New Jersey 15 December 2010

 A lot has changed in the five years since I started this blog. My writing style has changed, and my opinions have changed. Shows I previously loved I have drifted away from, while other shows I never had time for I find myself listening to more often. The biggest change was when the unthinkable happened and Prince sadly passed away. This has had a huge impact on me, as it has with most fans, not just the loss, but the way I consider his body of work and the collection of live concerts I have. While Prince was alive I was dismissive of his greatest hits tours such as his 2010 tour through Europe and the subsequent Welcome 2 America tour. These were songs and shows that I knew too well, I wanted the unknown, the mystery and excitement of an aftershow, or a concert promoting new material, not a greatest hits package of songs I have been listening to for more than 30 years. With the passing of Prince that changed. Now I see these concerts as a celebration of his music, his catalog, of his life. These are concerts designed to make you feel something. Make you feel good, make you feel nostalgic, remind you of the times when you fell in love with the music, when you fell in love with life, when you fell in love with Prince. There is no shame in these songs, they are made to be enjoyed and celebrated, no matter how many years pass, or how many times we have previously heard them. Now every greatest hits performance for me becomes a concert to be appreciated and enjoyed for what it is. Prince knew what the fans wanted and he gave it to them. These are his most popular songs, and although we have heard them thousands of times they still evoke an emotion in us all. That is the magic, and that should be celebrated. 

15th December 2010, Izod Centre, New Jersey 

This concert from the opening night of Prince’s Welcome 2 America tour has had a variety of bootleg releases, I listened to a decent audio recording of it just the other day, but today I will be looking at the video footage that is circulating. Recording technology has come a long way in the last 30 years, and although this is an audience recording from two angles (one high left, the other lower, and on the right), it is still beautiful looking in its clarity and steadiness. After suffering through a multitude of grainy video filmed concerts of the 1980’s it is sweet relief to have an opportunity to watch an audience recording of such quality. The concert itself is barely a month after the completion of the European tour of 2010, so asides from a couple of cool treats (more on those soon), the concert doesn’t offer anything unremarkable apart from the fact that it is the first of this current tour. 

The first of those cool treats I mentioned is revealed with the opening number- a fearsome rendition of “Laydown.” This performance is the live debut for “Laydown” and it is scorching, the song may not be familiar to most of the US crowd (the 20Ten album never getting a US release) but there is no mistaking the reception Prince and the song get as he emerges from the mists, the epitome of cool in his designer coat looking like a fashion-house cowboy, guitar blazing in his hand, all while remaining aloof behind his dark sunglasses. A fifteen-year-old me would have eaten this up in a minute, and even the forty-something me finds it hard not to stand up and give a whoop of thrilling excitement as I become caught up in the moment. Bootleg-wise, it looks better than it sounds. The rush that comes with Prince’s appearance, and the excitement of this new song mask some of those deficiencies, but on repeated listens I do find the vocals a little too loud and touching on distorting. This is mere nitpicking though, and overall the song and bootleg couldn’t have started better. 

 

The second song of the night, and the second treat, come with the only live performance of “Black Muse.” Still five years away from an album release, eventually appearing on Hitnrun Phase Two, this is a rarity and the only fault I can find with it is Prince doesn’t perform it himself here, it is instead left to Shelby J., Liv Warfield, and Elisa Dease, detracting from the fact that this is the only live performance. They play well, but there is nothing here to mark it as a Prince song, and as such, it remains pale and anemic in comparison to the opening number. 

 

Damaris Lewis is credited with being the inspiration for “Black Muse,” but it is Misty Copeland that joins Prince on stage for the following “The Beautiful Ones.” The song is silky smooth, from Prince's slow-burning beginning at the piano, he continues to gently apply the pressure as he mounts the instrument while the song builds into a smoky seduction piece. I am usually dismissive of a dancer on stage, I often feel it distracts from Prince's music, but in this case, I find Misty captivating as she twirls and floats across the stage. The final minutes belong to Prince as he lets the song boil over into its climax, all the while sounding and looking as cool as he did twenty-five years ago. 

 

The concert accelerates at this point as Prince tears off a string of hits in quick succession. “Uptown” has the same drive and energy as it does on record, although the guitar remains too low in the mix for my tastes, while “Raspberry Beret” comes quickly nipping on its heels, all energy and intent but no real bite. The greatest surprise about “Raspberry Beret” is that it fails to materialize hand in hand with “Take Me With U,” an all too familiar pairing that I am quite willing to forego at this stage. 

 

The hits keep coming, there is no time for the dust to settle on “Raspberry Beret” as Prince sweeps the music into “Cream.” A song that seems to resonate naturally through the crowd, this is the moment where the song becomes bigger than on record, the voices and enthusiasm of 10000 people injecting it with a deeper emotion than it is often given credit for, and the next few minutes aren’t about the song at all, rather about the concert itself and the process of being a fan. It isn’t my cup of tea, but it brings the audience and performer together, united by song and the pure love of music. 

This celebratory atmosphere is carried over into “Cool” as Prince carries every member of the crowd into his world of cool for the next five minutes. There are moments when we see him for what he is, a fifty-year-old dancing about the stage, but for the most part, the illusion is maintained and he remains the coolest of the cool. There is plenty of audience interaction, along with Shelby, Liv, and Elisa, but this mostly remains off camera. As they say, “out of sight, out of mind” 

 

The concert rolls along without pause as Prince and the band dance their way into “Let’s Work.” This song has always been about the bass to my ears, and sadly here it is lacking. One can hear it bubbling away, but it is never loud enough as the keyboards continue their unwanted dominance from start to finish. “U Got The Look” suffers similar issues, everything stays flat, there is never enough guitar, or anything of the rhythm section to carry the load, and the song consists mostly of vocals. Not the fault of the bootleg at all, just the homogeneous sound that we sometimes get at these greatest hits shows. 

 

There is another debut for the next song – Prince’s gold Stratocaster guitar. It seems a pure rock n roll indulgence, but Prince did auction it for charity, and although an ostentatious display of wealth and excess, Prince had his heart in the right place with his gift to charity. “Shhh” is often the emotional heart of these concerts, but here it doesn’t carry the same heavy emotional weight that it does on other hot and sweaty nights, however, the Stratocaster guitar is well named and Prince takes off into the stratosphere for his solo. The guitar appears heavy, but Prince plays with a lightness that betrays this initial impression, and the song swoops and soars in equal measures as Prince lifts us all with his impassioned playing. 

 

Prince gets a break as Shelby, Liz and Elisa present their take of Sarah McLachlan's “Angel” They are all fine singers in their own right, and I much prefer to hear Shelby purely sing rather than hype the crowd, but I find my interest wane without Prince on stage. A beautiful song, it is unfortunate that at this part of the bootleg I normally wander off to make a cup of tea. 

Shelby remains at the forefront of my thoughts as she accompanies Prince through “Nothing Compares 2 U.” It never reaches the heights of the Prince and Rosie Gaines partnership, but one senses the genuine comradery and friendship that exists between Prince and Shelby. They appear to have a lot of fun together on stage, and this infuses the music with real love and an uplifting spirit. The lyrics may speak of a melancholy story, but in the hands of Prince and Shelby, it becomes a love-filled message that fills my heart with hope despite myself. 

 

Prince has the guitar in hand for “She’s Always In My Hair,” but it has a neutered sound and certainly can’t be compared to the explosive versions we would hear from 2012-2015. Prince plays a restrained version, even his solo feels like he is keeping it tightly reined, and the song itself is cut short as we segue into “I Was Your Girlfriend.” Esperanza Spalding joins Prince for the performance, it should be a performance that makes my heart sing, but the sound is disappointingly off and a lot of her vocals remain secondary to what I can hear from Prince. The visuals of them singing and dancing together lift the bootleg, but the music never quite reaches the heights I expect. 

 

“Insatiable” rewards on several levels. Not only do we get Prince dripping his honey-coated lyrics, but there is also time for the rest of the band to contribute, and I find Renato Neto in the final minutes gives me just as much as Prince did in the first few minutes. 

Covering similar territory, both sonically and lyrically, is “Scandalous,” and Prince’s performance is just as lush as the previous “Insatiable” The bootleg is at its best through these songs, Prince has complete control of the stage, and the arena, as he pleads and pulls the song through its seductive hoops. 

The jewel in the crown is “Adore,” Prince takes to the piano after a glistening opening from his backing singers. It’s an enthusiastic rendition, some of the intimacy lost as Prince delivers it a full-bloodied, not withholding any sense of delicacy, electing to belt it out into the crowd rather than drawing the crowd into himself. It’s a large performance that may not play to everyone’s taste, although I certainly like it for what it is. 

 

There is an alluring start to “Purple Rain,” it is at once familiar, and something new as Prince tinkers on the guitar for the first minute. He doesn’t make his instrument weep, but he does draw a tear to the eye as he finds a new emotion on the guitar. The lyrics come at us as expected, and it is everything any fan in the crowd could want. This song carries a lot of expectation for many fans, after all, it is his signature song, and Prince delivers it straight down the line, with every word and inflection as heard on the album. The same could be said of the guitar break, there is no excess here, Prince keeps it as we have previously heard, and the guitar solo fails to take off in the way it sometimes does in his more impassioned moments. That is no slight at all, the song remains a celebration of the album, of the movie, and of that era in general. There is a lot of love to be felt as Prince plays the song, and there is no doubt that the song means something different to each person, as well as meaning everything to everyone. 

