Rotterdam 10 July 2011

 Following last week’s post on the first night of the North Sea Jazz Festival, this week I will be taking a listen to the second show. I would like to thank those that contacted me about the last blog post, especially Roy and John who were both at the show and provided me with some much-appreciated first-hand information. I was unaware that these Prince shows came after the main shows, and began after midnight. With that in mind, Prince is playing to a much more hardcore fan base, and I think that is reflected in the set-list of today’s show. The first show was plagued with sound issues, and the overall show was uneven. This second show has quite a few interesting song selections, and I am sure that with a good sound it will be an excellent show. I have heard many good things about this show, so I am eager to begin. 

10 July 2011, Ahoy, Rotterdam 

This is not your run-of-the-mill main show, and Prince lets us know that right from the start with his choice to open with “Joy In Repetition.” The opening bare piano playing to the hushed auditorium has a beautiful melancholy feel to it, and the swell as the rest of the band enter is equally clean, but brooding sounding. This is a fine choice to start with, and I’m sure many of the hardcore fans out there appreciate Prince’s intent. It would be easy to open with an up-tempo crowd pleaser, but this is a better choice for the audience and venue. Prince’s delivery is excellent, and he sings as if he is in a small club. There are times here that as I watch him, I can picture him delivering the same performance in the studio. His singing is very much part of the song, and it does sound as if he is living it and feeling it. I had expected him to sing with his guitar in hand, but instead, he clutches a small bunch of flowers in his hand as he sings, a much more feminine choice than the masculine guitar. Andy Allo is onstage drawing on her easel, and I could easily imagine David Bowie doing something like this in his stage show back in the 1970s and 1960s. Here it seems unnecessary and is out of place. I am disappointed to see that she has drawn the symbol, I was hoping for something more creative. I anticipate a great guitar solo from Prince, and I am surprised when he introduces Maceo for a solo on his saxophone. It’s not something I would want to hear every time I played this song, although I do like it here. Prince doesn’t let me down though and does bring out his guitar to play us out to the end of the song. The song ends with a sultry and alluring Prince and the bare beat. It’s an excellent opener and has set the bar high for the rest of the show. 

 

Andy Allo’s “Nothing More” throws me, for its similarity to “The Love We Make.” The music is close, and I temporarily start singing the wrong words as it begins. Andy’s voice seems very quiet, and although she sounds nice I wish she was a little louder in the mix. This point is highlighted by Maceo, as he begins to play he is nice and loud, and I find I am following him more than Andy’s vocals. Prince appears with his guitar, and the song very naturally becomes “The Love We Make.” Prince is in total command of his performance and he knows what the crowd has come for. He plays slow and takes his time with the guitar before he begins to sing. The difference between his vocals and Andy’s previous is quite glaring. He is much stronger on the microphone, and very confident and full sounding. I suppose thirty years of being a superstar will do that for you. This is another song that I often enjoy, both for the vocals, and the music. After being drawn in by the gentle melodies early in the song, Prince then unleashes his guitar break, and I find I mentally take a step back.  After listening carefully early on, I want to lean back and just soak up his guitar sound. 

Next, there comes another surprise as “Mountains” begins and Prince is joined on stage by Seal. I was going to say pleasant surprise, but I am less than impressed by Seal and his performance. He doesn’t sound great on the mic, and at times he seems to be mumbling. I’m not sure if he knows all the words, and he is mumbling to cover up. His voice initially isn’t strong, and I wonder if he is slightly hesitant. He does sound much bolder on the following lines, but I still don’t understand everything he is singing. Prince’s rhythm guitar is much more interesting to me, and after Seals exits the band begins to sing the song again from the beginning. Now it’s obvious Seal didn’t know the words, and I do feel for him. At least he made an effort, and his ad-libs will keep me amused on future listens. The song gets a lot of energy near the end, especially as Maceo begins to solo as the guitars get a nice rhythm going. The singing of “Come Together” at the end doesn’t do anything for me. Sure, the groove is still there, and it does add to the light atmosphere, it’s just that there is nothing very interesting going on for me to listen to. Prince does chastise the crowd for taking pictures and urges them to participate, and now that I am officially a grumpy old man, I agree with him. 

At this point, I must compare this show to the previous night. The first night Prince looked far more businesslike as he went about his playing, this second night he looks very much more relaxed, and you can hear that in the music, it does sound like they are having fun playing together. 

 

“Alphabet Street” has the crowd singing along to Prince and his guitar, and even as he speeds up they keep with him. The band enters and the song hits a deeper groove that sounds just like it did in the good old days. Prince plays a short honky tonk break as the organ leads the band in the groove. The song does get the extended treatment, and Prince strips the song back several times to encourage the crowd to sing. It’s all good fun, and I am ready for the next song by the end of it. 

