better than Leonard Cohen and only Leonard Cohen can not sing a Leonard Cohen song better than anybody else.

who is this guy ?

You've got more pics of the backing vocalists than of Leonard.
I can't blame you.

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electric-duane
Yes, yes, yes and yes.

didn't I read somewhere that he went back out on the road in 2008 after many years not touring because he'd been completely duped by his manager/friend), but also some success, and he just comes across so real. When he says, "thanks so much, friends," it doesn't sound contrived (I've never heard an artist refer to the audience as "friends")

You are absolutely right about the reason why he got back on the road. Yet the outcome of this situation that would just bring most people down ant let them devastated, is actually amazing. He returned to touring after about 15 years at the age or 74 or so. Now he is 79 and...well...he is just unreal.

And I can think of one other artist who calls his audience "friends." Bob Dylan actually. It sounds really different, yet I believe he also means it.



Edited 1 time(s). Last edit at 2013-07-31 22:14 by Happy24.

Hi Happy,

Great report and photos!
Like the thread about The Flaming Lips, this one about Laughin' Len has only highlighted to me what a show, what an artist that I have missed seeing up to now. It's stuff like this that makes me value IORR, or more accurately, the loons who post here!

I hope that I get the chance to put that right. And I bet I'll take even more photos of the backing singers, hah-hah!

Cheers,

Simon.

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TheGreek
who is this guy ?

Borscht-belt comic. Second-tier, fringe member of the Rat Pack. Had friends in high places.





Edited 2 time(s). Last edit at 2013-08-01 04:03 by tatters.

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SimonN
...what a show, what an artist that I have missed seeing up to now. It's stuff like this that makes me value IORR, or more accurately, the loons who post here!

Yeap, I "discovered" Dylan and Springsteen thanks to IORR (especially thaks to Gazza). This place is really a great source of information not only about The Rolling Stones

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tatters

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TheGreek
who is this guy ?

Borscht-belt comic. Second-tier, fringe member of the Rat Pack. Had friends in high places.

Didn't he have his own late night talk show opposite Carson in the late 60s, and got crushed? King (of late night) takes bishop.

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Happy24

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BowieStone
You've got more pics of the backing vocalists than of Leonard.
I can't blame you.

The backup singers made me feel ahhhhh funny. Especially the brunette.

Now that's what I call a review. Great stuff.

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tatters

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TheGreek
who is this guy ?

Borscht-belt comic. Second-tier, fringe member of the Rat Pack. Had friends in high places.

thank you for the info .

Very good photos!

Lovely review, Petr - many thanks. Got to see him in 2008, 2009 and last year and he's always terrific. Cant make Dublin this year, unfortunately.

My only minor gripe about his shows is that I wish they were a bit louder.

Great photos!
I saw him in 2008 and 2010, and he was brilliant both times.
Will see him again in about two weeks.

great review happy, i´d like to see him also, but never did, shame on me... really like his future album

I saw Leonard Cohen for the first time this spring at Radio City Music Hall in NYC. It was magnificent, one of the best concerts I've seen in 40 years of concertgoing.

Thak you guys for all that positive feedback. I actually posted this review on the LC forum as well, but there were like 4 responses to it. Well, I was not the only one posting a review there of course, but still...

This is just another reason why I like this place so much, since eventhough I love The Stones, I like many other bands and artists as well and there are always many people around here with similar taste that one can discuss music with and can actually get great tips about who and what is really worth attention.

Keith should record with Leonard

Didn't want to start a new thread, but I know some here are big fans and thought you would be interested in this new book about Cohen.


Review: ‘A Broken Hallelujah: The Life of Leonard Cohen,’ by Liel Leibovitz

Robb Cohen/Robb Cohen/Invision/AP - Leonard Cohen performs on the Old Ideas World Tour, at The Fabulous Fox Theatre on Friday, March 22, 2013, in Atlanta.

By Ann Hornaday

It’s a rewarding time to be a Leonard Cohen fan.

Not only does Cohen, who will turn 80 this year, seem to get better with age. Just two years ago, Sylvie Simmons published an admiring, comprehensive biography of the Canadian songwriter, “I’m Your Man.” Now comes “A Broken Hallelujah,” in which Liel Leibovitz, who teaches media and culture at New York University, takes readers on a deep dive through the cardinal spiritual themes that have informed Cohen’s work for six decades, from the standards “Suzanne” and “So Long, Marianne” to the edgy, late-career hits “First We Take Manhattan” and “Everybody Knows.”

