ZAFRETH HELLO FRIENDS, LES SALUDA Cesar Mendoza.
now I have great pleasure to review for you all the special concert PETER GABRIEL offered, accompanied by his backing band, the night of March 20 in Lima, more precisely, at the Monumental Stadium Concourse (district of Ate). This event was a tremendous occasion of great music, great visual displays, vigor and emotion put together in an atmosphere of communion between artist and audience. GABRIEL's aura itself is undeniable, and he knows use their own charisma and sensitivity as to create bridges with his audience, even though their own historical repertoire also has high levels of eclecticism and wit to captivate any public before it: the night of March 20 public Peru was able to verify empirically GABRIEL's reputation as a creator and performer was amply justified. In this business of building bridges with the respectable also helped his handling of texts in our language to explain the meanings of various songs, texts that he could read with acceptable fluency.
charge not only to sing his material, but also of keyboards in several parts of the concert, the hero of the night was accompanied by a sextet comprised of support Tony Levin (bass, stick, electric bass and vocals), David Rhodes (electric guitar, effects, percussion and vocals), Richard Evans (electric and acoustic guitars, mandolin, percussion and electric bagpipes), Melanie Gabriel (vocals, percussion and samplers), Angie Pollock (keyboards and vocals) and Ged Lynch (drums, percussion). Rhodes and Levin are longtime collaborators - Levin goes so far back in time as the debut album of the Master himself, and showing signs that it is an informed public, the respected Lima provided him with the most intense and long applause when introduce the band. It is also true that Gabriel can not your father's pride and artist before his daughter Melanie (who even took over lead vocals on the acoustic ballad "Mother of Violence 'forgotten gem" 2 "), presenting more than one occasion. But beyond the swift solvent of Levin and fineness of Rhodes, also include the firmness with which Pollock did his important work on the buttons and the plethora robustness Lynch generated from his seat behind the drums of your battery. Each component of the instrumental ensemble was at its proper place without fail to be noticed that the color of the code out to shine in both passages texturiales as the strongest.
Well, the atmosphere was served from the beginning, announced with a hint of "Passion" (that wonderful soundtrack that Gabriel came up to Martin Scorsese film "The Last Temptation of Christ") and then crimped with the synthesized sequence of 'Rhythm of the Heat'. It is a high-rise rescue return this piece to start a concert, his touch neurotic and earthy intensity give the impression that there is something mysterious that is left to hide for display in all its magic. The force of the climax of this song was duly followed by 'On the Air', pure polenta display where the exquisite and powerful are combined in a single sound source: Levin showcasing first doing a short bass solo with distorted sound. 'Intruder' heightened sense of anxiety and neurosis installed by the first two pieces: not as frantic but is certainly capable of motivating music lover with such genuine excitement as dark environments reflected on tribal rhythmic pattern set by the drummer. I did not expect the last line "I am intruder" was shouted in that way, but certainly GABRIEL achieved with this simple gesture round the idea. The excitement continues but this time in a password more friendly and catchy, 'Steam' brings some of the best in his role GABRIEL poppy, still as a lover of funk and R'n'B, and liking how you want to take his lighter side with precious ornaments. It is easy for many reviewers in this issue describe as' Sledgehammer not. 2 ' but personally I find a song better armed, since the work of the guitars and arrangements of metals have a higher dose of expressiveness. Following the album "Us", Gabriel went on to offer one of the more sentimental songs of the same - 'Blood of Eden', a song truly intimate GABRIEL archetypal post-"4", which was executed with nerve and taste. Special mentions go to the striking visual displays on these two songs.
rocker The Edge returns with two songs from "3": 'Games Without Frontiers' and 'No Self Control', both benefit from sound full furnished by the instrumental ensemble. In time, these issues embodied (along with 'Intruder' and 'Biko') marks the emergence of PETER GABRIEL Music, and now have particularly colorful frames that allow them to age well in the new millennium, 28 years after its first records. As noted earlier, Melanie Gabriel assumed the role of lead singer for 'Mother of Violence ", a song that was a moment of respite amid the relentless deployment of energy that was taking place. And what if it was not necessary this time of respite, as when the Master returned to the stage, it was the turn of 'Darkness'. This song again more neurotic tap potential of the event and just his scheme, where the passages are contrasted openly extroverted and introverted, he allowed to transmit the distress and anxiety inherent in the terror of the dark. The play of light arranged for this song was set to ambient millimeter of this song. 'The Tower That Ate People' energy level emphasized that the event had reached at that time, of course it is gem "Ovo" is less than the gray density of 'Darkness' and has strong roots in the pop-rock ethnic Gabriel has almost patented mid 80s. 'San Jacinto' ... good, 'San Jacinto' was the zenith of the night! As smooth integration between song, image and atmosphere was brutal, creating a living dream on stage that I was mesmerized to the point of almost making me believe I was dreaming about what I was seeing. The ensemble produced masterly crescendo content that forms the main body of the piece, with Gabriel who scored one of his best performances of the evening. The coda rounded the final with a magic idea: the audience reacted well to the play of light directed by Maestro.