Another treat for me next, as the bass groove begins for “Dear Mr. Man.” I am very surprised to hear it, and now that I am hearing it live I wonder why I don’t play it more on the album. Prince plays the bass himself and you can hear him adding his flourishes as Maceo plays a solo. He repeats the trick after another verse with Morris Hayes playing an organ break while he locks down the groove on the bass. I don’t just like this, I love it. And it gets even better for me when Prince begins to sing “If You Want Me To Stay.” This is one of my most played songs of all time, it’s on almost every playlist I make. To hear Prince sing it while playing bass is fantastic for me, and just when I think it couldn’t get any better, Prince plays a bass solo. This show is something else, and when Prince says “Ya’ll got the funky face, don’t ya” I swear he is talking directly to me. The song then finishes with Prince and Maceo playing side by side, and it’s a fitting funky finish for a funky song. 

 

Another funky cover version next as Prince sings “Stand!” Initially just him and his guitar, before the rest of the band join him later in the song. I prefer when it’s just him and the organ, and when the rest of the band joins in the song loses momentum. Order is restored when Maceo plays a staccato-sounding solo that sharpens the sound. 

Things take yet another twist as the song morphs into The Jackson's “I Want You Back.” Shelby takes the lead in the singing on this one, the beginning is very good, but she scats, raps, and talks later in the song and it loses some of its appeal. Prince singing the bass line though does make me smile and is a great touch, especially when the band stops and leaves just Prince singing the bass line to close out the song. 

 

There is a brief pause as Prince adjusts the onstage sound, but it’s nothing like the previous night's show, this time it’s just minor tweaks. The show resumes with a soft-sounding introduction to “When We’re Dancing Close And Slow.” It’s got a lush sound with plenty of atmospheric sounds to be heard. Prince’s vocals aren’t overly strong, but they are well worth listening to as he gives a beautiful clean performance. Andy serves as a counter-voice to Prince, and she trades verses with him. Again she is good, but she pales in comparison to Prince. Even when he is singing soft and slow there is a presence to his voice that Andy just doesn’t have. That’s no slight on her at all, she does a fine job, but she is no Prince. The song builds slowly, with Prince adding guitar lines and the piano playing an understated solo. It has a floating sound and feel to it, and I am impressed how Prince can create that feeling in a live situation. We float gently back to earth before a pounding beat moves things along. 

The next song is also sung by Andy Allo, and this time she wins me over completely. She sings “The Look Of Love,” and owns it. Having Maceo playing on it also adds to its depth and complexity and it’s the first Andy-centric song that I feel for. Her stage presence goes up several notches and she works the stage back and forth much better than previously. There is a more confident sound to her voice, and she is very a home in this song.  Prince doesn’t sing or play, so it’s even more surprising that I give this song plenty of praise. Maceo plays another hot-sounding solo, followed by a cooler one as the music slows down and the song comes to a gradual end. I wouldn’t have thought this would be a song I give attention to, so I have to hand it to the band, they got me on board for this one. 

Prince is again front and center and gives us a nice minute of guitar before the next song begins. Nothing too exciting, ‘nice’ more than adequately covers it, and it’s more for the benefit of the sound guys than for the audience. What follows is a stomping version of “Guitar.” “Guitar” is a little ‘by the numbers for my taste, its light and throw away, and yet I can’t deny it’s got an energy to it, and it certainly earns its place at this show. Knowing what is coming next, I can see that this is a transition song, signposting what is to follow. The sound is full, and there is the fat rock sound to the song that the recording picks up well. Prince's solos are solid and crowd-pleasing, and you get the sense that he is playing with a knowing smile. 

 

This show keeps delivering surprises, and what comes next is the best of them all. The band strips back to just a power trio of Prince, Ida, and John Blackwell and serves up some good old-fashioned rock. Ever since “The Undertaker,” there has been a chorus of voices online wishing for more of the same. Prince has done something similar in the Josh and Cora power trio after-show during his 21-night run in London, and this garnered a lot of online chat and excitement. In this show here the band strips down to a trio for only three songs, and it’s an exciting moment to hear these songs played in a raw form. The first played is “I Like It There” from his Chaos and Disorder album. Nowadays we have heard it a lot from the 3rd Eyegirl, at this Festival it’s still a rarity, and the crowd responds as such. The bass and the drums sound deep and heavy, and Prince emphasizes this with his strong guitar sound. His playing is loud and strong, it’s not free as you might expect, but it stays very heavy and in the rock vein. This song makes “Guitar” seem pale and weak in comparison. A great moment, and it’s about to get even better. 

