CONCERT REPORT: St. John's, Newfoundland - April 20, 2013

Everything about the first leg of Leonard Cohen's World Tour 2013
HelenOE
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Re: CONCERT REPORT: St. John's, Newfoundland - April 20, 201

Postby HelenOE » Mon Apr 22, 2013 2:12 am

Excellent and thoughtful blog review: He RAN Onstage
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Re: CONCERT REPORT: St. John's, Newfoundland - April 20, 201

Postby sue7 » Mon Apr 22, 2013 2:46 am

Here's an article/review by Vicky Hynes, who organizes a Feast of Cohen in St John's each December, and who reports on the soundcheck as well as the concert. There is also a nice galley of photos by Graham Kennedy at the end of the article, in the Newfoundland and Labrador Independent

http://theindependent.ca/2013/04/21/a-f ... -the-ages/
A Feast for the ages: Leonard Cohen returns to St. John’s
As Montreal's poet-songwriter and master of romantic despair returns to St. John's, the woman who has been organizing an annual local event to celebrate his music is finally brought full circle. This is Vicky Hynes' account of Leonard Cohen's April 20 performance at Mile One Centre.
By: Vicky Hynes Apr 21, 2013

I have had a “song affair” with Leonard Cohen since I was 15 years old, when I performed Famous Blue Raincoat in the dimly lit unheated St. John’s coffee house The Void.

This “song affair” with Cohen continued when I recorded Dance Me To The End of Love on my long overdue and only self titled CD, released in October of 2000.

Birth of ‘Feast of Cohen’
Through conversation with fellow musicians about songwriters who have impressed and had great influence on us over our lifetimes, came the idea to bring something special to the Christmas holidays and the void between St. Stephen’s Day and New Year’s Eve. I mounted the first Feast of Cohen at the LSPU Hall on Dec. 28, 2000.

Thirteen Feast of Cohen productions later, and the second visit by Cohen himself to St. John’s in five years, spurred me on to try to get the honour of introducing him here in Newfoundland. The CBC had the arrangement with Cohen’s Tour to promote and introduce him at his Canadian shows, and though a campaign to get me to introduce him was unsuccessful, myself and a few others from Feast of Cohen were invited to meet with Leonard briefly at his soundcheck Saturday afternoon.

“A very personal performance”
Myself, Sandy Morris, Bryan Hennessey, Jill Porter, Des Walsh and Joel Hynes met at Mile One Centre just before 4 p.m. and were escorted inside by Cohen’s music producer, Ed Sanders. What a privilege to be the only few people in the entire venue, where he gave us an intimate look at a working session with the band and the sound technicians – and a very personal performance.

Cohen began with Avalanche, then a couple of tunes I didn’t recognize. Then onto Night Comes On whereby I wept, so moving was his delivery. Then Dance Me, Different Sides, I Can’t Forget and finally The Future. Absolutely blew us all away with the intimacy of the occasion, only topped by his coming down from the stage to greet us and shake our hands. He thanked us for coming out to meet him, leaving myself and all in tow basking in his warmth and generosity.

From Holy Heart to Mile One
When news of Cohen’s second engagement here in Newfoundland broke, many of us were thrilled. The three consecutive performances Cohen gave us at Holy Heart Theatre in 2008 were so intimate given the size of the venue; a truly unique, close-up experience for all who were there. Everybody who had the pleasure of hearing and seeing him there was convinced that his performance at the Mile One Stadium couldn’t possibly touch it. Well, I can happily say we were so wrong!

The 3 hour and 45 minute performance Cohen gave us here Saturday night left me drunk with joy! At 8 p.m. the band entered the stage and the audience members went wild, leaping to their feet for the first of many standing ovations over the course of the evening. Obviously touched and humbled by the outpouring of affection and applause, he thanked us all right from the top of the program.

His opening performance of Dance Me To The End of Love and, later in the set, the rarely-performed Famous Blue Raincoat, seemed a happy coincidence for me. These two selections book-end every Feast of Cohen, and their inclusion and placement in his program was very gratifying for us.

