CONCERT REPORT: Oslo, Norway, August 6, 2010

July 25 - December 11, 2010. Concert reports, set lists, photos, media coverage, multimedia links, recollections...
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Anne R
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Re: CONCERT REPORT: Oslo, August 6, 2010

Postby Anne R » Mon Aug 09, 2010 11:09 am

1976 Oslo | 1979 Oslo | 1985 Oslo x 2 | 1988 Oslo | 1993 Oslo | 2008 Manchester, Oslo, Copenhagen, Amsterdam, Helsinki | 2009 New York, Langesund, Barcelona | 2010 Oslo, Helsinki, Las Vegas x2 |2012 Helsinki, (Verona)| 2013 Oslo
BlizzardofIce
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Re: CONCERT REPORT: Oslo, August 6, 2010

Postby BlizzardofIce » Mon Aug 09, 2010 2:35 pm

"Setlist"

http://www.mypicx.com/08092010/Setlist/
Will edit this post to insert the photo when I find out how....

[img]...[/img]

Some changes during the show, as always.
During the encores roscoe beck demanded to play "heart with no companion".
He stepped up to cohen after famous blue raincoat an said the song then got a smile and an ok from him, then told the other in the band, while hitting his chest proudly, saying "my choice!"

What an amazing night!

Got two videos, who by fire and singer must die, will upload soon.
Last edited by BlizzardofIce on Mon Aug 09, 2010 5:36 pm, edited 1 time in total.
There are many ways a man can serve his time
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Re: CONCERT REPORT: Oslo, August 6, 2010

Postby BlizzardofIce » Mon Aug 09, 2010 4:15 pm

My videos:

Who By Fire:
http://www.youtube.com/watch?v=PZLZ3dW0HQw

A Singer Must Die:
http://www.youtube.com/watch?v=JIZ-kAH4eVg
Sorry for freezing in shock and loosing the first verse...
There are many ways a man can serve his time
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clo
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Re: CONCERT REPORT: Oslo, August 6, 2010

Postby clo » Mon Aug 09, 2010 10:50 pm

Geoffrey wrote:clo wrote:
>Geoffrey, can you throw any light on this at all ?

well, firstly, the correct norwegian pronunciation of her name is 'ma-ri-an-neh' with four syllables. in his song leonard anglicised it to the three-syllabled 'ma-ri-an'.

our paths have crossed only once, and the only song we spoke about was 'bird on the wire'. she said to me (if my memory serves me correctly) that leonard had written it for her. i feel not that i am being indiscreet in telling this because i believe identical information has appeared in a norwegian magazine. she said she was there at the cottage on hydra when he wrote it, that he was ill (had influenza or a cold?), and that she brought him cups of hot drinking chocolate. he looked out of the window and saw a bird sitting on the telegraph wire. marianne and i conversed in her mother-tongue, and i enquired as to what type of bird it was. she answered with no hesitation "det var en spurv" ("it was a sparrow"). she is a nice lady, very warm-natured and approachable, and it's easy to understand how she and leonard would fit together quite well. i can imagine she would be moved very much by seeing him on stage, and having 8,000 people singing her name - that is only natural.

Geoffrey,

Many thanks. Interesting point about her name pronunciation, I can see how it might afford her a little distance fom the song itself. Am looking forward to reading her book when translated. Have you read it?
2008: Dublin(2), Lucca, Cardiff,
2009: Dublin(2), Lisbon,
2010: Sligo(2)

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Geoffrey
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Re: CONCERT REPORT: Oslo, August 6, 2010

Postby Geoffrey » Tue Aug 10, 2010 12:24 am

clo wrote:
>Am looking forward to reading [Marianne's] book when translated. Have you read it?

No, I had completely forgotten her book. But since you now remind me of it I will try to get hold of a copy.
jazz4111
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Re: CONCERT REPORT: Oslo, August 6, 2010

Postby jazz4111 » Tue Aug 10, 2010 4:33 am

Since this is under discussion, and I think it is in the biography, here's what Marianne (and we always pronounced it ma -ri -an eh - Geoffrey) told me in 1973 on Hydra about the genesis of Bird on a Wire:
When they first moved into Leonard's little house, there was no electricity at all on Hydra, only kerosene lanterns and bottled gas for cooking fuel. When they strung the first electric wires (which came from an underwater cable across the water from the Peloponnese mainland) , Leonard told Marianne, now we'll have to leave, civilization is closing in. And as they gazed at the newly installed wire above the street outside his studio, a bird came and rested on it. and M. told L. "if the bird can get used to the wire, Leonard, you can get used to the wire too."
Such a lovely a story - I just had to share it.
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Geoffrey
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Re: CONCERT REPORT: Oslo, August 6, 2010

Postby Geoffrey » Tue Aug 10, 2010 9:18 am

jazz4111 wrote:
>M. told L. "if the bird can get used to the wire, Leonard, you can get used to the wire too."