Prince plays the opening to “Colonized Mind,” and I want to close my eyes and lean back and enjoy it. The guitar tone is much sharper than the previous two songs, and all the better for it. Prince is playing cleaner, and yet he sounds just as strong as ever. Less is more, and this is the song I prefer most in this selection of rock songs.  Princes’ playing is more emotional, and whereas in the other songs it sounds like he is playing for the sake of playing, here every note carries a weight to it. It’s so good I have to listen to it twice. 

 

“Bambi” is the obvious choice to round out this power trio segment. “Bambi” isn’t as heavy as I thought it may have been, I could easily name several other versions I prefer. It’s by no means bad though, and I do enjoy Prince’s soloing, especially later in the song when he plays lighter and faster. The song finishes with a couple of fast runs from Prince before his long howl brings this part of the show to an end. It was an interesting part of the show and something he has explored much more in the last couple of years with his 3rd Eyegirl band. 

Prince acknowledges the sound issues from the previous show with an apology to the crowd before they play a loose-sounding “Johnny B Goode.” Andy shares the mic with Prince, it's unfortunate that I can hardly hear her. It does improve as she sings alone, but then again she disappears as Prince begins to sing again. Maceo does a much better job at making himself heard, and his sax adds some nice top end after the previous guitar-heavy sound. Prince and the band blend “Peach” into the mix, and Prince plays a solo that sounds straight off the record. The sound strips back as the band play “Peach” and Prince has the crowd clapping and singing before he sings “Peach.” I am not so excited by the crowd singing “oowww weeee” but I do have a lot of time for Maceo as he plays a long solo. I am caught off guard as the song ends here, I was expecting it to go for some time, and I am again caught off guard as it starts again. I have been a fan long enough now not to be caught out by these things, or so you would think. 

 

Following all this noise, Prince takes another turn as he sings the classic “The Beautiful Ones.” He sounds great, not the same as when he was younger but still very good. This song has stood the test of time, and even if Prince’s voice isn’t as pure, he still gets plenty of emotion in there. The climax of the song is the part everyone is waiting for, and Prince does give his impassioned pleas to the crowd, without the shrieks and screams I had hoped for. As I said, he’s not a young man anymore, but he does give enough to the song that it strikes an emotional chord with me. 

Shelby implores the audience to put on their dancing shoes as the beat of “Dance (Disco Heat)” begins. It’s an ‘up’ way to finish the show and one last burst of energy from the band and crowd alike. The band keeps the groove going while Prince engages in some awkward-looking dancing. The song quickly segues into “Baby I’m A Star” without any let up in tempo or energy at all. This is a great song to finish the show with and harks back to some of his classic shows. The sound is good, and it is about now that usually, the band has a chance to show us what they’ve got. Instead, Prince sings the verses, engages with the crowd, and only leaves room for one quick solo and groove. Maceo does hit the groove in great style and this could have been drawn out so much more as we have heard in previous years. Prince elects not to do this, however, and instead, the song ends just as I thought it was really about to take off. Still, it’s a great end to a brilliant show. 

Listening to this show I can’t help but compare it to the first show. The difference between the two is night and day. Whereas the first show had its technical difficulties and the band sounded uptight, here the sound was sharp and the band played with a lot of confidence and freedom. I thought Prince's song choices were very good, and I like that he threw a power trio moment in the mix too. Not everything worked, but 90% of the show had me listening close and smiling. A nice comeback after the first show, and this one certainly lived up to the hype surrounding it. 

Thanks for reading, if you made it this far

Rotterdam 9 July 2011

 I seem to be listening to a lot of shows from 2010 and 2011 recently, and that will continue for the next few posts as I listen to the North Sea Jazz Festival shows from 2011. I missed a lot of shows between 2010 and 2011, at that time I separated from my wife, and in the same month my city was flattened by an earthquake- both events still impact my life daily. In 2011 listening to Prince and following his tours was far from a priority as I dealt with things on a day-by-day basis. Calmness has returned to my hometown now, and I finally have some time to go back and catch up with what I missed at that time. I had the shows, I just never got around to listening to them, so now as I pull them out, I find I am listening with freshness and new enthusiasm for what I am hearing. 

When Prince was at the peak of his powers in the 1980’s it would have been difficult to imagine him ever playing at a festival. He was too singular in his vision, and to see him on a bill with other artists would have been jarring. Of course, his tours celebrated his creativity and songs, and with his league of protégés and other projects, his concerts were a mini-festival of sorts, a festival of Prince. In recent years he has embraced festivals, in particular, 2010 and 2011 in Europe. 