'Down to Earth' and 'Solsbury Hill', each in its own way, brought some warmth to the subject: 'Down to Earth', so popular song from the movie "Wall-E", provided that pop-fusionesco candor in the rhythm of 6 / 4 that makes it infectious without further ado, 'Solsbury Hill' is already an anthem rural life and start again, a song that never gets old. 'Secret World' and 'Sledgehammer' shoulders were placed on the enthusiasm that 'Solsbury Hill' had on the public. 'Secret World' is a typical song of GABRIEL that was enshrined in the pop scene in the second half of the 80s and early-90s, this song carries a hopeful romance goes deep as a manifestation GABRIEL special sound. Just the raucous and flagship 'Sledgehammer' was the piece that started climbing the ladder of fame, and was received by the public as all hit it deserves: the humming of the initial harmonies of metals to the beat of Levin and Lynch predicted a new party when the respectable. But there were more moments of emotional intensity in reserve: 'Signal to Noise' embodies a peak of spiritual upheaval in "Up", and did so in his appearance in the repertoire of the night. Through the simple harmonic scheme supplementing the compositional scheme of 'Signal to Noise', the biggest punch of the piece is in the dense atmospheres that develop in the way between celebratory and nostalgic. The spirit of the late great Pakistani singer Nusrat Fateh Ali Khan was revived through the use of sampling, mixed with singing Melanie painstaking (though certainly not his best night, because she was easily surpassed by the immortal song Nusrat). The leak-out of each member of the ensemble as they approached the conclusion of the subject was an announcement that the order was being felt in the air, after 2-hour concert - the first real attempt at farewell comes with this beautiful romantic song is 'In Your Eyes', a song of redemption and surrender love. This song has enough "personality" as input to bewitch the rhythmic cadence so typically African-American and those basic chords of piano. The brief keyboard solo by Pollock was spectacular, bringing salt to the extent improvised. Following the warm climates of 'So', 'Red Rain', another classic staple in GABRIEL, continued to provide in this atmosphere of farewell a reason to continue to enjoy with these infectious rhythms and textures such enclosures as well given to convey melancholy in a climate very cool. After the departure of rigor (included with the septet joke making the bow back to the public) Gabriel returned to Levin (on bass) to play the intimate 'Father, Son', perhaps the most immediately vulnerable moment of the night. Once this look into the interior area of \u200b\u200bfamily love, the whole group returned to the stage for a final look GABRIEL address to the global environment. 'Biko', emblematic of the best rock song committed, closed the evening with a well-run splendor: the colors of the electric bagpipes and percussion scheme erected the lofty global architecture of the piece, while the public strongly accompanied the Master in his song . Given that Peru is a country particularly sensitive to human rights issues, institutional instability, terrorism and abuse of power, 'Biko' is a song that lends a lot to be significant beyond the specific issue in South Africa.
The repertoire of the concert was as follows .-
1) Rhythm of the Heat
now I have great pleasure to review for you all the special concert PETER GABRIEL offered, accompanied by his backing band, the night of March 20 in Lima, more precisely, at the Monumental Stadium Concourse (district of Ate). This event was a tremendous occasion of great music, great visual displays, vigor and emotion put together in an atmosphere of communion between artist and audience. GABRIEL's aura itself is undeniable, and he knows use their own charisma and sensitivity as to create bridges with his audience, even though their own historical repertoire also has high levels of eclecticism and wit to captivate any public before it: the night of March 20 public Peru was able to verify empirically GABRIEL's reputation as a creator and performer was amply justified. In this business of building bridges with the respectable also helped his handling of texts in our language to explain the meanings of various songs, texts that he could read with acceptable fluency.
charge not only to sing his material, but also of keyboards in several parts of the concert, the hero of the night was accompanied by a sextet comprised of support Tony Levin (bass, stick, electric bass and vocals), David Rhodes (electric guitar, effects, percussion and vocals), Richard Evans (electric and acoustic guitars, mandolin, percussion and electric bagpipes), Melanie Gabriel (vocals, percussion and samplers), Angie Pollock (keyboards and vocals) and Ged Lynch (drums, percussion). Rhodes and Levin are longtime collaborators - Levin goes so far back in time as the debut album of the Master himself, and showing signs that it is an informed public, the respected Lima provided him with the most intense and long applause when introduce the band. It is also true that Gabriel can not your father's pride and artist before his daughter Melanie (who even took over lead vocals on the acoustic ballad "Mother of Violence 'forgotten gem" 2 "), presenting more than one occasion. But beyond the swift solvent of Levin and fineness of Rhodes, also include the firmness with which Pollock did his important work on the buttons and the plethora robustness Lynch generated from his seat behind the drums of your battery. Each component of the instrumental ensemble was at its proper place without fail to be noticed that the color of the code out to shine in both passages texturiales as the strongest.