Well, this sounds like a mother reassuring a son not to worry, that everything is going to be all right. It tells us that Marianne and Leonard were not on the same level of psychological maturity, that she had a greater understanding of progress and development, was more tolerant to the inevitability of change and had a more advanced attitude towards facing a challenge. She was the comforting one who possessed wisdom, the mentally superior one who had to exercise a power of dominance over Leonard in order to teach him that running away from a problem was not the way responsible grown-ups deal with opposition. Marianne was the strong supportive one, the resourceful one, the one offering guidance and sound advice to a sceptical man who did not have the strength of character to accept that while living primitively without electricity may seem like fun for a young lad out on a camping trip, it was not exactly the dream of a beautiful woman - to whom running hot water and proper hygiene was a fundamental requirement.
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clo
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Re: CONCERT REPORT: Oslo, August 6, 2010

Postby clo » Tue Aug 10, 2010 2:34 pm

Considering that Marianne had such a part in that song,(and his life), confirms for me that Leonard' s added line to Bird On A Wire in concert -" you were always the one", is referring to her.
Any thoughts?
2008: Dublin(2), Lucca, Cardiff,
2009: Dublin(2), Lisbon,
2010: Sligo(2)

There are things you can't reach. But you can reach out to them, - Mary Oliver
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Cheshire gal
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Re: CONCERT REPORT: Oslo, August 6, 2010

Postby Cheshire gal » Tue Aug 10, 2010 3:06 pm

I think you are right Clo. After really hearing those words 'you were always' the one, (missed the obvious meaning before when listening to this song) I have answered my own question that they are still close given their 'history'. I would like to think that anyway.It may just be the way I would want their story to end, figuritivly speaking of course.


Cheshire gal
'...and here's a man still working for your little smile' -Leonard Cohen
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Geoffrey
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Re: CONCERT REPORT: Oslo, August 6, 2010

Postby Geoffrey » Tue Aug 10, 2010 3:35 pm

clo wrote:
>Considering that Marianne had such a part in that song, (and his life), confirms for me that Leonard's added line to Bird on the Wire in concert - "you were always the one", is referring to her. Any thoughts?

I have nothing but thoughts, my dear. We have been discussing the two songs in which Marianne's presence apparently played a major role: 'So long, Marianne' and 'Bird on the wire'. If, as you say, he announces those words during concert renditions of the latter song, then it is difficult to believe that he is referring to anyone other than her. During our discussion mention has been made as to Marianne's reaction when several thousand people sing her name. Yet if what you now tell me is true, then perhaps the reaction of the mother of his children might also become relevant debate material, for we are talking about a triangle of love here, a ménage à trois - are we not? What if the lady who gave birth to his offspring is sitting amongst the audience, how would she feel to know that Marianne was "always the one"? Any thoughts?
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musicmania
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Re: CONCERT REPORT: Oslo, August 6, 2010

Postby musicmania » Tue Aug 10, 2010 4:11 pm

Geoffrey wrote:clo wrote:
>Considering that Marianne had such a part in that song, (and his life), confirms for me that Leonard's added line to Bird on the Wire in concert - "you were always the one", is referring to her. Any thoughts?

I have nothing but thoughts, my dear. We have been discussing the two songs in which Marianne's presence apparently played a major role: 'So long, Marianne' and 'Bird on the wire'. If, as you say, he announces those words during concert renditions of the latter song, then it is difficult to believe that he is referring to anyone other than her. During our discussion mention has been made as to Marianne's reaction when several thousand people sing her name. Yet if what you now tell me is true, then perhaps the reaction of the mother of his children might also become relevant debate material, for we are talking about a triangle of love here, a ménage à trois - are we not? What if the lady who gave birth to his offspring is sitting amongst the audience, how would she feel to know that Marianne was "always the one"? Any thoughts?
And how would Anjani feel? I will be listening out for these lyrics in Katowice.
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sturgess66
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Re: CONCERT REPORT: Oslo, August 6, 2010

Postby sturgess66 » Tue Aug 10, 2010 5:05 pm

Sheesh!! He was standing right in front of me - and I was sure he was talking to me. :D

http://www.youtube.com/watch?v=YbaHmLbZn6E

I love the "Bird" song. :D :D
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sturgess66
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Re: CONCERT REPORT: Oslo, August 6, 2010

Postby sturgess66 » Tue Aug 10, 2010 5:29 pm

Also - I think it is highly unlikely that Leonard would concentrate, before singing either of these songs, or any of his songs, of putting himself in the mindset of specifically how he felt decades ago - in the case of these two songs - back to Hydra - although those feelings would now be part of "the whole." People say over and over again how much Leonard appears to be totally in the present and what a wonderful feeling it gives to those in his presence. I think he has achieved that ability to be totally in the "now." Not the past. Not the future. But right now. And all would be part of his performance.
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Geoffrey
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Re: CONCERT REPORT: Oslo, August 6, 2010

Postby Geoffrey » Tue Aug 10, 2010 5:33 pm

musicmania asked:
>And how would Anjani feel?

well, it seems you are now questioning a lack of empathy on leonard's part. ok, i presume anjani would feel the same as any normal lady, betrayed and hurt. angry even, at being publicly ridiculed by an indiscreet and tactless declaration that a former girlfriend means more to him than she has ever done. remember, marianne abandoned her former partner for him, gave him her best years, nursed him when he was sick in bed, brought cups of warm cocoa to nourish him, encouraged and inspired him to write his most famous songs. anjani, suzanne, rebecca - or indeed any woman - would have a hard time competing with that. but it must also be remembered that he is not only telling his audience that he favours one woman above all the others. he is simultaneously announcing the importance of his emotions, because "you were always the one" (while being a compliment to the recipient) is a statement about his own - as opposed to anybody else's - personal feelings. he is putting his feelings first, before anybody else's, regardless of who is listening. is this what you mean, musicmania?
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Geoffrey
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Re: CONCERT REPORT: Oslo, August 6, 2010

Postby Geoffrey » Tue Aug 10, 2010 5:44 pm

sturgess66 wrote:
>People say over and over again how much Leonard appears to be totally in the present . . . I think he has achieved that ability to be totally in the "now."

i don't understand this at all. how is it possible to be totally in the 'now' if one is singing songs one wrote forty years ago?

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