These three shows at the North Sea Jazz provide an interesting mix of songs and styles. I do like that each of them has a sizable portion of songs that I could see lifted straight from a mainstream show, with some more interesting songs and moments grafted onto it. Also, every night is different from the other, and there are a few rarities in the mix that always keep me interested. This first show is not my favorite of the three, but I do have to start somewhere, so why not the beginning. So let’s wind back to 2011 and take a listen to the first night of the North Sea Jazz Festival. 

9 July 2011, Ahoy, Rotterdam 

I find the first few minutes of the show slightly usual, and a little confusing. The show starts with a comfortable beat, and the band plays a tepid version of “Foxy Lady.” You would think this would be tailor-made for Prince and his guitar histrionics, but he elects not to play, instead only appearing later in the song. Andy Allo handles the vocal duties, she does a serviceable job for a song that doesn’t seem to play to her strengths. The music behind her is insipid, the Hendrix guitar groove is carried by the bass, and an acoustic guitar that doesn’t give it the intensity of the original. I thought Prince could have used this song to make an immediate impression, but it’s all quite low-key -that is until mid-song when he finally appears and does indeed lurch into his guitar god mode. The latter part of the song is a definite improvement, Andy dispenses with the singing and Prince plays a guitar solo that you would expect. 

 

“Controversy” is much more conventional, although in the first minute of the song the Prince calls instructions to the soundman as he gets his set up on stage just right. It’s played as a groove with Prince playing his scratch guitar while chanting “Oh North Sea”. I like that he sounds relaxed, as asides from chanting he takes time to tell the crowd that he has plenty of surprises for the next few nights. He is having trouble with his sound as he calls again and again that the sound is too bright and brittle. For a perfectionist like Prince, I am sure it must be incredibly frustrating, and he does sound a little agitated as he strives for the right sound. These issues are resolved and he does begin to sing the song. The song sounds good to me, but the sound problems persist for Prince as he asks for the lights to turn down as again he calls for the sound to be adjusted “more bottom” Under normal circumstances, I would just like to hear the song, but I do listen with interest as Prince strives to get the sound right. You can feel that he is working hard on the stage. 

The “Sexy Dancer/ Le Freak” arrangement follows quickly on the heels of “Controversy,” and this time I am not the least bit surprised to hear it. With Shelby and Liv on the vocals, Prince retreats into the band, but this time he steps in after the first verse to play a tidy-sounding solo. He is much more in control at this gig, and his guitar playing is focused without being scorching. 

“(Theme song from) Which Way Is Up” is next, and this is quickly becoming a favorite of mine. I can hear Maceo in the mix, and this is another song where the band is the real strength. Morris Hayes plays a solo, which I would like to heap praise upon if it was only more prominent in the mix. I am questioning Prince playing a song like this so early in the show, but to his credit, it is a jazz festival and I would assume the audience would be open to hearing much more than Prince playing the hits. 

 

I try very hard every week to enjoy “Play That Funky Music,” but I just can’t. The lyrics aren’t interesting, and the groove always sounds labored to me. This week’s arrangement is better, in that Prince plays a guitar break for most of the song, and listening to it I find my mind wanders from the main groove. The guitar break is as good as it gets, however, as they return to the chorus for a final refrain before the song ends. 

There is another odd twist as the band picks up the groove of “Controversy” again and Prince praises Maceo Parker in a speech to the crowd. This is a great moment, as Maceo lives up to all the hype and plays a scorching solo. The band is stomping and Maceo feeds off the energy and gets better and better as he goes. There is a good reason why Prince chooses to play with people like Maceo and Larry Graham. Not only does he learn from them, but he also introduces them to a new audience. But not only that, there is a reason why Maceo is a legend, his playing is fierce, and is a great addition to Prince’s band. 

 

Amazing how quickly my enthusiasm wanes, the next song is “Pass The Peas” with Maceo, and this time I am less enamored. Yes, I love Maceo and his playing, the problem for me here is that I have heard Prince and the band play “Pass The Peas” countless times, and I find very little in it that is new to my ears. Morris Hayes rescues the song somewhat, but not quite enough for me. However, there is a drum break and some more organ that sounds pretty cool, before the main groove resumes. 

The show loses its momentum next as Andy Allo sings “Let’s Get It On.” It’s nice enough, but nobody can touch the original. Her voice is beautiful and she is lovely to look at, it’s the choice of song I have trouble with. I can understand why Prince is giving her plenty of shine, and I wait patiently for the song to finish so we can get back to the Prince show proper. Prince does close out the song with some sweet-sounding guitar playing before the next song gets me up and out of my seat. 