 

From the darkness, the encore emerges as a brightly lit “Kiss.” A crowd-pleaser for sure, I find I am outside the party for this one. The bootleg can’t spin the concert into a fully invested experience for me, and “Kiss” remains aloof and unobtainable. The final dancing is no doubt an absolute highlight for many in-crowd, especially if we use screaming as a gauge, but for me, it is too far removed from the song and drifting further from what I like about the music. 

 

From the opposite end of the spectrum comes “Sometimes It Snows In April.” It is Lalah Hathaway who takes the lead on the vocals while Prince contributes some melancholic guitar lines that would melt the hardest of hearts. The song is almost done too well, it lacks an edge, and there is no raw emotional core that I crave. Sonically though it is just beautiful, and one of the gentlest moments of the concert. 

Prince and Lalah Hathaway stay as a pair for the following “Diamonds And Pearls,” another song from the softer side of Prince’s catalog. The song has aged well, and unlike me, there is no stiffness as the music flows easily from Prince’s fingers. As is so often the case though the song is all too short, although the tender moment is extended as Prince escorts Lalah Hathaway from the stage. 

Rather fittingly Prince drives the band into “All The Critics Love U In New York,” from his piano, his rhythmic piano playing snowplowing the way for the groove to follow. It is easy to imagine this as close to the definitive version, Prince creating the song in such a fashion at his piano, the entire song and groove carried by his hands alone. Of course, he is not alone, the rest of the band builds up the song, but as much fun as it threatens to be, they are soon enough diverted to “Controversy.” 

With the sound of “Controversy” filling the arena there is no mistaking that we are reaching the climax of the concert. The crowd is alive, and Prince does all he can both musically and physically to get them involved. I am feeling generous, caught up in the music and the moment, and in this case, even Shelby J’s “clap your hands and stomp your feet” gets a pass from me. 

The party reaches its zenith with “Sexy Dancer” and “Le Freak.” With the stage awash with members of the audience, there is no longer between performer and audience, the music has finally broken all barriers in this final celebration of Prince and his music.

I am no great fan of the “Housequake” interpolation, but it does its job in bringing the rest of the crowd out of their seats and into the concert as the crowd chant on Prince’s command. It feels like a fitting ending, there is no emphatic full stop, rather the party burning itself out 

 

Five years ago I wouldn’t have given this bootleg or concert a second thought, it would have been filed under “greatest hits” and never seen again. I am a far more balanced person now, and I understand how concerts like this fit into the wider context. These shows are important, not just to us die-hard fans, but to those casual fans who make up the majority of this audience. Prince is presenting his most popular music to the widest audience possible, that is something to be celebrated rather than looked down upon. These songs are part of his history, and they are part of our history too, be it good, bad, or indifferent. I have heard these all a hundred times before, but they still retain the spark that I first fell in love with. Sometimes I need concerts like this to remind me why I became a fan in the first place, not because of a snobby musicality born from the breadth and depth of what I heard at the after-shows, but simply because these were the songs on the radio I sang along with. 

Brussels 7 November 2010 (am)

 I have listened to a few after-shows in the last few weeks, but this one is something special and well worth a listen. This one looks particularly good as it’s a nice long set and a good balance of songs. Some of the selections wouldn’t be out of place at the main show, but here in a smaller setting, they take on a different sound in a different context. 2010 doesn’t feature highly when I select shows to listen to, so I am hoping to have some nice treats in this show. My only reservation is that it's 3 hours, and as much as I love Prince, I can’t say I’m well known for my patience and ability to sit still for more than a couple of hours. 

7 November, 2010. Viage, Brussels 

This isn’t my favorite Prince band. I admire their technical abilities, but most of the time I find them too sterile and safe. The beginning of this show is a good example of this. The band begins by playing an instrumental version of “Joy In Repetition.” That gets a big thumbs up from me. The song strongly highlights Renato Neto on the keyboards, and as much as I love the idea of an instrumental of Joy In Repetition, I can’t quite find a way into the recording. It is smooth and sweet-sounding, and to my ears, it’s missing the emotion that Prince's lyrics and guitar bring to it. Without these two key elements, it’s nothing more than a very pleasant piece of music. Maybe a more piano sound, rather than the keyboard, would give it some depth. But it is what it is, and I am reluctant to be too critical as I have listened to this plenty of times and greatly enjoyed it, it’s only today as I listen closely and think about what I am hearing do I find it lacking. It is an interesting opening for a show, and I give the band credit for doing something different. 

 

A drum roll, a woman’s voice, I wonder what is coming next. Whatever it is, it’s in no hurry as the drum roll carries us a couple of minutes. The drum builds, then with a final roll and a crash “Stratus” begins. Prince’s unmistakable guitar sound is present, and the sound has a deep rolling groove. After the previous song, the show now feels like it is beginning properly. The bass is captured excellently on the recording, and over its ominous roll, there is plenty of action on the guitar and the keyboard. Both up the ante as the song goes on, and I have to rate this as one of the better covers of Stratus I have heard. I can’t quite pinpoint what it is, this is the one I would choose to listen to first. There is a lot to enjoy and listen to here, be it the drums, the guitar, or the keyboard, there is never a dull moment or a point in the song where it loses momentum. There is a quieter moment where the piano plays, but that is fine for me, I like the sound of the piano after some of the other fireworks, and that rolling groove underneath pulls it all together. 

My first thoughts are ‘Oh wow” as a guitar picks out a soft intro to “Sometimes It Snows In April.” The rest of the band back it, but they are light of touch, and it’s the crisp yet gentle guitar that is the main focus here. The spell is temporarily broken as somebody loudly whistles, but the guitar then plays the vocal line and I am enraptured by it all. The balance is just right between the guitar and the rest of the band, and this instrumental version is just stellar. The keyboards add some nice strings to it, and later in the song the keyboard itself carries the main melody. I am often generous with my praise for songs and performances, but if there was ever a moment worth praising to the skies, this would be it. Like so many of these after shows, Prince brings new life to a song that is more than 20 years old, and there is a freshness through the song that is uplifting. I am almost disappointed as the song ends, and my first reaction is to go back and listen to it again. 

Another instrumental follows, and this time it’s “Delirious” that gets the instrumental treatment. This one is interesting, on record Delirious is a short sharp pop song, here it is played to the hilt and runs for nigh on 13 minutes. It begins with the familiar synth lines before Prince comes on board with his lead guitar and begins to lead us into unfamiliar territory. He does play with the guitar, giving us a mix of styles as he plays the lead. As the band plays on the synth line disappears a long piano solo begins. Prince encourages with a “Take your time brother” as the crowd picks up with a hand clap. The piano is well complimented by the guitar, and the two play hand in hand for quite a while. It’s not right in my face, but it demands my attention just on pure musicianship alone.  There is a warm feel to the evening as the crowd chant “Delirious” before a cool, low-key organ begins to play. It doesn’t jump out of the speakers at me, but the more I listen to it, the more I hear as it unfolds. The music drops right down low as the guitar plays, and by this point, the original sound of “Delirious” is just a memory. It stays in this way for a few minutes, and it’s easy to forget that this is Prince I am listening to, I’m so lost in the smoothness of the groove. 

Things kick back as the band play “Soft And Wet.” Like everything else so far this evening, it’s an instrumental. The thing I hear most when listening to this is how well-drilled the band is. They play sharply, and although the song doesn’t have the funk or energy that I normally go for, it’s still a nice couple of minutes and is just as good as anything else we have heard thus far. It is however only a couple of minutes, and I sense the crowd is in a similar mood to me as the song ends, a steady beat begins and the crowd can be heard shouting “we want the funk” 

The band picks up the coda of “I Want To Be Your Lover” and as the crowd shouts I am taken back to a rawer dirtier time in Prince’s career. The band does a fine job playing on it for a couple of minutes and I do enjoy the synth squiggles and the driving bass. There are a couple of whistles thrown in too, which I can’t decide if they add or detract from it. Near the end, some squelching guitar is played by Prince, and this perks me up. It is only half a minute, it could have been more as I am feeling it. 

The opening salvo of “Why You Wanna Treat Me So Bad” sounds, and my heart briefly stops as I anticipate what is coming next. And what is coming next is a bitter disappointment as after the opening riff Prince stops and says “We aren’t gonna play that one”. I should be used to these Prince teases, but I still fall for them every time. 

 

“Sexy Dancer” follows and Prince instructs Shelby to get some dancers. There is a lot of hand-clapping, and Prince plays some more of his lead guitar over the track. It’s not heavy at all, and adds to the groove, as does the keyboard that plays on it. This is another instrumental, and I can already see that this is shaping up to be a very long show.  Some of the guitar lines sound familiar, and I am sure I remember them from “Clockin The Jizz” back in 1991. The keyboards take over later in the song as the guitar disappears. Things take a further twist as the bass and drums strip back to a groove while Shelby encourages the crowd. For the first time in the show, we have some singing as Shelby sings “Give It To Me Baby.” This is great, Shelby has her detractors, but she can sing and sing well. I love hearing her, that is until she falls back to encouraging the crowd and having them scream. I much preferred her singing, but at this stage, the band is starting to warm up and there is a definite funk flavor to it all. Normally I am not a fan of these “somebody scream” moments, but on this recording, it sounds like the intensity goes up a lot at this point, and the party is indeed starting. “Le Freak” follows on rather naturally and easily at this point and Shelby’s voice is joined by Liv. I have heard it plenty of times from era, and there’s no real surprise at this point. That’s not to say it isn’t enjoyable though, and it’s hard not to smile as I listen. 