Well, the atmosphere was served from the beginning, announced with a hint of "Passion" (that wonderful soundtrack that Gabriel came up to Martin Scorsese film "The Last Temptation of Christ") and then crimped with the synthesized sequence of 'Rhythm of the Heat'. It is a high-rise rescue return this piece to start a concert, his touch neurotic and earthy intensity give the impression that there is something mysterious that is left to hide for display in all its magic. The force of the climax of this song was duly followed by 'On the Air', pure polenta display where the exquisite and powerful are combined in a single sound source: Levin showcasing first doing a short bass solo with distorted sound. 'Intruder' heightened sense of anxiety and neurosis installed by the first two pieces: not as frantic but is certainly capable of motivating music lover with such genuine excitement as dark environments reflected on tribal rhythmic pattern set by the drummer. I did not expect the last line "I am intruder" was shouted in that way, but certainly GABRIEL achieved with this simple gesture round the idea. The excitement continues but this time in a password more friendly and catchy, 'Steam' brings some of the best in his role GABRIEL poppy, still as a lover of funk and R'n'B, and liking how you want to take his lighter side with precious ornaments. It is easy for many reviewers in this issue describe as' Sledgehammer not. 2 ' but personally I find a song better armed, since the work of the guitars and arrangements of metals have a higher dose of expressiveness. Following the album "Us", Gabriel went on to offer one of the more sentimental songs of the same - 'Blood of Eden', a song truly intimate GABRIEL archetypal post-"4", which was executed with nerve and taste. Special mentions go to the striking visual displays on these two songs.
rocker The Edge returns with two songs from "3": 'Games Without Frontiers' and 'No Self Control', both benefit from sound full furnished by the instrumental ensemble. In time, these issues embodied (along with 'Intruder' and 'Biko') marks the emergence of PETER GABRIEL Music, and now have particularly colorful frames that allow them to age well in the new millennium, 28 years after its first records. As noted earlier, Melanie Gabriel assumed the role of lead singer for 'Mother of Violence ", a song that was a moment of respite amid the relentless deployment of energy that was taking place. And what if it was not necessary this time of respite, as when the Master returned to the stage, it was the turn of 'Darkness'. This song again more neurotic tap potential of the event and just his scheme, where the passages are contrasted openly extroverted and introverted, he allowed to transmit the distress and anxiety inherent in the terror of the dark. The play of light arranged for this song was set to ambient millimeter of this song. 'The Tower That Ate People' energy level emphasized that the event had reached at that time, of course it is gem "Ovo" is less than the gray density of 'Darkness' and has strong roots in the pop-rock ethnic Gabriel has almost patented mid 80s. 'San Jacinto' ... good, 'San Jacinto' was the zenith of the night! As smooth integration between song, image and atmosphere was brutal, creating a living dream on stage that I was mesmerized to the point of almost making me believe I was dreaming about what I was seeing. The ensemble produced masterly crescendo content that forms the main body of the piece, with Gabriel who scored one of his best performances of the evening. The coda rounded the final with a magic idea: the audience reacted well to the play of light directed by Maestro.