Cohen gave new energy to old songs like First We Take Manhattan and kept to his original stripped-down acoustic delivery for many of his early compositions. He charmed and wooed us by reciting three of his works to the minimal musical back drop of the band. Then he gave the stage to Sharon Robinson, whose voice and very special performance of Alexandra’s Leaving – one of the many songs Robinson co-wrote with Cohen over the past 30 years – made us all tingle with enjoyment.

He introduced his superb collective of musicians three times, giving them kudos for their many years of working together and dedication to his music. This was followed by an angelic performance of If It Be Your Will by the Webb sisters from Kent, England, who make up the remainder of the backing vocal section.

Three times Cohen waved “so long”, skipping youthfully across and exiting the stage. Three times he came back to the uproar of applause and just kept giving us more and more: So Long Marianne, The Future, Show Me The Place – it went on and on and he finally bid us goodbye and was out of sight.

‘Unforgettable’, ‘fabulous’, ‘stupendous’ and ‘captivating’ were all words I heard from the lips of the concert goers as I made my way out of the building. I’m dizzy with joy and look forward to having the pleasure of his return, and hopefully another performance like the one he gave last night.

For me, this past weekend will probably remain the most unforgettable of my entire career as a performing artist, and one that I will treasure for the rest of my life. See you at the next Feast of Cohen!

- Vicky Hynes

Cohen at the Junos
While Cohen was performing to the sold-out Mile One crowd, the 78-year-old was named ‘Artist of the Year’ at the Juno Awards dinner and gala in Regina. Those who had tickets for his second St. John’s show, originally scheduled for tonight but later cancelled, will have to watch the Juno Awards on CTV, where Cohen is up for the ‘Fan’s Choice Award’ and ‘Songwriter of the Year’ for his 2012 album Old Ideas, his first studio album since 2004. His son Adam Cohen is also nominated for a Juno in the ‘Adult Contemporary Album of the Year’ category for his album Like A Man.

Setlist: St. John’s, Newfoundland – April 20, 2013 – Mile One Centre
First set:
1. Dance Me to the End of Love
2. The Future
3. Bird on a Wire
4. Everybody Knows
5. Who by Fire
6. The Darkness
7. Ain’t No Cure for Love
8. Amen
9. Come Healing
10. First We Take Manhattan
11. A Thousand Kisses Deep (recitation)
12. Anthem

Second set:
13. Tower of Song
14. Suzanne
15. Sisters of Mercy
16. Waiting for the Miracle
17. Show Me the Place
18. Anyhow
19. Lover, Lover, Lover
20. Alexandra Leaving
21. I’m Your Man
22. Hallelujah
23. Take This Waltz

First encore:
24. So Long, Marianne
25. Going Home
26. Closing Time

Second encore:
27. Famous Blue Raincoat
28. If It be Your Will
29. Save The Last Dance for Me

Third encore:
30. I Tried to Leave You
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Re: CONCERT REPORT: St. John's, Newfoundland - April 20, 201

Postby sturgess66 » Mon Apr 22, 2013 3:48 am

Video uploaded by Susan Roberts - Thanks!

Alexandra Leaving
http://www.youtube.com/watch?v=ApFz3wdfFpc

Hallelujah
https://www.youtube.com/watch?v=Kc3TaLdGoMk

Sisters of Mercy
http://www.youtube.com/watch?v=Ow-7qdOAASQ
Last edited by sturgess66 on Sun Apr 28, 2013 3:03 pm, edited 2 times in total.
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Re: CONCERT REPORT: St. John's, Newfoundland - April 20, 201

Postby sturgess66 » Mon Apr 22, 2013 3:51 am

Video uploaded by Christine Connolly - Thanks!

The Future
http://www.youtube.com/watch?v=bYE4pHIpo5w
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Re: CONCERT REPORT: St. John's, Newfoundland - April 20, 201

Postby sturgess66 » Mon Apr 22, 2013 4:41 pm

http://www.thetelegram.com/Arts%20-%20L ... -4-hours/1
Cohen Enthralls Crowd For Almost 4 Hours

Image
Leonard Cohen waves his trademark fedora at the crowd as he leaves the stage
after his final encore of the night at Mile One, having performed for almost four hours.
Photo by Tara Bradbury/The Telegram


Published on April 22, 2013
Tara Bradbury

A word of advice, if ever you have another chance to see Leonard Cohen live in concert: when you get into your vehicle to go home after it’s over, don’t turn on the radio. Everything you hear will sound like garbage.