The atmosphere created is continued as the band plays an instrumental “Party Up” as the crowd helps out with plenty of chanting. It’s not as raw as it used to sound, but that is to be expected with this band. The band is sounding pretty hot at this point, but I am slightly distracted by various audience members singing into the microphone “Party Up”. Things improve moments later, as the band strips back and Prince plays some very crisp funky guitar as the crowd chants. It’s easily my favorite moment of the song, and it harks right back to that Prince funk that I used to love. 

Now all these first songs have been played as an instrumental, except for the last medley which Shelby sang. As I said this isn’t my favorite band, but it does have its strengths. I grew up with garage bands and punk gigs. Rawness and energy were what drove me when it came to music, and the quality of the musicianship came second. It was raw emotion that I wanted. Young Prince and his dirty raw songs, furious guitar sound, and heavy funk appealed to me. This band is a million miles away from that, and yet I find that as Prince has grown and matured, so have I. This band is smooth, and at times almost disappears into the background. But listening today I find myself listening for every note, and admiring their professionalism. 30 years ago I could never have sat and digested a mature sound like this, but I have grown over the years, and I find that this is perfect as I sit after a hard day’s work and enjoy a drink. There is nothing wrong with getting older and finding enjoyment in different things, I can always go back and pull an older recording if I want that raw untamed Prince, but right now this is doing me just fine. 

That old-school funky Prince appears next as “Uptown” begins to play. The bass is nicely in the groove and for the first time, Prince begins to sing. He is well accompanied by the crowd, and by me here at home. He avoids some of his lines, leaving the audience to fill in the gaps. The guitar is low and the mix, it’s the vocals that are most prominent, and Prince is right up front. The song is barely a couple of minutes, but I was won over in the first few seconds. 

“One, two” starts “Raspberry Beret” to a loud cheer from the audience. Predictably enough Prince asks the crowd to sing it if they know it, and they do just that. However, Prince doesn’t drop out his vocals as he is inclined to do at many of his shows. He sings all the way, although the song is abridged. I feel he puts more into it here than I have heard at many of the main gigs, and I get the feeling the audience appreciates that. 

 

“Cream” follows up, a song I could happily skip on most recordings, I am pleasantly surprised by it at this gig. Prince sings, the girls sing, the crowd sings, and everybody is having a good old time. Prince’s guitar break sounds different from what is normally heard, there seems to be something extra in it. All show I have complaining of the smoothness and lack of personality in the band, then they go and prove me all wrong by delivering an organic, fun-sounding “Cream.” Yes, I am completely won over. 

The transition to “Cool” seems perfectly natural, and it feels more like the main show rather than an after-show at this point. I do like “Cool” a lot, and this one is very cool. It follows closely what is heard at the main shows, with the girls and Prince leading the crowd in all the cool chants. Things heat up as Ida gets funky with the bass later in the song, and I wish we heard from her more often. 

At this point, I turn to my girlfriend and say “Shit this is a good concert!” as the guitar riff of “U Got The Look” drives in. The sound at this point is just right, and the guitar is how I like it, not too much and not too little. Often this song is out of balance, but this night it’s perfect. The song isn’t the greatest in Prince’s repertoire, others show his guitar talents to a greater degree, but “U Got The Look” is perfectly serviceable and it’s certainly a lot of fun at this show, without ever going into guitar overdrive. 

With the beat still pounding Prince starts intoning his “People call me rude, I wish we all were nude” talk from “Controversy.” Prince calls for the lead line, and the band rips into one of the better versions I have heard of late. Prince, the band, and the crowd all sing in unison and it’s got a loud in-your-face sound to it. Prince squeals, sings, and encourages the crowd, even getting them to chant “oh Belgium” before asking them to pull their cell phones out. He doesn’t revert to his “clap your hands, stomp your feet” until well into the song, and there is plenty of time for the song to marinate. As the crowd chants, Prince does plenty of talking himself, and it’s all jolly good fun. The chant and the groove continue for quite a long time, I never tire of it though, and there is a treat later in the song as Prince plays some brief lead guitar that harks back to his 80s sound. 

The piano plays softly and I recognize the beginnings of “Free.” It’s sung by Liz, and she gives it a different twist, but it’s still just as good as ever. Shelby joins her for the chorus, and the two of them singing over the piano has a pure sound that is nostalgic and beautiful. I enjoy it for its simplicity and its easy sound. There is a horn sound later in the song as it fills out in sound, and its sharpness seems to sit on top of everything else. 

The song segues to “Pearls B4 The Swine,” a song that I very rarely listen to. The appearance of it here doesn’t persuade me to listen to it more often. The girl’s voices are lovely together, and I like the song, but I need a lot more Prince in there. It’s all very pleasant, but it’s not my cup of tea tonight. 

“Love Thy Will Be Done” follows, it’s played with a much fuller sound, with Shelby leading the singing. The drum beat is overtaken by the other instruments and it doesn’t have the basic sound of the original. I am pleased to see it on the setlist, but after hearing it I’m not so enthusiastic. It’s got a crowded sound with all the voices in there, and lots of keyboards. 

Next Prince and his guitar sound return to front and center. There is a nice loud keyboard accompanying him as he plays the opening of “She’s Always In My Hair.” I have heard this song plenty of times in the last few years, but this one has a different sound with a larger band, and the keyboards are far more prominent. It’s also a nice touch having the backing singers sing the chorus with him. I expected it to go for some time, but after only a verse and a chorus Prince and the band switch up a gear. 

 

The guitar stays the main focus as “Dreamer” begins. It’s a step up from ‘She’s Always In My Hair,” it has a lot more energy and liveliness to it. Prince makes the most of it, with plenty of guitar work. There is no singing, only the sound of the audience chanting. The guitars get heavier and start riffing as Prince speaks to the crowd as has them chanting “Dreamer” It’s at this point that Prince begins to sing the lyrics. The vocals are secondary, it’s the music that stays at the center of attention. Prince has the band on a tight leash, and they are pinpoint accurate as he works them “Right back where we were”. The song changes again as Prince begins to solo for the last few minutes of the song. It’s by the numbers, and I don’t find a lot of joy in it. 

The joy returns with the upbeat sound of the synth playing “I Feel For You.” Shelby, Liv, and Elisa take on the vocal duties. They do a good job of it, I still prefer Chaka Khan though. “Dreamer” started livelily but was leaden by the end, so this brings some lightness back to the show, and even though I would have liked to hear Prince singing more, it’s still a nice couple of minutes and a look back at another gem from the catalog. 

Prince starts the crowd clapping as “Chelsea Rogers” begins, and I know that this will get the crowd dancing. Shelby is the center of attention, she takes on all the vocals for this one while Prince is playing with the band. I shouldn’t like this one, and yet I find myself happily nodding along. I can hear all the lyrics just fine, and at some stages, Shelby speaks/sings which is kind of cool. To be honest, Shelby owns this song, and it’s a definite highlight of the Shelby I have heard. 

“Disco Heat” doesn’t sound quite as good to me. It’s got a nice sound to it, I think it sounds too shallow for my tastes. As Shelby starts calling “Party” I decide that to be there live would be much better than listening here at home. But like all Prince shows, things move quickly and after a couple of minutes, we are on to the next part of the show. 

I do a double take as I hear “Baby I’m A Star.” Now, this is more like it, the song is sounding fresh for its 25 years, and I forget for a moment what band this is. Having the girls singing with him is just great, and a welcome addition. There are only a couple of stops/starts and the song ends with an enthusiastic “Vegas” as Prince introduces the band over the crescendo. 

“The Love We Make” is a nice come-down after all the previous noise. Prince and the piano are heard above the drum beat, it’s got a low-key melancholy sound, and yet uplifting in the chorus. The guitar tone offers a sound of hope, and despite the early downbeat feeling its finishes up sounding very uplifting indeed. The guitar break is excellent, and I love the next line “Precious is the prayer that asks for nothing”. Prince plays out to the end with the girls accompanying him, before finishing with another sunny guitar break. I have to say, this song is another highlight of the show for me. 

 

  

The party/jam section of the show follows as Prince and the band take a long groove into “Get On The Boat.” The first minutes contain the crowd singing America, as the band just grooves smoothly behind. It’s all very low-key and played gently, the first few minutes it’s all just building up. The piano comes up in the mix, as does the guitar and still we wait for the song to kick off. John is heard on the drums much more about the four-minute mark as the song builds. The release comes a minute later as Prince calls “one, two!” and the riff of “Get On The Boat” starts proper. The keys do a good job of providing the horn parts and stab, and things move along nicely. Even with the song being played by everyone here, it still has a low-key feel, and it’s a laid-back groove rather than an intense jam. I do like that there is a piano solo, played over the top of the horns sound it provides a nice balance. There is even a lead break played by Prince on the guitar that seems to be swamped in the mix. The song ends with another round of band introductions as the crowd shows their appreciation. 

As Cassandra plays the band transition into “Which Way Is Up” Shelby is again at the front, and as she has all evening she does what she does best. The song gets funkier as it goes along, and there is some keyboard work that I just adore. I am surprised by how much I enjoy this song, and I am lapping it up. The song drops back to bass and drums, and the bass has the elastic sound that I always listen for. It gets even better for me as the drums drop out leaving just the bass, it’s unfortunate that the bass isn’t as fat-sounding at this point. The groove of the song carries me on for a long time, and I could easily listen to it again as it finishes. 

“Mountains” sounds very thin as it begins. It’s an abridged version that is played, and somewhat of a lost opportunity. I was excited to see it in the playlist, but upon hearing it I find it is missing the x-factor, and it fails to wow me. It’s shallow in sound and I am not too disappointed as “Shake Your Body Down To The Ground” is sung over the last minute of the song. 