Beginning with a riveting, cinematic account of Cohen’s appearance at the Isle of Wight music festival in 1970 — where the singer-songwriter calmed a nastily restive audience through the sheer transcendent force of his character — Leibovitz then loops back to 1930s Montreal, where Cohen was born into a prosperous family descended from some of the city’s most prominent Jewish figures. Although Leibovitz is careful not to overreach (“This is not a biography of Leonard Cohen,” he categorically declares in the book’s preface), he nonetheless revisits the most pivotal moments of Cohen’s life, first as a poet and a novelist, then as a musician: the influence of Canadian poets Irving Layton and A.M. Klein; his first ecstatic, then evangelical, experience hearing Bob Dylan; his sojourns on the Greek island of Hydra and in New York’s Chelsea Hotel; international tours that felt like wartime deployments (and sometimes were); his commitment to Rinzai Zen Buddhism; and a late-in-life creative and commercial resurgence that has been nothing less than triumphant. Throughout it all, Leibovitz writes, Cohen has been “a poet whose words, like the chants of Gregorian monks, seem designed to attract the attention of some higher power.”

Leibovitz chronicles that pursuit with insight, economy and graceful writing, vividly evoking Cohen’s restless early years in Montreal before smoothly moving him to Hydra, “the perfect disinterested atmosphere in which Cohen could find his preoccupation, the one theme that, with slight variations, would consume him throughout his career.”

That preoccupation was redemption. And for evidence one need look no further than “Hallelujah,” which Cohen recorded in 1984 and which has gone on to become one of the most overworked songs of all time (especially on movie soundtracks, in which a moratorium is long past due). Even while noting the “obscene” number of cover versions, Leibovitz locates “Hallelujah” within Cohen’s lifelong personal and professional enterprise: an inquiry into faith and spiritual selfhood grounded in the tenets of Judaism, tempered by Buddhist meditative practices and animated by Cohen’s own belief in the power of “art, love, friendship, kindness, music [and] sex.”

Speaking with Cohen’s friends and colleagues; mining the singer’s letters, notebooks and interviews; and drawing on scholarly commentary that ranges from Plato, Jewish liturgy and Old Testament theologians to Hannah Arendt, Manny Farber and John Milton, Leibovitz has produced a lively, erudite and affecting exegesis of Cohen’s work, both lyrically and as a creative process that has been notoriously painstaking, if not outright painful. Taking years to write songs by chipping away until only their essence remained; launching tours that sometimes ended in violence or alienation or both; grappling with depression; retreating to a monastery on Mount Baldy, where he spent five years becoming a Buddhist monk, Cohen has burned alternately hot and cold. At times, Leibovitz characterizes him as “paralyzed by what seemed to be a case of existential jitters.” At others, including that memorable performance at the Isle of Wight, he’s used his low, incantatory voice — between a growl and a whisper — to speak directly to his listeners’ most tender and compassionate hearts.

A late bloomer (he didn’t record his first album until he was in his 30s), Cohen was destined to spend his share of time in the wilderness — including his disastrous collaboration with a hopped-up, gun-happy Phil Spector to make the album “Death of a Ladies’ Man,” a sorry episode recounted here as a shudder-inducing blow-by-blow. It wasn’t until he was in his 70s that he became an indie-rock icon — the revered, sharply dressed tribal elder whose position was only further secured when, after losing all his money to an embezzling manager, he was forced to tour in the mid-2000s. Mirabile dictu, this most recent chapter of Cohen’s career has found him re-energized as an artist and newly at ease with the live audiences he historically kept in approach-avoidance limbo.

Leibovitz makes a convincing case that Cohen has claimed his rightful place within the prophetic tradition that inspired him all along. Leibovitz often compares the feeling of a Cohen concert to being in a house of worship. To the extent that Cohen’s mesmerizing murmur has become tantamount to the voice of God itself, it’s because as a singer, a songwriter and a seeker, he’s never been anything other than sincerely L. Cohen.

[www.washingtonpost.com]

The MEZ loves Leonard Cohen keep touring! MEZ

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latebloomer
Didn't want to start a new thread, but I know some here are big fans and thought you would be interested in this new book about Cohen...

It sounds interesting, I might check it out. There is lot of work about Cohen being published these days. I read the Anthony Reynolds' bio - good, but nothing special. And then I read the Sylvie Simmons' bio, which was really great. Very comprehensive and very well writen. I don't think there is a need for other books analysing Leonard and his work after this one, but if I see this Leibovitz's book in a store, I will have look at it.

Would love to be able to see him live.