I made this mistake Saturday night after Cohen’s performance at Mile One, which lasted almost four hours, including a 15-minute intermission. I can’t think of many musicians for which I’d willingly sit through a four-hour concert, but with Cohen, honestly, if he had played again Sunday night, I’d have wanted to be there.

Attending the show was less like watching a concert and more like taking in a piece of performance art.

While Cohen was on stage at Mile One, he won the 2013 JUNO Award for Artist of the Year at a non-televised dinner gala in Regina, beating out Justin Bieber.

The number of posts on Twitter from teens asking, “Who?” and proclaiming the unfairness was both laughable and heartbreaking.

Cohen’s son Adam accepted the award.

Just as well, really — there’s no way he could have possibly gotten more praise or appreciation than he was shown in St. John’s, with a grateful audience of close to 10,000 hanging on his every word and move, applauding after each song as if it was his last of the night.

He opened with “Dance Me to the End of Love,” and afterwards reminisced on the last time he performed in this province — five years ago, at Holy Heart Theatre.

“I hope this is not a farewell tour,” he said, as the crowd laughed. “But you never know when we’ll meet again. I promise, for tonight, we’re going to give you all we’ve got.”

On stage with Cohen weren’t merely backup performers. Each of his band members were accomplished musicians in their own right, from musical director and bassist Roscoe Beck — who’s worked with Cohen since the late 1970s — to vocalist Sharon Robinson, a Grammy Award-winning songwriter and co-writer of songs including “Everybody Knows.”

Others included the English-born singer/songwriters Charley and Hattie Webb (who record and perform as the Webb Sisters), and famed Spanish bandurria player Javier Mas.

Cohen introduced his band and crew — right down to the rigger — and gave them their turns to shine with solos. Robinson received a standing ovation for her performance of “Alexandra Leaving,” which she co-wrote with Cohen, while the Webb Sisters did a serene rendition of “If It Be Your Will,” accompanying themselves on guitar and harp.

In his trademark fedora and a dark grey suit, Cohen went through many of his older hits, like “Ain’t No Cure for Love,” “First We Take Manhattan,” “Suzanne,” and “I’m Your Man.”

The room was silent as he performed a haunting spoken-word version of “A Thousand Kisses Deep,” and after he dropped to his knees to sing the iconic “Hallelujah,” earning one of many standing ovations throughout the night, the chatter throughout the crowd overtook the beginning notes of the song that followed.

Missing from Cohen’s set was “Chelsea Hotel,” but he did include a number of songs from his latest record, “Old Ideas,” released last year and for which he’s currently touring. They fit seamlessly into the rest of his material.

Cohen rarely looked up as he sang, preferring to let the brim of his hat cover his eyes as he bowed his head, and he sang the majority of his songs with his eyes closed.

Leonard Cohen performed at Mile One Centre Saturday night to the delight of thousands of fans. <br />— Photo By Rhonda Hayward/The TelegramLeonard Cohen

The moments when he did open his eyes and look into the crowd were used almost as punctuation to his incredible lyrics and poetry.

With many of the pieces, he had a passion like he was performing them for the very first time, emotion causing him to get on his knees, or, in the case of “Lover, Lover, Lover,” seem lost in thought as he was singing.

He peppered his pieces with a dry comedy, little snippets here and there.

“We really appreciate the attention you’ve given our music, not just tonight but over the years,” he said, before launching into a bit about the drawbacks of staying in nice hotel rooms.

“One hazard is in the bathroom, and it’s the magnifying mirror. I’m warning you, friends, if you’re over the age of 11, do not look into one of those mirrors.”

It was while looking into a magnifying mirror that Cohen heard the whisper of his inner voice: “Lighten up, Cohen, for Christ’s sake. How long are you going to pout? What fine adjustment must be made in the cosmos for you … ?”

In another bit, Cohen joked that one of the reasons he wanted to stay on the road was because he wants to start smoking again when he’s 80. He’s now 78.

“I’ve got a couple of years to go, but this is the point in the concert when I’d light up my first cigarette,” he said, chuckling, before eventually launching into “Anyhow,” a song from “Old Ideas,” into which Cohen injected humour in the presentation that’s not quite so obvious on the CD.