A pounding beat and we breeze easily into “Everyday People.” The gig is accelerating to an end here, as it too is only a couple of minutes. Prince is singing, but it’s the voices of the girls we hear most as Prince sings backing for them. I enjoy the song, it’s a shame it doesn’t play on for longer. There is just a hint of some interesting things happening, only none of them are followed up on. 

Keeping with the theme the next song is “I Want To Take You Higher.” Prince trades lines with Shelby, and like the show overall there is the sense that things are accelerating to a finish. The crowd is very vocal as they sing “Higher” and the band increases the tempo. There is a swirling guitar solo by Prince, low in the mix. It’s got a great sound to it and I would have loved to hear much more of it. The crowd is happily chanting as the song comes to a sudden halt leaving them chanting unaccompanied. 

 

This doesn’t last long, as the funky bass of “All The Critics Love U” begins. I never grow tired of this. Prince sings just as he has always done, this time with “in Brussels” at the end of the appropriate lines. There is a big deviation as a funky-sounding piano plays a break. It’s not a strong sound, and I guess that it’s Renato. I had expected the song to follow a groove all the way, so the twists and turns that are thrown in catch me off guard. There is a drum breakdown, and then things are slightly faster as a synth plays a snaky solo. The bass solo from Prince has the crowd singing his bass parts back to him, which is just fantastic, and one of my favorite moments of the show. Prince resumes with “Body don’t want to quit, gotta get another hit” and he sounds just as fresh as he did three hours earlier. A couple of turn arounds from Prince followed by a call of “end” finishes the show, and as he says “we the best” I am inclined to believe him. 

This show is a real gem. I think if it was a scratchy recording from the 80s, it would have a mystique to it and we would all be raving about it. As it is, it’s a clean-sounding recording from recent times, and that seems to count against it. Don’t be mistaken, this show is the business. A three-hour set, a great opening hour with loads of instrumentals, and a band that can go where ever Prince wants them to go. I’m not prepared to compare this to some of the greats, but I am going to recommend it to anyone who enjoys Prince's music. A top-notch show that deserves a wider audience. 

Milan 3 November 2010

I have lost count of how many times I have heard “Purple Rain” in my life. It’s been heard at almost every live show since 1984 and is universally the first song that non-fans name when thinking of Prince. I am sure Prince is just as tired of playing it as I am of hearing it, yet he still manages to play it with a passion and gives the fans what they want every night. In the last few years, the video of him playing it at this show in Milan is often cited as one of the best renditions in recent times. He certainly seems to play it up in the video, but I am not convinced that it’s as good as often stated. And seeing it stand alone like this, I often wonder how it fits in the wider picture of the gig. Today I took a listen to the show as a whole, and see if this thing is as good as people say. At the time I thought the 20ten tour was a little bland, and I am hoping that upon a second listen it is better than I remember. 

3 November, 2010 Mediolanum Forum di Assago, Milan 

The show certainly starts well, I have heard “Stratus” plenty of times, but not opening the main show like this. It’s a very casual start to the show, with Prince seemingly just strolling out with his guitar and beginning to play. The drums and the bass are nice and full sounding, while Prince places his guitar over the top. It’s almost after-show-like and has that sound of the band warming up and easing into the gig. Prince’s playing is very relaxed, and I get the feeling that right from the start he is in guitar hero mode. Apart from Princes soloing, there’s not much else happening in the song, that is until the space-age-sounding keyboard break by Renato Neto. This is immediately followed by Ida and some tidy bass work. I can’t fault it, but it fails to move me. The final guitar break by Prince is one too many for me, yet it’s the best played in this song. I have mixed feelings about if I wanted this to go on and on, or finish. I was somewhat pleased when Prince decides for me and the band play “Mountains.” 

 

“Mountains” has a very light feeling in this recording. All the pieces are there, and yet they don’t come together in the cohesive way I would like. I do enjoy it, however, and especially I enjoy Prince's guitar sound and vocals. The guitar sound is very sharp and I can hear it way above everything else when he plays. It’s an interesting start to the gig, I wouldn’t have expected to hear either song so early in the setlist, but it does work for me. Of course, I am a fan and would enjoy anything he played. Parts of “Shake Your Body (Down To The Ground)” are sung, and soon after the song further morphs into Everyday People. 

“Everyday People” and “I Want To Take You Higher” are played together, as a Sly Stone one/two punch. I loved the original of Everyday People, but to be honest I don’t get much out of Prince’s version. There is that spark missing, and even though it sounds pretty it doesn’t speak to me. “I Want To Take You Higher” works better for me. The horns sound good on it, and there are a couple of other sounds thrown into the mix too. The band and Prince gain energy as it goes along and I can see the crowd becoming more animated as it progresses. There is a sing-along and plenty of jumping as the song reaches its peak, and I love it when Prince finishes the song with a shout of “Veegggas!” 

Things go dark, and a weedy thin version of the “Let's Go Crazy” intro begins to play. It’s OK, yet very thin sounding. Prince intones “Dearly beloved” beautifully backlit, and plays some epic-sounding guitar. The rest of the song begins and it becomes much more party-sounding. As of the time, it’s horn-filled and brassy sounding. Prince keeps it to what people want to hear most, that is him and his guitar. He plays the first solo, and then abruptly changes the song to Delirious. 

“Delirious” grows on me with every blog post I write. As the year's progress I find myself enjoying it more and more, and today I find myself grinning throughout. It’s played with a smile and it adds a lot to the fun sound. Renato plays a fitting solo, and Prince enjoys prancing and playing as he sings the song. This one is pure fun all the way. All the band members join the party in one way or another and they all capture the spirit of the song well. 

 

With chants of “Oh no, let’s go” Prince again picks up his guitar, and “Let’s Go Crazy” resumes. The reprise is little more than the chant and then Prince finishes the song with his guitar break. 

“1999” sounds great. The beat isn’t too domineering as is sometimes heard, and the vocals all work very well off each other. Prince sounds and looks youthful through the song, and the years roll back as I sit and listen to this one – I can feel myself getting younger. The song passes by in a flash, I must have closed my eyes for a second too long feeling nostalgic. Shelby can be heard encouraging the crowd through the “Party” chant, I do like her but I would rather hear Prince. The final minute is my favorite piece as Prince sings “Mommy, why does everybody have a bomb” 

Bathed in red, I have to say I register zero surprises as Prince draws out the opening guitar notes of “Little Red Corvette.” He milks it for all its worth and toys with the crowd for a minute as the song builds. The crowd is strangely silent on the recording as he begins to sing, I had expected them to be far more vocal in singing along. They are however back for the chorus before Prince again slows things down with his guitar. I always associate the guitar solo with Dez, no matter how many times I hear it. Prince goes someway to reclaim it, as after the recorded solo he plays for a minute more in his slower expressive style. What I like about this part of the recording is it’s not crowded, there is an empty sound, and Prince doesn’t overplay, he does just enough to give it a warm emotive sound. The last few minutes are a completely different song to me, and one that I enjoy immensely. 

 

Prince tells the crowd “These are my songs, and I love each and every one of them” which I think is a nice sentiment and probably has an element of truth to it. Finally, the funk arrives as Prince’s chicken scratch guitar begins to play, and “Controversy” gets a long and welcome introduction. Prince has the crowd chanting long before the song starts, and once the rest of the band does join it becomes a monster. Maybe it’s not the recording, maybe it’s not the show, maybe I am just a fan who loves this music and loves this song, but here to me, it sounds wonderful. The crowd chant “ooh Milan” throughout the song, and Prince gives them plenty of funk to move to. There is a very long section where the crowd chants while Prince plays a variety of funky guitar breaks. Sometimes writing a weekly blog is a chore, but right now I’m loving it. The song itself disappears, and it is just a funky groove as Prince plays with the crowd. The song does however finally end, and I feel like a sit-down and a cup of tea. 

Things slow down next as Prince takes a break and Shelby sings Sarah McLachlan’s “Angel.” Shelby sounds great, she doesn’t overdo it, and it’s suitably emotional. I appreciate the song even more now that I know that Sarah McLachlan wrote it about the death of Jonathan Melvoin. Elisa joins her, and their vocals together are beautiful. Things get better when Liv joins and all three of them sing the song to the end. 

 

Prince returns and keeps things at an emotional level with a rendition of “Nothing Compares 2 U.” I always like it when he sings this with Shelby. Shelby has a lot of detractors, but her chemistry with Prince can’t be underestimated and they bounce well off each over through the song. Shelby sings with plenty of passion, while Prince sounds smooth and this seems to work as a nice contrast. Prince calls the crowd to show their appreciation for “The baddest piano player in the world” and Renato plays a nice little flourish. The song ends with some lovely vocal touches from Prince and a gentle landing. 

In the dark Prince plays some quiet lead guitar, before he softly sings “She saw me walking down the streets of your fine city, turned me on, she looked at me and said” I wonder if he is going to do it, and sure enough the band kicks into “Uptown.” My old-school roots betray me, and I immediately feel a surge of excitement. The guitar sounds just like I always love, and the only real difference is the girl’s vocals all over it. The recording sounds very good, and Prince’s guitar is very clean sounding. My only complaint would be that the song is played way too short. 

 

With a count of “one two three four”, the band takes a pop twist and begins to play “Raspberry Beret.” Prince does not sing at all, the crowd is more than happy to oblige and sing all the lyrics. It’s fun but somewhat hollow, I would have liked to hear even a line or two from Prince. It’s not too long and is no more than a verse and a chorus. 