'Down to Earth' and 'Solsbury Hill', each in its own way, brought some warmth to the subject: 'Down to Earth', so popular song from the movie "Wall-E", provided that pop-fusionesco candor in the rhythm of 6 / 4 that makes it infectious without further ado, 'Solsbury Hill' is already an anthem rural life and start again, a song that never gets old. 'Secret World' and 'Sledgehammer' shoulders were placed on the enthusiasm that 'Solsbury Hill' had on the public. 'Secret World' is a typical song of GABRIEL that was enshrined in the pop scene in the second half of the 80s and early-90s, this song carries a hopeful romance goes deep as a manifestation GABRIEL special sound. Just the raucous and flagship 'Sledgehammer' was the piece that started climbing the ladder of fame, and was received by the public as all hit it deserves: the humming of the initial harmonies of metals to the beat of Levin and Lynch predicted a new party when the respectable. But there were more moments of emotional intensity in reserve: 'Signal to Noise' embodies a peak of spiritual upheaval in "Up", and did so in his appearance in the repertoire of the night. Through the simple harmonic scheme supplementing the compositional scheme of 'Signal to Noise', the biggest punch of the piece is in the dense atmospheres that develop in the way between celebratory and nostalgic. The spirit of the late great Pakistani singer Nusrat Fateh Ali Khan was revived through the use of sampling, mixed with singing Melanie painstaking (though certainly not his best night, because she was easily surpassed by the immortal song Nusrat). The leak-out of each member of the ensemble as they approached the conclusion of the subject was an announcement that the order was being felt in the air, after 2-hour concert - the first real attempt at farewell comes with this beautiful romantic song is 'In Your Eyes', a song of redemption and surrender love. This song has enough "personality" as input to bewitch the rhythmic cadence so typically African-American and those basic chords of piano. The brief keyboard solo by Pollock was spectacular, bringing salt to the extent improvised. Following the warm climates of 'So', 'Red Rain', another classic staple in GABRIEL, continued to provide in this atmosphere of farewell a reason to continue to enjoy with these infectious rhythms and textures such enclosures as well given to convey melancholy in a climate very cool. After the departure of rigor (included with the septet joke making the bow back to the public) Gabriel returned to Levin (on bass) to play the intimate 'Father, Son', perhaps the most immediately vulnerable moment of the night. Once this look into the interior area of \u200b\u200bfamily love, the whole group returned to the stage for a final look GABRIEL address to the global environment. 'Biko', emblematic of the best rock song committed, closed the evening with a well-run splendor: the colors of the electric bagpipes and percussion scheme erected the lofty global architecture of the piece, while the public strongly accompanied the Master in his song . Given that Peru is a country particularly sensitive to human rights issues, institutional instability, terrorism and abuse of power, 'Biko' is a song that lends a lot to be significant beyond the specific issue in South Africa.
The repertoire of the concert was as follows .-
1) Rhythm of the Heat
2) On the Air
3) Intruder
4) Steam
5) Blood of Eden
6) Games Without Frontiers
7) No Self Control
8) Mother of Violence
9)
Darkness 10) The Tower That Ate People
11) San Jacinto
12) Down to Earth
13) Solsbury Hill
14) Secret World
15) Sledgehammer
16) Signal to Noise
17) In Your Eyes
18) Red Rain
19) Father, Son
20) Biko
Well, anecdotal notes I note the group's performance opening act THE BLACK SWAN EFFECT, submitted by Gabriel himself before his own performance. It was a very striking nor very original, framed in the wave patently "Indie" and without taking too much risk in their well-defined parameters, ... better leave it there. Following
PETER GABRIEL, note that he made some variations in the portfolio during South American tour, for example, 'Father, Son' was not executed in Caracas but was introduced in Lima, in Argentina, Gabriel added 'Big Time' , in Chile, Gabriel enjoyed the musical support from the assembly Inti Illimani to interpret 'Wallflower' . It was good to see PETER GABRIEL, one of my top musical heroes, so close to his sixties and in such good shape, both creatively as a performer. This repertoire that includes many items on their first four albums (decreasing presence for their tour of "Us" and "Up") took some nostalgia, but more of revitalization. Fue uno de los mejores espectáculos musicales jamás dados en el ambiente limeño.
Well, anecdotal notes I note the group's performance opening act THE BLACK SWAN EFFECT, submitted by Gabriel himself before his own performance. It was a very striking nor very original, framed in the wave patently "Indie" and without taking too much risk in their well-defined parameters, ... better leave it there. Following
PETER GABRIEL, note that he made some variations in the portfolio during South American tour, for example, 'Father, Son' was not executed in Caracas but was introduced in Lima, in Argentina, Gabriel added 'Big Time' , in Chile, Gabriel enjoyed the musical support from the assembly Inti Illimani to interpret 'Wallflower' . It was good to see PETER GABRIEL, one of my top musical heroes, so close to his sixties and in such good shape, both creatively as a performer. This repertoire that includes many items on their first four albums (decreasing presence for their tour of "Us" and "Up") took some nostalgia, but more of revitalization. Fue uno de los mejores espectáculos musicales jamás dados en el ambiente limeño.
Me despido con los siguientes tubitos tomados de este evento que acabo de reseñar.-
Solsbury Hill: http://www.youtube.com/watch?v=S1cgijlf7xM
Sledgehammer: http://www.youtube.com/watch?v=bUXkIu5LLMM
In Your Eyes: http://www.youtube.com/watch?v=nTErXgE5rE4