“Have mercy on me, baby. After all, I did confess. Even though you have to hate me. Could you hate me less?” he spoke over a jazz beat performed by the band.

When the band left the stage after “Take This Waltz,” it was clear there would be an encore, and there was.

There were four of them, in fact: 10 songs or so in total, including “So Long Marianne,” “Closing Time,” a rare performance of “Famous Blue Raincoat,” and a version of The Drifters’ “Save the Last Dance for Me.”

Each time, Cohen skipped back on stage and danced to the microphone, grinning.

For a finale, Cohen cheekily performed “I Tried to Leave You.”

“He was fantastic, with such stamina and warmth I have never experienced,” local musician Vicky Hynes told me after the show.

Hynes has been producing the “Feast of Cohen” tribute show each Christmas week for the past 13 years (it’s the longest-running festival of Cohen’s music in Canada and second only to Spain’s worldwide), and in the weeks leading up to Cohen’s appearance at Mile One, there was a social media campaign to have her introduce him onstage.

It wasn’t to be, but Hynes and a handful of other “Feast of Cohen” participants were invited to meet Cohen after his sound check Saturday afternoon.

After a personal performance of about an hour and a half, Cohen came down from the stage and thanked them for coming, before presenting them with VIP bags that included autographed copies of his tour program.

Hynes, a longtime devoted fan, admits she cried during the concert.

“I wish I could go to sleep and wake up to relive (it),” she told me.

I have a feeling Hynes isn’t the only one.

tbradbury@thetelegram.com

Twitter: @tara_bradbury
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Re: CONCERT REPORT: St. John's, Newfoundland - April 20, 201

Postby sturgess66 » Mon Apr 22, 2013 4:51 pm

http://ianfoster.ca/he-ran-onstage-thou ... urce=pubv1
He Ran Onstage – thoughts on Leonard Cohen 04/20/2013
Date: Apr 21, 2013

It was the first of many moments that stood out to me as I watched Leonard Cohen perform at Mile One Stadium in St. John’s last night. People love to say that age is just a number, but it’s rare to see that axiom on display the way it was in that concert – a 78 year old man leading a large band through literally over three hours of material.

The humour of that last fact was brought home when Cohen introduced his band in a blow-out ending about an hour and a half in, and some of the people around me began discussing how great the show was, thinking it was over. As Cohen left the stage, he remarked, in a rather obvious way, “and we’ll be back for the second half shortly.”

So after two 1.5 hour sets, and three (four?) encores, we all filed out of the stadium, many of us awestruck. I feel there are layers to that awe:

(1) It was Leonard Cohen. Even the most casual fans go to shows like this for the spectacle of the icon in question, and that reason could apply to any number of artists – it could be Willie Nelson, or Bob Dylan. Those pillars of music people just want to be in the same room with for a time. We enjoy saying “it was great, they still got it!” or at worst “ein. Still glad I went once though…”

(2) It was ACTUALLY great. The glory of a show that has been presented anywhere before your hometown is that you can hear rumblings of it before it reaches you, and just like his last tour five years ago, the consensus was that this show was brilliant. It was no victory lap, or pitiful tribute – Cohen’s energy is not that of a young artist trying to prove himself, but of an established artist looking to give his audience something for what they’ve given him. It is humble, real, and in control – it’s watching a master work.

(3) The runtime: As mentioned: 2 one and a half hour sets and a pile of encores. Any artist under 78 now has a new standard they must reach before anyone congratulates them on doing ‘a long set.’

(4) The Band. I suppose the joke here is that when you’re Leonard Cohen, you open the global white pages of musicians, and put your finger on whomever you see fit for the job you’re offering. The result was a band culled from a global search. How to describe the sound if you missed it? There was an elegance to their performance that was almost regal. Perhaps that sounds strange, but I think it comes from the fact that each and every member was a pure master of their instrument. It was also filtered through Cohen’s music, which stands outside the spectrum of simply ‘playing tunes.’ I think in such rare instances, it renders all ego and drama impossible, at least from an audience perspective. The result was an expertly played, practiced but passionate show. It’s interesting to think about genres when it comes to this kind of performance. Picture what you think of as great Canadian folk music and how it sounds right now, and then think about Leonard’s performance last night as quintessentially folk.