“Cream” gets a much fuller treatment, Prince sings loudly and full, and the girls are once again strong-sounding in the mix. Prince’s guitar break interrupts the smooth sound of it, and he again has a nice clean sound. I am never a great fan of “Cream,” it’s a cool song but it doesn’t ring my bell. Here is a nice-sounding clean version that feels shorter than it is. 

The party starts with “Cool.” The crowd dances a lot to this, and listening to it here at home it’s hard not to be moved. Prince is very much front and center for this song, listening to it his vocals and guitar are the things I hear most, that and that synth loop playing over and over. The crowd is singing along, but I don’t hear them well on the recording, and indeed it is noticeable on the recording there is a lack of crowd noise, which is a plus in this case. There is a lot of dancing and fun being had on stage, but without the visuals, it wouldn’t be half as enjoyable. 

Prince keeps things firmly in the ’80s as “Let’s Work” begins. The party mood is kept up with the crowd and there is a lot of arm waving and dancing. The band is playing tight and smooth, and all the fun is coming from the vocals and performance. There is some amusing dancing between Prince and Shelby before he picks up his guitar. 

Next played is “U Got The Look,” complete with Prince’s “girls vs boys” spoken intro. I like the sound of this song, even if I don’t always like the song itself. This recording is pretty decent, the guitar is front and center, but not overwhelming, Prince keeps it nice and balanced. There are the usual guitar breaks but they aren’t over the top, and the crowd does have space to enjoy it. 

 

Finally, we reach “Purple Rain,” the reason I chose this show. It does begin traditionally with the gentle chords before the keys swell and the drums enter. Nothing is rushed, which anyone who knows me will appreciate and enjoy. The crowd plays their part, with “ooh, oohh, oohh” beginning almost immediately. There are some lovely cascades played on the guitar, and it gives it an extra feel of rain falling. The strings then play for half a minute before Prince appears waving to the crowd, and then playing some further lead guitar. His vocals are clean sounding, there is very little or no echo on them, and I enjoy them like this. It’s interesting to watch him here, I can see him working himself into the song, at first he is fairly passionless, but he emotes as he goes along, and you can see him working himself up as the lines progress. He looks like he’s feeling it as he finishes his vocal duties and picks up the guitar break. With a jarring start, we are off into the solo, and Prince is playing just as much with his face as anything else, and he is telegraphing everything he is playing in his expressions. I can’t decide if it's showmanship or pure emotion, but I certainly enjoy it. The first half of the break is as to be expected, and the second half where he traditionally cuts loose is more enjoyable to me. The playing isn’t as breathtaking as I have heard elsewhere, but I have to give credit here to Prince for a great performance. Prince finishes by placing his guitar on the stage before taking a bow and exiting. I liked the performance, but I can’t quite find it in me to love it. Without the visuals, it would sound a lot like any other performance, and here I think it was Prince's showmanship that made the song what it is. 

The opening strum of “Kiss” sounds, and the band play an extended intro without Prince. There is the guitar sound, but it’s very much keyboard-led, and Shelby does encourage the crowd to chant along before Prince appears to take his vocals. I miss the stripped-back sound that made this song so distinctive, and with this band playing a fuller sound I find this song slips into the territory of “Cream,” a similarity I hadn’t noticed previously. Prince’s vocals are tidy, and his dance routine at the end gets a laugh and a smile out of me. 

 

“If I Was Your Girlfriend” is a song I would find very hard to be critical of. I am a big fan, and I enjoy hearing it every time. Prince’s vocals aren’t as high as when he was younger, but he still retains a smooth sound, and to be honest, I am singing along too loudly to notice. This song resonated emotionally with me when I was younger, and I am surprised when I hear it nowadays and it has a much lighter party feel. There is a keyboard break later in the song that I really should mention, it is funky and fun all rolled into one and plays for some time while Prince and Shelby dance. Prince matches it with some vocal yelps and the groove continues with that divine bass line. Renato gets to add his touch to it, with a piano solo that has a light touch to it. The song finishes on a high with a long playout and some cool chanting. 

Prince begins to get some of the audience on stage with him as he begins to play “The Bird.” I get the feeling now we are approaching the end of the show, and Prince wants to end it as a party. The stage is pretty crowded as he begins to sing "The Bird." His vocals are loose, and I am missing the tightness of Morris’s vocals that I normally associate with this song. As you might expect a large part of the song is dedicated to chanting, dancing and generally having fun. The band plays well, but it seems secondary to the enjoyment of the night. 

 

Things don’t let up as the band slips easily into “Jungle Love.” I do enjoy singing along to it, but there’s not a lot else happening here. The crowd is still dancing and partying to the groove. I become more interested as Prince begins to play his solo, and it has a nice intensity to it which briefly causes me to reconsider my stance on these two songs. However, as he finishes his break the chanting and dancing resume and we are back to the party. 

I enjoy the sound of “A Love Bizarre” much more, the bottom end especially sounds good. Prince puts plenty into his singing, and well he has to, just to compete with Shelby. I like it later in the song as Prince plays more rhythm guitar and the band strips back. He maintains his funky guitar sound as the full band joins in once again, and he maintains this to the end and even throws in one more solo, which for me is the best guitar playing of the night. He downs his guitar for a round of waving to the crowd and then the party continues for another minute before a call of “Las Vegas!” ends it. 

 

With the stage emptied of people, Prince returns with his guitar and the band plays “Take Me With U.” There isn’t much to the song, it doesn’t surprise me in any way, and sounds pretty much the same as the day I first heard it. Having the girls sing strongly on it is a bonus, and they do well not to overwhelm Prince's vocals. It sounds empty after the previous songs, and it is a nice come-down. 

With a shout of “turn me up” Prince strikes up the opening riff of “Guitar.” It’s not as strong as perhaps I would like, however, it does sound good. Throughout the whole recording, Prince's guitar has a clean sound, and that is one thing I appreciated about this recording. This is the last song of the show, and I was expecting Prince to indulge himself in some guitar heroics, he is however very restrained. He does play some good solos, but he doesn’t go over the top, nor does he draw them out too long. The song wraps up quickly and even with a final reprise, it is very short. With one final showman flourish the song and the show end. 

 

“Purple Rain” wasn’t as great as many people would have me believe, but the showmanship and the rest of the show were worth the effort. The show was standard, but I did enjoy the effort that Prince put in, and I felt this is a good reflection of the 20ten shows. It was well-paced, and it got better as it went along. A solid record of a good show- I’m still not convinced about that “Purple Rain” though! 

Copenhagen 20 October 2010 (am)

 This show appeals to me for several reasons. It’s available on several different bootlegs, which is always a good sign of the quality of the performance. It’s also in Copenhagen and I know Prince has had a couple of other concerts there that I greatly enjoyed. And finally, looking through the setlist I can see that even though it has a couple of songs mid-set that don’t thrill me, there is also a quality opening, and the appearance of “Sticky like glue” has me particularly intrigued. I have no doubt that I have listened to this bootleg several times over the years, but looking at it now I have no recollection, so the best way to remind myself is to have a listen now and break it down. 

20th October 2010, Copenhagen 

There is an enticing keyboard at the beginning of “Stratus” that paints it in a new light for me. As much as I enjoy the musicianship during “Stratus”, often it is a song I could take or leave. Maybe it is just my mood, but today I dig it. It does its job of bringing me into the show and opens the curtain on what sounds like a fantastic atmosphere in the room. I know plenty of people in Denmark read this blog, if anyone was there let me know – there are only 950 people present and it sounds like they are having a great time. Prince drops in and out with his guitar, but what holds my attention for the duration of the song is Renato Neto. Now I am no Renato Neto apologist, but I have to say on this particular recording he sounds sublime, and I enjoy his contribution the most. 

 

Ida on bass and Cassandra on the keyboard make “Sexy Dancer” an entirely different experience. Although Prince is singing, it is these two who make the greatest impression with their groove and funk. The song is only three minutes, but it certainly lifts the tempo of the evening and gets the blood flowing here at home. 

Prince stays in the background and it is Shelby who leads us through “Give it to me Baby”. There is something humorous in Prince covering a Rick James song, and it is a great moment in the gig. Shelby gives a great performance. I don’t say that lightly, I know just as much as anyone how one can tire of her hyping the crowd, but in this case, she sings and emotes just right, providing the song with good energy and bounce. If she was like this for every song I’m sure she would be valued much higher in the Prince community. “Give it to me Baby” is the longest of the medley that it opens, “What have you done for me lately” follows quickly after before that too becomes “Partyman”. The bass is the driving force throughout these songs, and its buoyancy can be clearly through “Partyman” and the following “It’s Alright”. With both songs barely a couple of minutes, there isn’t much to grab on to, and a brief “We party hearty” rounds out this quick-fire medley of firm aftershow favorites from this era. 

As good as this all is, I can’t say I’m too sad when it’s over. Shelia E provides one of her trademark drum breaks, cool and without the fire that I would normally expect. The song and the show meander at this point, but it’s about to get a whole lot better and the following songs are the real meat of the show. 

 

The guitar solo that Prince lavishes “D.M.S.R.” with is immediately headline-grabbing. For the first time in the show, I feel Prince grabbing me by the scruff of my neck and demanding I pay attention. With my attention grabbed, Prince and the band keep the groove going, without letting it become slow or stale. Renato Neto provides another electric solo, it certainly wins me over without ever reaching the same levels of intensity as Prince’s earlier solo. 

The singing contained within “I want to be free” is the sweetest moment of the concert. After Prince sings a beautiful rendition, he hands it over to his backing singers who take it to the heavens with their softness and delicacy.  I am not normally one for singing when it’s not Prince, but in this case, it is exceptional and I must admit I was carried off on the vocal harmonies. This is a song that accents the nuances of a Prince concert, and at 14 minutes it gets all the time it needs to be fully appreciated here at home. For my money, this song is reason enough to listen to this recording. 