 

I curse as “D.M.S.R” starts, the keyboards sound incredibly bold, and there is a great mix with plenty of bass and piano high in the mix. This is the Prince I signed up for back in the day, and I am overjoyed to hear “D.M.S.R” sound just as good as ever. Ida’s bass has great fatness to it, and I turn the stereo up to ‘neighbor annoying’ levels. The breakdown is my favorite part of the song, normally I’m not a fan of this part of the song -this time Ida has me completely revising my opinions. There is a further sound to listen to as Prince adds some percussion as the guitar and bass squelch along. This one I can feel deep inside of me.  Maceo gives the song some funk credentials as he adds his sound to the mix, and by now I am pretty close to heaven. What I wouldn’t give to be there. 

 

We go from funk with a capital F to some pure pop with “Pop Life.” Of his pop songs, this would have to be my favorite.  This arrangement is as we have heard previously from this period, after a poppy rendition of the first half of the song, the band then pulls back and plays a jazzy instrumental, with the piano featuring heavily. I love that Prince challenges the audience and widens their range. I know that he has introduced me to many new acts and genres that I would have never otherwise heard. The best thing is that as he changes he pulls us all along for the journey too. I have discovered so much music through him, and if I ever had a chance, this is what I would thank him for most. 

“Musicology” goes down a treat at this show. It’s tighter sounding than the Musicology tour, it’s still a jam, except without some of the excesses of those shows. Maceo is the star of the show, his horn is nice and loud and he gets plenty of time to play. There is another fun moment for me as Prince raps through “Prince And The Band.” I am never quite sure if I should take it seriously or not, but I always like to hear it. 

 

My recording is missing a couple of songs at this point, although I do have the full concert on other configurations, however, I am not too concerned as what comes next is fantastic. 

I was going to write off “A Love Bizarre” as Prince plays a long intro and asks Janelle Monae to join him. Boy, was I ever wrong, and this one is the highlight of the show for me. The sound is better than it has been at any other time in the show and after a lengthy guitar and drum intro, the song explodes. Everything brightens and at this point, the show sounds like it has finally turned into a party. Janelle sounds great with Prince and having Maceo in the mix is a real bonus. As Prince calls him, he steps out and shakes things up. This sounds great here at home, and the song becomes a loose jam. It rolls and rolls, and it holds my interest as it evolves. It does strip back to just guitar, drum, and audience singing and this is the great rock n roll moment that I look for in every show. There are the usual “Housequake” lines thrown in, followed by “jump up and down” but I completely forgive this as Prince plays a few seconds of funky guitar that jumps right out at me. 

 

I come back to earth as “Everyday People” begins and Larry Graham joins Prince on stage. I love Larry Graham, I love “Everyday People,” it’s just that I have heard it played in this way so many times that I am done with it, and I don’t feel the need to ever hear it at a Prince show again. That said, the song here is inoffensive and does keep the energy levels up at the gig. 

 

I get excited as Prince takes Ida’s bass and prepares for the next song. “Only Heaven Knows” isn’t familiar to me, but I hear a lot of the song “Johnny” in it. I am disappointed it’s not a bass-heavy song and Prince doesn’t work the bass as much as I was hoping. I do like the line “analog pimps and digital hoes”, asides from that it’s just a nice groove song. Some heavy keyboards keep me in the groove, and Morris and his organ are again well in the mix. Prince hits the effect pedal and plays a fuzzed-up sounding “America.” It is short, and the moment of the song that captures my attention the most. 

 

Every week I wonder how I am going to find something new to write about “Purple Rain,” and I know Prince must have the same problem finding a new way to make it interesting for himself too. This time we have Maceo playing over the introduction. I have heard Eric Leeds play a sax intro for Purple Rain, and I have to say I prefer Eric’s efforts to what we hear from Maceo here. I do applaud Prince and Maceo for making the effort to give us something different, but I don’t think Maceo adds anything interesting here. The verses are perfunctory, and I am waiting to see if Prince can find another level when he reaches the guitar break. The guitar break doesn’t reach the heights I’d hoped for and Prince compensates with his expressions as he plays. The sound is noticeable off through the song here, and it sums up how a lot of the evening has played out. 

 

“If I Was Your Girlfriend,” now this is more like it. Its sound is still off, but it does sound a lot bigger. Prince’s vocals do suffer, and I can understand why so many people complained about the sound through this gig. Ida’s bass should be the main component, and yet I can barely make it out, and that’s no fault of the recording, I’m sure.  Cassandra does sound nice on the piano, and this is one of the few positives I can find in what is normally my favorite song. 