(5) The songs. I saw Cohen at Holy Heart and was mesmerized by the sheer catalogue of songs that poured from the stage one after the other. It’s easy to put on a greatest hits album, but to see the man himself performing them in similar order is another thing entirely. The same was true last night. There is no question about the volume of important music Cohen has created. Last night’s live performance helped to drive home the point that the music is still as full of energy and relevance as the day he wrote it. While in theory, that energy and relevance are built into the songs, tours like this illustrate how they still live in the air around us, especially when they are so perfectly performed.

(6) The story in the songs. Leonard Cohen is 78, but his art has told an extremely personal story for an entire lifetime. Most would argue that every musician is deeply connected to the music they make, but not every musician has been as deeply honest in their songs as Cohen. In fact, I would venture that few have been able to reach the regular depth of feel within the english language. Watching the show last night, you can’t help but be moved by the review of it all, the scope of the story he’s telling. It would be egotistical and pretentious if he wasn’t the pinnacle of humility; a lifetime of searching for something more both artistically and personally (they are the same). It seems to have made him pure in that way. And he was funny too.

And he RAN onstage, and skipped off stage. Everytime.
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Re: CONCERT REPORT: St. John's, Newfoundland - April 20, 201

Postby sturgess66 » Mon Apr 22, 2013 4:52 pm

The set list -
hanny wrote:St. John's, Newfoundland, April 20, 2013, Mile One Centre

First set:
1. Dance Me to the End of Love
2. The Future
3. Bird on a Wire
4. Everybody Knows
5. Who by Fire
6. The Darkness
7. Ain't No Cure for Love
8. Amen
9. Come Healing
10. First We Take Manhattan
11. A Thousand Kisses Deep (recitation)
12. Anthem

Second set:
13. Tower of Song
14. Suzanne
15. Sisters of Mercy
16. Waiting for the Miracle
17. Show Me the Place
18. Anyhow
19. Lover, Lover, Lover
20. Alexandra Leaving
21. I'm Your Man
22. Hallelujah
23. Take This Waltz

1st encore:
24. So Long, Marianne
25. Going Home
26. Closing Time

2nd encore:
27. Famous Blue Raincoat
28. If It be Your Will
29. Save The Last Dance for Me

3rd encore:
30. I Tried to Leave You
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Re: CONCERT REPORT: St. John's, Newfoundland - April 20, 201

Postby sturgess66 » Mon Apr 22, 2013 7:10 pm

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Re: CONCERT REPORT: St. John's, Newfoundland - April 20, 201

Postby sturgess66 » Tue Apr 23, 2013 12:15 am

There's a photo gallery of 8 images posted by the CBC - at the link here -
http://www.cbc.ca/nl/community/blog/201 ... mgId_68170
Leonard Cohen Photo Gallery

Leonard Cohen came to Mile One and CBC was there! Host of the St. John's Morning Show, Anthony Germain welcomed Leonard to the stage.

Last week, the Morning Show worked with the Community Food Sharing Association to bring in 2,000 lbs of food, or $5000 worth, for the food bank. The winner of the food bank draw, Harold Heap, was on hand to collect front row tickets to a concert of a lifetime.

Check out some of the event's highlights:
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Re: CONCERT REPORT: St. John's, Newfoundland - April 20, 201

Postby Plannerman » Tue Apr 23, 2013 3:39 am

Fantastic Show. Had a little differnet "feeling" than the 2008 show here. Was noticably different from the Montreal concert on 28-Nov-12; it seemed more "relaxed" here - maybe it was just me!