I may have spoken too soon. “Sticky like glue” runs at an incredible 13 minutes and shines both in its appearance and its performance. It gets the extended introduction that it deserves and is all the better for it as the audience marinates in the groove for the first few minutes. The song does stick like glue, the beat and rhythm stuck in my head long after, at almost 15 minutes there is joy in the repetition of the beat and groove. Embellished by a light piano solo from Renato, and a bass solo from Ida, the song moves across several instruments, yet retains its core sound. Like the previous song, it is the vocalists I am finally drawn to, as they close out the song with several minutes of their own groove and sway. It serves as a fitting end to the main part of the performance and Prince and the band take a well-deserved break at this point. 

It is Prince’s guitar that introduces the band back to the stage for an instrumental performance of “Guitar”. As much as it is about the guitar, I find it is lacking a focus without the vocals and although Prince does embellish it with several solos before he eventually comes to the microphone, it still fails to fire as far as I’m concerned. 

 

The next few minutes come as a complete contrast as a more soulful performance follows. First, there is an instrumental version of “How come you don’t call me anymore” that is gentle on the ear, before the singers offer an equally soft rendition of James Brown’s “Please, please, please”. It is short but is a crowd-pleaser as they continue to sing and clap the song for several minutes after it has finished. I have already praised the vocal performances at this gig, but here again, they are at the fore and a real high point. 

I can hardly contain myself as the band play “Which way is up”. I am normally quite restrained, but this has a serious groove to it, both Shelby’s vocals and Prince’s guitar give it some meat and it comes on hard and funky. It does become nothing more than chanting and guitar, but that’s fine with me as the groove is the important thing, and it never once lets up as the band rides it until the very end. 

The concert is finished with “Dreamer” – all guitar and heavy groove. Prince signals his intent from the start with his guitar tone set to “ominous” and the song lives up to this with the guitar appearing with a murderous howl throughout. When not soloing, Prince has it riff-heavy underneath, giving the song some rock credentials to match his flash on the breaks. The song does lose momentum as Prince has the crowd sing along, but I can’t fault it for that, after all, it is all about the live performance rather than what I am listening to here at home. The song and the show come to a fitting end with the audience chanting for the last four minutes, which very much puts me in mind of another great bootleg in Copenhagen. Listening to shows like this I think that they are the best fans, and I admire them for their input and love of the music. 

Overall, this recording wasn’t quite what I expected, but like most Prince concerts I was won over in the end. The crowd was exceptional, and apart from a couple of songs early on that suffered from over-familiarity, I found the remainder of the show arresting. A nice little bootleg and probably something I would listen to a lot more if not for the 100’s others circulating. The one fact that became apparent as I listened to this, I definitely need to get over to Copenhagen sometime! 

Vienna 13 July 2010

 I remember 2010 well. I separated from my ex-wife, changed jobs, moved house, and came back to my own country after living abroad for six years. It was a year of upheaval, change, and uncertainty.  Stability was a stranger to me. So when Prince toured through Europe in summer, playing another greatest hits package, I found myself devouring the shows as soon as they become available. There was a satisfaction in hearing the comforting songs I knew so well, and it was reassuring to know that those songs still existed as they were when my life was on steady ground. I often dismiss these hit shows, but these songs tie us back to a time when Prince was on top of the world, and his songs were the soundtrack for every aspect of our lives. Thirty years on they remind me where I came from and who I am as the world swirls around me in constant change. Sometimes it is good to have that rock in our past that we can anchor ourselves.  I have rarely listened to the 2010 concerts since then, they are just on the wrong side of vanilla for me, but as a live package presenting some of Prince’s most well-known material, they serve their purpose well. 

13th July 2010, Vienna, Austria 

Of the summer tour of 2010, this was the only concert to be played indoors. The assumption is that ticket sales weren’t as strong as expected, and from that, we can further infer that Prince isn’t playing to a strong fan base here, more fans fall closer to the casual end of the scale rather than the hardcore end of the spectrum. If that is indeed the case, then “Purple Rain”  is the ideal choice to open the concert with. A song that appeals to the most casual of casual fans, it immediately sets up the greatest hits show as it unfurls it's away across the first minutes. The introduction itself is almost seven minutes, the tide slowly rising with the trickle of keyboards that slowly rise to a river. The first fingers of Prince’s guitar wrap themselves around the song, crushing the delicate and intricate lace of the keyboards and giving the song extra power and emphasis. In this case, however, the song doesn’t belong to Prince, but rather to the crowd who are involved throughout. Prince knows he is onto a good thing and doesn’t give them any more than they need – his final guitar solo plays within the flow of the song, and instead of an emphatic exclamation mark, it is little more than a pleasant outro that equals the introduction of the keyboards several minutes previous. 

 

  

“Let’s Go Crazy” is little more than a thin veneer over the insistent beat. With chants, the scantest of guitar riffs, and a quick verse and chorus, there is no real meat to the song. It is recognizable but is an anorexic version of the Rocky-Balboa-punch of a song we know so well from the 1980s 

I prefer “Delirious” in this case, it is longer with punchy drumming and some added harmonica which brings a different flavor to a familiar tune. It is hardly a pulsating performance, but it keeps the show bouncing forward and provides me a chance to sing along. 

The “Let’s Go Crazy” coda with its “Oh no, let's go” chant isn’t worth mentioning, but “1999” certainly is. I often underrate “1999,” and I have been dismissive of its live performance more than once on this blog. If “1999” was a person I would apologize to it right now. Prince and the band play a lean and cohesive rendition of it at this concert, and to my ears, it has never sounded better. With a sense of purpose, it brings the concert onto an even keel, as well as satisfying the old-school fan inside me that wants to hear these songs as they should be heard. It’s an exhilarating few minutes, and if it is nostalgia you want to hear then this is the place to start. 

 

The opening stabs of “Shhh” contain far more keyboard than drums, and it doesn’t come as the intoxicating rush we so often hear. The vocals though are far more noteworthy, Prince is in his element as he weaves his vocal magic through the song before topping it with the beguiling guitar work I have been waiting for. I am almost sick as he plays a head-spinning few minutes, the sound and the emotion perfectly enmeshed making for the alchemy that can be only found on live recordings. 

“Cream” comes from the other end of the scale. Where “Shhh” had depth and emotional weight, “Cream” is shallow and narcissistic. That doesn’t make it any less enjoyable though, and with Prince’s guitar still adding body to the song, it does come across better than I expect. A lightweight and creamy-sounding song, here it has a bolder sound that Prince will carry forth for the next few numbers. 

 

That punchy guitar sound stays front and center for “Dreamer.” No real surprises there, but it is an arresting few minutes as Prince and the band up the intensity and assault of sound from the stage. The only time this assault eases is when the harmonica makes an appearance and Prince eases the band back to allow the crowd to clap. This merely signals things are about to get a whole lot better, as Prince takes up his axe to deliver several killer blows that close the song on a murderous high. 

“Stratus” is forceful and makes its mark with plenty of purse and direction. Sometimes I find it meanders, but not at this concert, Prince and the band play a tight version that contains several key elements – Prince’s guitar, the harmonica of Frederic Yonnet, and the drumming of Cora. Taken as a while they become a feast, and I dine on each of them individually as they have their moment on stage. 

Sheila E. is on board for “The Glamorous Life” and although I love the song, I find this rendition just a little too thin sounding. It may or may not be the recording, but other songs have sounded strong, so in this case, I’m going to assume it is indeed the performance. Prince isn’t on stage, leaving plenty of space for Sheila to get some shine. The singing is good, but it is the final percussion that makes the song valid and real, bringing something to the show that only Sheila can bring. 

The natural pairing of “The One” and “The Question Of U” stands alone as the towering landmark at the center of this concert. Building from Prince’s quiet lyrics it becomes an intricate maze of delicate vocal performances before the strident guitar builds architecture around these more organic moments. It doesn’t have to be loud to be the most captivating part of the concert, I am completely enthralled throughout as the music continues to intrigue and swirl. Forget the rest of the recording, skip straight to this song and stay there. 

I feel completely deflated as “Musicology” plays, the preceding song has sucked everything out of me. It doesn’t help that the recording sounds distant at this point, and a lot of the emotional tension that Prince has built up dissipates as the band rumble through the song. Sheila on percussion is a positive, but overall the song feels hollow and empty, leaving e hoping that the following numbers will raise the ante. 

The hits arrive in the form of “Take Me With U.” Confident from the start, it sounds like a different concert entirely as Prince does his best to recreate his 1980s sound. He’s not quite there, it harks back to the sound of his 2007 concerts more than his 1984 concerts, but it still retains energy that gets the crowd moving. I think it sounds good until I do compare it to a rendition from 1984. It’s at that point that I realize that it is missing a spark that lifts it from an energetic performance to an exhilarating ride. 

 

From the same place comes “Kiss.” All the key components are in place, yet it remains flat when compared to its younger self. It’s dangerous to always look back and compare ourselves to the people we were 20 or 30 years ago, but when I hear “Kiss” on the radio I have no choice but to compare it to the more recent versions. It's still a great song to sing along with, and this performance has plenty to recommend it, but it's not what it once was. 

With Shelby J. singing with him, Prince plays a version of “Nothing Compares 2 U” which again consigns Sinead O’Connor’s version to the dustbin of history. With Rosie Gaines in the 90s and Shelby J in the 2000s, Prince’s live version has consistently eclipsed the more well-known version, and he has stamped it as one of his great songs. At this particular concert we get a solid rendition that still stands head and shoulders above Sinead's rendition, Prince and Shelby invest themselves in the song making it much more than just a greatest hit. 