Tonight’s arrangement of “Kiss” is keyboard driven, one plays sharp while the other provides a cool squelch.  The song still has its basic sound, but there is a tiredness to the sound of it, and I wonder if this has been a tough show and the band just want to finish. The one part of the song that does seem to work is the coda, as Prince dances in the spotlight. The drum sound is good, and with the instruments stripped back the sound is softened. The show ends with “Kiss,” and there is no big finale. 

 

This show was incredibly uneven. It’s obvious there were sound issues for Prince to contend with throughout, and although I ignored them early on, by the end they were too much for me to overlook. The high points of the show were “D.M.S.R” and “A Love Bizarre,” and both of these songs benefited from being party jams, and as they both played it was easy to lose myself in the groove rather than pick out various parts of the songs. 

Next week I will take a listen to the second show, which I believe is considerably better by all accounts. This one showed glimpses of brilliance, I am pinning my hopes on much more of those moments in the next two shows. 

Hollywood 12 May 2011 (am)

 I feel cheated. It seemed like a good idea last week to write about both the shows at the Troubadour, but there was one fatal flaw in my plan – the bootleg of the second concert is incomplete, and by a substantial amount. To be honest the recording that exists of the show is merely a taster as it takes in a scant twenty minutes of what was a two-and-a-half-hour performance. I was disappointed when I realized my error, but I have decided to plow on regardless. The tape we do have is short, and only an audience recording, yet I feel it is still worth giving some time and consideration to if nothing more to give me closure after listening to the first concert. The first concert set a high standard, and this later show promises to be even better. The setlist from this later show appears heavier, and with a much more aftershow feeling about it. Both aspects appeal to me, and I am sure this recording gives a good indication of what the concert was about. 

12th May, 2011 (am) Toubadour, Hollywood, California 

The party is well and truly underway as the recording comes in near the end of “Musicology.” The tape only catches “Musicology” in its final throes, nevertheless, we can hear and feel the swing in the music, and the audience’s reaction is more than enough to suggest that this has been quite a show already. “Musicology” appears about halfway in the setlist, so the audience has had plenty of time to marinate in the music, and their own juices, something readily apparent in the noise at the end of “Musicology” 

 

The four minutes of “Musicology” is mostly crowd noise after the song finished, and it is “Crimson And Clover” that ushers us properly into the concert. It has a natural elegance and an easy, delicate beauty that is beguiling, even when Prince isn’t at the forefront of the performance. Andy Allo is the star that the song orbits around and she has an understated radiance that spreads a warm glow across the recording, the performance, and life itself as she charms all with her honey-dipped vocals. The audience recording seems to fit the moment, with an out-of-focus softness that brushes all edges off the music. The rest of the band may be playing the music, but Prince is the song itself as he enters, and he appears as a thunderbolt for his crushing moment as the music rears its head briefly into “Wild Thing.” He personifies the song as he plays with a startlingly controlled fury, an exhilarating rock moment as the guitar embodies the true meaning of a wild thing while remaining tethered to the ideals of “Crimson And Clover.” This song makes up the bulk of the recording and is reason enough to give it a listen. 

The mix of “She’s Always In My Hair” is busy, and the drive and energy of the original are dissipated by the extra sounds that muffle the recording. There is a brief respite as Prince’s ax cuts through the baroque sound, it cleaves the song in two but isn’t quite as cleansing as I hope – the final minutes see it swamped by the bass and keyboards that the recording seems to crave. The final minute of the song features Prince’s guitar thrumming through the gears, but we never reach overdrive, the song finishing before Prince can fire us into the home straight. 

 

The final two minutes of the recording capture the first half of “Play That Funky Music.” Surprisingly I find myself deeply attracted to it, perhaps because I am denied the complete show and this absence leaves me with a hunger for more.  It is a loud and unruly performance with the crowd contributing their energy and buoyancy to the song and the show. There isn’t much to it, but it is eminently enjoyable, and that’s something I don’t say very often about “Play That Funky Music” 

And that’s all there is. A twenty-two-minute recording of what was a much longer show, and one that sounds as if it was going off. I would have loved to hear more, but alas this is all we get. Being short, it is easy to recommend this one, it takes no time to listen to, and even if people don’t like audience recordings it is only twenty minutes so there is no time lost to give it a try. 2011 is an odd year for me personally, and an odd year in Prince’s live performances. Shows like this give a little light, and I only wish there were more like this one for us to enjoy. No doubt a great concert to be at, the recording too is a nice listen. 

Finally, I would like to note the passing of Synnove Soe this week. Synnove was a good friend and a strong supporter of this blog. You can see her comments on many of the posts here, and she would often message me directly on Sunday night to offer her verdict on the concert I had listened to and my writing. She was, as my father would say, a straight shooter, and I always knew where I stood with her – she had opinions, and she wasn’t afraid to share them!  I shall miss her terribly, she was a strong figure and a great mentor. She was also a kind and gentle friend. Rest In Peace Synnove. 