The concert was all the buzz that I have heard since; seems like everybody was completed amazed (no surprise to me!)
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Re: CONCERT REPORT: St. John's, Newfoundland - April 20, 201

Postby sturgess66 » Fri Apr 26, 2013 11:51 pm

From The SceneMagazine - and there are more pictures at the link -
http://www.thescenemagazine.ca/leonard- ... e-st-john/
Leonard Cohen at Mile One – St. John’s Review
St. Johns live music reviews Singer/Songwriter Leonard Cohen

Image

Leonard Cohen at Mile One – Cred: Shawn Peckford

TOTAL SCORE: 9.8/10
stage presence 10 STARS
image/sex appeal 10 STARS
musical ability 10 STARS
originality 10 STARS
crowd reaction 9 STARS

WHO – Leonard Cohen
FROM – Montreal, Quebec
WHERE – Mile One Centre, St. John’s Newfoundland
WHEN – Saturday April 20 2013
STYLE – Singer/Songwriter

CROWD – There was a constant sense of love, excitement and fulfillment. The only negative of the whole evening was that many had left the building after 3.5 hours and missed the last 4 of the 7 encore selections.

STAGE – Subtle and minimal, yet beautiful. A combination of purples and reds against a flowing white curtain.
Simple mood creating effect of 2 spot lights reflecting “giant Leonard shadows” on the backdrop, gave the set the feel of a giant coffeehouse.

IMAGE/SEX APPEAL – An image bigger than life! Cohen is arguably the “sexiest senior” on the planet – both in
style and substance. Add the sublime beauty of backing vocalists: Hattie and Charley Webb, (from Kent, UK) and you arguably have the most beautiful tour in history. Their performance of “If It Be Your Will” remains a highlight of the tour.

MUSICAL ABILITY – Along with some of the greatest emotional and introspective lyrics in popular music, the live Cohen journey is enhanced by the impeccable playing of a band of masters. 12 string Spanish virtuoso Javier Mas, producer/composer Neil Larsen on keyboards and musical director/bassist Roscoe Beck received constant acclaim from a very appreciative audience.

ORIGINALITY – Lyrics with unequalled depth and an incomparable voice of distinction. A literary giant, poet, musician and novelist, Cohen is also a member of the Rock and Roll Hall of Fame. Following the lead laid down by the late Stevie Ray Vaughn, fellow Texan Bob Metzger nailed the album solo of “First We Take Manhattan”, resulting in the first standing ovation of the evening.

TECHNICAL – As close to perfection as a live show gets! The only ‘glitch’, if you wish to call it that, was a playfull moment during “Tower of Song” where Leonards’ hand accidentally slips and hits the keyboard. The beauty of the moment brought a smile from Mr Cohen and his bandmates, making it more an act of humanity than mishap, further endearing him to the crowd.

MEMORABLE SONG – It is impossible to deny the transcendence of “Hallelujah”, a true ‘out of body’ experience, especially for those seeing Cohen for the first time. One thing that can not be denied is the admiration for Cohen, however he himself shows the same respect for longtime collaborator Sharon Robinson. Ms Robinson brought the house to its feet with her solo performance on “Alexandra Leaving”, a wrenching ballad of love and loss.

MEMORABLE MOMENT – I love how Cohen exposes his inner self, not only through his lyrics, but ancedotal commentary: “Lighten up Cohen, for Christs sake! How long are You going to pout?” For me, the golden moment of any Cohen performance is the truly gifted pleasure of a recitation from the poet himself – “A Thousand Kisses Deep”.

COMMENTS – Five years removed from a 3 night residence at Holy Heart Theatre (capacity 1000 – shows which are widely regarded the greatest concerts of any genre in Newfoundland history), Cohen answered with nearly 4 hours of wondrous narrative – taking the stage at 8:10pm and concluding at 11:55pm! It is astounding that a 78 year old performer follows a full 3 hour set with 7 encore songs, including a rare Cohen cover – Ben E Kings’ “Save the Last Dance For Me”. Perhaps the best part of the evening.

Review By: Alexander Chisholm
Photos By: Shawn Peckford

THE SCENE
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Re: CONCERT REPORT: St. John's, Newfoundland - April 20, 201

Postby sturgess66 » Fri May 03, 2013 10:14 pm

sturgess66 wrote:Video uploaded by Susan Roberts - Thanks!
Alexandra Leaving
http://www.youtube.com/watch?v=ApFz3wdfFpc
Hallelujah
https://www.youtube.com/watch?v=Kc3TaLdGoMk
Sisters of Mercy
http://www.youtube.com/watch?v=Ow-7qdOAASQ
Another video uploaded by Susan Roberts -

Show Me The Place
https://www.youtube.com/watch?v=WWBv8EQlngQ

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