 

Prince continues to reclaim his songs from other artists with a feisty performance of both “The Bird” and “Jungle Love.” They are watered down from what we have come to expect from The Time, nevertheless, they fit well with the set Prince is presenting, giving the show a push towards the all-dancing, all-singing last half hour that Prince was doing at the time. With a couple of funk tunes thrown into the mix, (“Play That Funky Music”, and “(I like) Funky Music”) Prince makes it quite clear where he is coming from. Neither excites me, but the blowtorch of a guitar break does have me raising my head with a smile. 

I am fully on board for “Controversy.” It is another exercise in nostalgia and one I happily buy into as Prince plies us with lashings of a scratch guitar. The performance is tightly focused, and even with the audience interaction and harmonica solo, it remains insistently on course and funky. It may not be as dry as some early performances, but it works well in its updated form. 

 

It is Prince's guitar that introduces “A Love Bizarre,” and if there was a song that was going to get me on my feet, this would be it. The crowd feels the same, there is a noticeable increase in crowd enthusiasm as the song begins and this is maintained throughout. At only three minutes, it comes as a short, sharp shock, a feeling that is only heightened by the high voltage guitar break that short-circuits the song and introduces the next number. 

Ah yes, “Dance (disco heat),” I had forgotten that this was a regular on the setlists through 2010. At the time I found it unappealing, and as I listen to it now, I find that that feeling hasn’t changed. The clapping and guitar are relentless, but they never build to anything rewarding and I feel shortchanged by the performance. I want to like it, I do, but this just isn’t for me. 

 

The inevitable come down from this mad party follows, and that comes in the form of “How Come U Don’t Call Me Anymore?” The concert is transformed again as Prince takes us from the stomping dance numbers to a revealing piano confessional. I revel in the contrast and am rewarded by the backing singers joining Prince in the final minutes to lift it into the realm of spiritual music. A surprise package this late in the concert, it was well worth the wait. 

An out-of-kilter lilt to “Mountains”  leaves me off balance as the band begins. It isn’t helped by the left turn late in the song as they veer into “Shake Your Body” Much like “Let’s Go Crazy” earlier in the concert, it is shorn of its cohesive sound as Prince breaks it down to a collection of ear-grabbing soundbites, none of which work as well as the song as a whole. 

There is something entirely predictable about “Everyday People” and “I Want To Take You Higher” Neither are show-stopping in their intensity, they keep the show simmering rather than bringing it to a boil-over. The show still sounds as if it has more to give, but these songs don’t bring us to the climax I crave. 

I was looking forward to hearing “Ol Skool Company” again, and I am more than happy with the feisty performance on this recording. It has sass and attitude that elevates it beyond a mere recap of all that has come before. Even the “funky” chants in this climate sound better, and to my ears, this is better than the funky songs that Prince played in quick succession earlier. Prince is indisputably better when he sticks to his full renditions of his songs, rather than watered-down covers, or abridged arrangements of past glories. 

The last song on the recording is “Peach.” A late encore, we miss the first minutes, but it matters not as the joy lies in the unbridled guitar flurry that makes up the back end of the song. Prince doesn’t dominate though, as he has throughout the concert he lets Fredric Yonnet have time to come center stage with his harmonica. The final burst though is pure Prince, and just as regal a guitar solo as we have ever heard. The final slash from the guitar is only fleeting, but a timely reminder of who Prince is and what he could do. 

All in all, an enjoyable show. As you can see, I wasn’t enamored by every song in the performance, but at two and a half hours, there was plenty of something for everyone. Three songs stood out above all others for me, “The One,” “A Love Bizarre” and “How Come U Don’t Call Me Anymore.” All three had an emotion to them that appealed to me, and played on my feelings of nostalgia. Prince was often at his best when he was looking forward, in that aspect these concerts from 2010 don’t serve him well. But they are a fitting time capsule of how far he had come, and as a look back these concerts do serve a purpose. 2010 is a year I would prefer to forget, and these concerts will probably go back in the vault now for some time. They served their purpose and got me through at that time, but like Prince, I too am at my best when looking forward. Sometimes it’s good to glance back, but it’s dangerous to spend too long there. 

Brussels 11 July 2010 (am)

 Last week’s show was almost too much for me. I loved listening to the show, and three hours of Prince was just brilliant, it’s just that writing about a three-hour show isn’t as much fun as listening to a three-hour show. This week I have reined things in a little, and I have gone for a shorter show played at the same venue a few months previous. Today I am listening to the Viage show from July 2010. It’s got a different vibe from the November show, and the set list is quite different. It’s also much shorter, which suits me just fine this week. I can’t remember if it’s good or not, so I’m looking forward to taking a listen and finding out. 

11th July 2010. Viage, Brussels 

The first half of the show is very Larry Graham heavy, and when I look closer I see that indeed Prince is guesting with Larry Graham and GSC initially. The start of the show is a nice change from what we normally hear, and I like hearing Larry Graham on the microphone singing his songs. The first song of the recording is “People,” we are missing the songs played before that at the show. “People” has a nice fat sound to it, and with Larry Graham singing in his deep voice it does feel like I am being smothered in a warm comfortable sound. The sound of it takes me right back to when I was a child and hearing this type of music, and listening to it now I feel very at ease and relaxed. Larry does talk to the crowd for some time midsong, and it’s hard not to hang on his every word- his voice commands your attention. It’s a very good song to ease into the recording. 

 

I am not the least bit surprised to hear “Dance To The Music” next. After a slow start, the band suddenly begins to bounce as the horns sharpen things up. I enjoy the version on this recording, the band is sounding sharper, and having the song earlier in the show gets things moving. On other recordings, it seems to appear near the end of the shows and is a throw-away. In this show it’s played much more carefully, and passionately. The singing is lively, but it’s the horns that steal the show. They are so bright sounding and lift the sound of the song right up. Prince is still deep in the band, playing guitar, and as yet I haven’t heard him make his mark on the show. It’s very much Larry Graham for the next few songs. 

“The Jam” follows up nicely to “Dance To The Music,” and I can hear more of Prince's guitar playing now. He is still playing in the band, but I do hear his guitar sound early in the song. “The Jam” follows its usual template, and every member of the band is heard. As I say every week, it’s the organ I like the most, and this one is no exception. It’s a nice moment, and the only thing that counts against it is Prince takes a short guitar break straight after which makes me forget it immediately. It’s not an outstanding break, and it’s not turned up to 11, but it’s still an enjoyable moment. There is also the usual call and response with the crowd, and the crowd sing Larry Graham as well as GCS. As much as I enjoy it all I do begin to lose interest after about five minutes, and just as I think nothing more interesting might happen Prince gives a very cool, sharp guitar break. The song rolls by easily after this another couple of keyboard solos. 

The bass of “Thank You (Falletinme Be Mice Elf Again)” starts and again this is a very tidy rendition. The bass is nice and sharp in my left ear, and the horns again sound sharp and lively. The horns do disappear for periods, and that’s a shame as the song sounds like a different beast altogether when they are in there. There is a funky guitar break provided by Prince, it's understated and doesn’t rate too highly on my funkometer©. The song swirls and shimmers later as it goes on, and it does work itself into my head for some time afterward. The second guitar break is sharper and shorter, and this time I find more to recommend it. I am just beginning to sing along when the song segues straight into “I Want To Take You Higher.” 

This is the high point of the Larry Graham set. Everything I have enjoyed and commented on in the earlier songs is present in this finale. Larry is in good voice, and the organ is loud and swirling, there are lots of horns, and funky guitar licks from Prince. The recording has a fuller, party sound to it, and this feeling is emphasized when Frédéric Yonnet plays a very lively harmonica solo. I am in no way a fan of the harmonica, but it does have its charms on this recording and is played with a fierceness and passion that is infectious. I would even go so far as to say I would like to hear more of it. Predictably the song builds to a crowd-pleasing climax with horns, keyboards, and chants before it closes with a minute of the crowd alone singing “higher”. It’s a fitting end to a great set from Larry Graham. 

 

“When Will We B Paid” has a brilliant start. The piano and keyboard play stabs at each other, each getting louder and louder as other instruments join the mix. The harmonica joins the fray, as Shelby and Liv begin to sing “When will we be paid, for the work we have done” The band quietens initially as Shelby begins to sing, but they build back up to the previous levels soon enough. The drums join halfway through, and the song gains a second wind. Shelby sounds very good, and she’s right in the song and not over the top at all. It’s a classy performance and a song I rate very highly on this recording. 

Next up is a drum break. It doesn’t amount to much, it’s listed as a drum solo, but I have heard much better in my life. This one lacks direction, and never really takes off. In its favor, it’s only a couple of minutes, and the show isn’t derailed too much. 

“You Bring Me Joy/Be Happy” is all Shelby. It’s very smooth sounding, and Shelby is well suited to it. The first half is her singing while the band grooves smoothly behind her. There is a short guitar break from Prince before Shelby sings the next verse. The song continues in this way verse/guitar/verse, and it’s sweet to listen to. It’s very polished, and later in the song, we hear Prince on the mic for the first time as he encourages the audience to show their love for Larry Graham. I should also make mention of the guitar and piano tickling underneath the groove, a nice line to listen along to. The bass also draws my attention later in the song, and I am right into it as it finishes. 