Hollywood 11 May 2011

 On the afternoon of May 11th, 2011, it was suddenly announced that Prince would be doing two impromptu shows that very day at the Troubadour, Hollywood. Of course, this is completely in character for Prince, the attraction of playing shows at short notice has appealed to him since the early 80s. Not only was the show announced a short notice, but there were to be two of them, one starting in the early evening, and the other just after midnight. With Prince’s residency at the Forum in full swing, this is quite a feast of music for local music lovers to enjoy, and the subsequent bootlegs are equally enjoyable for the wider fan community. The bootlegs of these particular shows may not be the best sounding you have ever heard, but the concerts themselves are fantastic, and both concerts are well worth the listen. The first show of the evening is notable for the last live performance of “Power Fantastic,” something that every hardcore fan would love to hear. The rest of the setlist is a combination of after-show standards, and marquee concert mainstays, all contributing to a heady mix of all that is good and great about Prince and his band. 

11th May 2011. Toubadour,Hollywood, California 

The recording drops us right into the midst of the action, a swirling and ominous groove that parts to reveal some light in the form of a “One Nation Under A Groove” chorus. Without settling on any one direction it keeps the listener guessing while providing a showcase for this band comprised of John Blackwell, Ida Nielson, Morris Hayes, and Renato Neto. With Mike Phillips putting in an appearance, this is a band with the chops to move swiftly across the music Prince wishes to cover, and they tackle “Stratus” with plenty of finesse, along with a big chunk of pure music muscle, making Prince’s guitar contribution shine all the brighter and potent as it lasers its way through the dense murk of a groove the band creates. Time is irrelevant as the band crushes any other thought apart from the music itself, and Renato Neto's solo piece is otherworldly as it transports us from the confines of the room. 

 

There is hiding the fact that this is an audience recording. It doesn’t have the crackle and fades that sometimes plague such recordings, but it does have plenty of audience noise and this does at times detract from the music. “Power Fantastic” is undoubtedly the highlight of the recording, but there is a lot of audience noise that comes with it. The song allows a chance for the band to breathe, and the song plays as steady as a dreamer's breath. Mike Phillips adds to this slumber-like quality, and at just three minutes long I find I have to hit repeat a couple of times to fully appreciate the moment. 

Coming from a similar place is “Somewhere Here On Earth,” its lighter touch fills the recording with further dreamscape sounds. The song can’t match “Power Fantastic” for nostalgic weight though, and as good as it sounds, especially Mike Phillips again, it can’t compare to the previous few minutes. I wallow in the joy of Mike Phillips playing, and I would recommend this far more highly if not coming straight after “Power Fantastic” 

The cascading guitar at the beginning of “Boom” is inviting, before giving way to a heavier riff that is the signature of the song. From here the band surprises me with an instrumental jazz jam appearing, and again the best moments don’t belong to Prince, but rather to the superb players he has surrounded himself with. The performance is better than we hear in the recording, the audience is silenced from the outset, hinting that perhaps they are watching open-mouthed at this moment. I cannot understate how good Mike Phillips is during this song, and for me, that has been one of the most revealing aspects of the recording – previously under-recognized performers coming to the fore and demonstrating just why Prince bought them into the fold. The final frenzied combination of Renato Neto and Mike Phillips is an absolute treat, and eclipses all that has come before. 

The band is onto something good, and they continue to mine this rich vein with a ten-minute jazz instrumental. It is not as intensive as the previous jam, and there are portions where it threatens to meander. Overall though, it is another hit out for the band, with Renato Neto taking the lead in several fast piano passages that pique my interest. It’s an undemanding listen that contributes to the overall feel of the recording, without becoming essential in itself. 

 

“Let’s Get It On.” Figuratively and literally. What an inspired cover version this turns out to be, and with Andy Allo on hand to lend some vocals this becomes another surprising moment to be cherished. Andy doesn’t have the depth to her voice that Marvin Gaye does (does anyone?) but she brings her touch to the song and without ever threatening the original it becomes its own quiet storm. The appearance of a vocoder and lines lifted from elsewhere brings a unique aspect to an otherwise familiar song, as the band stretches it to their own means for the next few minutes. 

There is an unexpected “Colonized Mind,” featuring very little of the guitar that we have come to associate with the song. Instead, that guitar grunt and sinew have been replaced by a thoughtful delicacy provided by Renato Neto and Mike Phillips. They take the song and spin it the other way, molding it to fit the jazz sound of the previous few songs. It brings new life to the song, and it burns just as bright in this setting as it does in the fury of more guitar-orientated sets. 