There is a wild card entry next as the band plays an unexpected version of “Cream.” It seems a lot of the crowd don’t immediately pick it, and it’s only after Prince’s first line that they cheer. The song is a nice fit for the after-show, it’s not as pop sounding, and some of the different elements are stronger, giving me more to listen to. The keys have a good shimmer to them, and the guitar sound is louder in the mix throughout the song. Prince plays his customary guitar break before there is some nice interplay between the organ, guitar, and harmonica. I like the extra dimensions added, and it moves further away from the recorded version as the band plays off each other for the latter part of the song. Prince doesn’t sing much after his guitar break, its instrumental with Shelby singing the refrain over and over. The guitar and harmonica both get stronger, as well as the piano, and it maintains my interest through to the end of the song.  The song draws out to near the ten-minute mark, and it's a very nice surprise, I got a lot out of this song. 

 

We get another treat next as Prince plays a song off the 20TEN album. “Future Soul Song” gets the full treatment from Prince as he requests for the lights to be turned down. There is a cascade of guitar sounds before the girls start singing with some great harmonies, and I am reminded of just how good they sound together. The girls sing the title a few times while the music keeps on the beat behind. Prince himself doesn’t sing, but he does speak to the crowd a lot, eventually having them sing along with the girls. And then just after this he does sing, but he doesn’t croon, instead, he sings directly to the crowd, ad-libbing words to include them. There is another very tidy harmonica solo, and I am warming to this guy.  The song then retreats a little, and it’s mostly the crowd singing and clapping along while the girls sing the refrain. It comes to a soft landing, and although very pleasant there wasn’t anything that I could latch on to. 

There isn’t any time to reflect on what I have just heard as the band picks up the beat of “All The Critics Love U In Belgium” immediately. The crowd picks up the clapping as the bass rolls over and over. This is another song I enjoy, and although it’s not as fierce as it used to be, it still pushes me along at a good rate. Some of the sharpness of the 80’s sound is missing, but I can hear the quality of the band. As you might expect Prince sings it as “All the critics love U in Belgium”. The instrument I hear most is the harmonica, it’s playing in the groove, and it stands out just a little bit more than everything else. Prince calls to Shelby to bring some people up as the band sings “dance, dance”. The song takes on a very bare laid back sound, nothing leaps out of the speakers at me, and it rolls along in its own time. There is a solo from Renato, but it lacks any real intensity or fire, and pretty much sums up my feeling for most of this song on this recording. There is a very fun part as Prince has the men and women in the crowd doing ‘Meows’. He has them eating out the palm of his hand, and it does make me smile as I listen here at home. 

“Sexy Dancer” sounds much more intense right from the start. I am temporarily thrown as the girls sing Le Freak over it, in retrospect, it was entirely predictable and I should have seen it coming. I listen carefully but eventually decide that I don’t like it. I would prefer to hear one or the other, but not both songs. The ever-dependable harmonica makes a return, and my mood lifts considerably. Things get even better as for the first time in the show Prince plugs in and turns up with a soaring guitar solo. He returns to earth to get down and dirty with it, and the song takes a turn. With the girls singing ‘I know you got soul’ the band strips back to a beat, the bass, and a series of stabs. 

 

I don’t recognize the bass line, but it’s listed as “Partyman,” and as soon as I read that I think, ‘oh yes, of course.’ The girls sing “Northside” as the band moves into groove territory. There are a few songs thrown into the mix, and we hear snatches of “Water,” “I Wish” and “What Have You Done For Me Lately.” It’s a party jam, and even sitting at home I find myself grooving along. Prince is deep in the band, and we don’t hear too much of him in this song. We do however hear the harmonica again, and I wonder if Prince secretly aspires to play it himself. The harmonica gets a good long solo before the band stops leaving just the drum beat playing. The drum plays in and out with the crowd chanting ‘party’ before it eventually stops leaving just the crowd chanting. 

There is a break as the crowd chants and claps before Prince returns to play “How Come U Don’t Call Me Anymore.” A solo piano plays and with the crowd accompanying him Prince plays a gentle version of the song. It’s devoid of any intensity or passion, and although it sounds good, I feel Prince isn’t truly invested in the song. For all that though, this is the most Prince-orientated moment of the show, and for the first and only time, we get to hear him sing and play. There is a great moment as he begins to sing Please Please Please with the backing singers behind him, and it’s got a classic feel to it. The harmonica also chimes in at this point, adding its unique sound to the mix. With a final “please, please, please, don’t go” Prince does indeed go, thus ending the show. 

This recording differs from most that I listen to, in that Prince himself does very little singing, and his sound isn’t all over every track. It is however very good, and the fact that Prince isn’t front and center for the show doesn’t detract from my enjoyment of it. This wouldn’t be the first thing I would listen to if I wanted to hear an aftershow, but it was a nice listen on a relaxing afternoon. 

Paisley Park 24 October 2009

 What a curious year 2009 was. No concert tour, but a variety of one-off concerts including an Oscars aftershow party, the Nokia gigs, Montreux, and shows in Monaco and Paris, before rounding out with this particular show- a performance back at Paisley Park. It is a long, sprawling show, but unfortunately the recording we have off it is mostly incomplete. The recorder has done a good job with what they have recorded, we could wish for more, but it is what it is – the opening song, and then thirty-five minutes of the encore. On the positive side, this is where the real funk lies and Prince buries us in his funk grooves throughout the recording, as we used to say “All killer, no filler.” So, short and sweet – let us dive on in. 

24th October 2009, Paisley Park 

There is some grime and a sense of danger in the opening “No More Candy 4 U,” Prince howls along with his guitar line in the opening seconds before the song comes fast on the heels of this shotgun blast of a beginning. The recording sounds a little shallow to my ears, it is clean enough, but with some distance with takes us half a step out of the performance. I don’t have time to get a firm grasp on the song itself, it runs for barely a minute and a half before we are abruptly cut and find ourselves surprisingly dumped into the encore. 

The crowd wasn’t present on the recording for the first song, but they are here now and the first thing I hear is the sound of someone near at hand with a tambourine – the bane of my existence on many a recording. It’s only brief though and soon enough the audience is content with hand-clapping, much to my relief. The song itself could have been plucked straight from the 1980s, it still has every element we expect, but with one key addition – the vocals of Shelby J. The bass is still the king of the house, but Shelby brings the slightest hint of modern sheen, enough to polish the song without bringing it right into the present era. 

 

With the appearance of “Cool”, I expect to hear more from Shelby, but the first minutes belong to Prince and the groove of Morris on the keyboards, ably assisted by the deeper groove of Josh and Cora. The scratch of the guitar satisfies my itch for further funk, the bass remaining just close enough to the surface of the recording to give it some contrast and depth. It’s funky, but not quite with a capital F. 

I am very hard to please when it comes to live renditions of “Kiss,” but the arrangement on this recording hits my sweet spot and is one of my favorites of recent times. It’s well balanced, with a firm nod to its 1980s roots, while updated without losing the skeletal sound that left so much room for the magic to seep in. I’m not fussed by the audience participation (when am I ever?) but it’s a well-rounded version that sees Prince dipping it deep into the funk trough in the final minutes, the guitar scratch reaching new heights while he takes it down low and lets the recording marinade in its stench. 

 

From the other end of the spectrum, Prince draws the sweetest of “Sometimes It Snows In April” from the ether, the song suddenly shimmering and appearing amidst the chaos and the funk. It’s stronger than I first give it credit for, and it stands starkly bold, resting up hard against the other songs of the evening, blowing gently with the breeze but never breaking as it remains true to itself. The contrast to the other material sees it appearing more beautiful than it might otherwise be, and it sits proudly as a cool oasis in an otherwise hot desert of funk. 

Prince digs deeper into his catalog for his by now familiar run-through of “The Bird,” Jungle Love,” and “The Glamorous Life.” “The Bird” opens the door on this trio, introduced as a ballad, Prince immediately tears off his own version that takes Morris’s cool and rips it to shreds with a burning intensity that carries through “Jungle Love.” The verses and chorus matter little in this song, it is all about the guitar fury that Prince injects with a furious venom later in the song. It’s shorter than what I have heard elsewhere but still worth the price of admission. 

The final of this trio is “The Glamorous Life.” It gets a fuller performance than the other two songs, and with the female voices being heard it lifts the song beyond the raw-boned funk sound of the previous two songs. I like it for what it is, a modern update of a song that Prince was reclaiming from his back catalog, and the four minutes it plays it sparkles and shines in a way that it hadn’t for years, glistening as it is at the rear of the concert. 

Prince gently croons a vocal melody across the opening of “Purple Rain.” It sounds a lot like what I would expect him to noodle through the introduction on his guitar, and to hear him vocalizing instead adds a nice touch and a point of interest in this otherwise all too familiar song. The song retains this uniqueness throughout, Prince sometimes toying with lines, or rolling them in ways unheard before, that I find myself completely engrossed. They aren’t huge changes by any means, but after listening to thousands of versions of “Purple Rain,” I do appreciate anything new or different, and this rendition feels looser and more personal than anything else I have heard for a while. This carries through to the guitar solo, and Prince riffing before the final reprise of the singing is joyous indeed. 

What I have heard here makes me all the more disappointed that the recording isn’t complete. The shows of 2008 and 2009 all have a certain sameness and sound about them, and yet I find myself enjoying them immensely, far more than I should perhaps, and this one sounds just as good as any other I have heard. The audience recording is not as good as some of the other shows circulating, but it is of the modern era and far beyond the scratchy audience recordings we had in the 1980s and 1990s. All in all, another good addition to the collection, it won’t ever make one of my greatest lists, but it is far from skippable. I usually rate these recordings by how long would I listen to them in the car, and this one would certainly last three or four days in the car before I changed it. Is that a recommendation? – you decide.