“When She Comes” appeared on the 2015 album Hit N Run Phase 2, here we have a much earlier version that is far more of its time. Its sound comes from the same fertile soil as “Somewhere Here On Earth,” and it is a nice fit into the setlist. However, it fails to generate any sort of emotional response from me, and as nice as it sounds I just can’t connect to the music I am hearing. It does become a long jazz jam though, and this I find far more rewarding as again Mike Phillips comes to the fore with an array of new sounds and fresh ideas. 

Normally it is the punch at the start of “Shhh” that grabs me, in this case, that punch is neutered by the quality (or lack of) of the recording. It still delivers though, but like everything else in the evening, it is through the jazz lens that this band filters Prince’s songs through. It is Mike Phillips with the first contribution that signals what direction the song is going, rather than Prince’s vocals it is his horn that opens the door on the song. Prince’s vocals aren’t as in your face on this recording, it is the rest of the band that picks up the slack, along with some fantastic singing from the audience as Prince leads them into a soft rendition of “U Will Be” over the music of “Shhh” In many ways, it works better, and I am more attracted to the song without the sometimes hokey “Shhh” lyrics. It is far more mature sounding, and the lyrics match the direction the music is flowing. It takes a moment to adjust to the alluring sound, but the song draws me in over its ten minutes, and I find that this is the standout song on the recording. Ignore the quality of the recording, this is a performance that needs to be heard. The final guitar solo from Prince confirms this as he makes an emphatic statement in the final minutes with a whirlwind performance that sweeps all aside without ever becoming hurricane force. 

 

There is a good old-fashioned stomp towards the finish with the incisive guitar riff of “Controversy” appearing, along with John Blackwell’s trademark pound. After a funk intro, everything is seemingly turned up to ten at once with Prince's howling guitar leading the way. This is a misleading step and once again it is Mike Phillips who blasts his way through the bulk of the song, adding plenty of spice to its bare funk sound. The highlight for me though is the crowd chanting their way through the “people call me rude” chant for some time. This version has a unique feel and it reinvigorates my love for a familiar classic. 

“Musicology” shuffles into view, the intensity derived from the twin attack of Mike Phillips and Prince's vocals. They both carry the impetus that propels the music forward. On record, “Musicology” isn’t always the most appealing song to me, but I can’t deny that in a live situation it is a great song to get pulses rising and the crowd moving. The most interesting part of this performance is the final half of the song as it breaks down and the band noodle around various aspects of the riffs. No groundbreaking material to be found here, but it is a pleasant enough diversion. 

The recording doesn’t capture every song of the night, but it does finish on an all-time high with a divine version of “A Case Of U.” There are of course more famous versions in circulation, but I am delighted to hear it here at this concert. The bootleg isn’t perfect, but the performance sounds pretty close, Prince’s vocals and piano weaving a magical spell before Mike Phillips appears on the shoulder of the song, adding the sweetest of touches with his saxophone. All in all, it is an endearing performance, and one that we would all be talking about if only it was a soundboard recording. 

Sadly, the bootleg finishes here, missing the final two songs (“Pop Life” and “Beggin Woman Blues”). There is no need to be too disappointed, there have been plenty of treasures sprinkled throughout the show. Obviously, the final “A Case Of U” is breathtaking, as are “Shhh” and “Power Fantastic.”  It seems each week that I write that despite the quality of the recording, whatever show I am listening to is worth hearing. I can’t help it, I am a fan of bootlegs, and it matters little to me whether a recording is a soundboard or an audience recording. It is certainly the case with this recording, the setlist and performance far outshine the recording, and for a hardcore fan such as myself, it demands listening. Casual fans may skip this at their peril, for the rest of us there is plenty here to enjoy and reflect upon. 

Join me next week for the second performance from this evening, one that is equally good. 

New York 7 February 2011

 All thanks this week to Ryan Mark, who asked when I was going to write about this show. At first, I confessed that I didn’t recall it at all, but upon further prompting by Ryan I came around and decided to have a look. I am not one for the “Welcome 2” concerts, as much as I love the hits and enjoy Prince’s back catalog, I enjoy something more fresh and exciting to my ears. Ryan did point out that Prince was in a great mood on this particular night, and the show was extremely enjoyable, so with that in mind I sat down and revisited it- and oh boy was Ryan right. It looks like a typical greatest hits show, with the additional pluses of a couple of guest appearances, some great performances, and as stated earlier Prince is in a great mood and very playful. It was well worth a second look. 

7 February 2011, Madison Square Garden 

I had completely forgotten that this show opened with “Laydown.” After a brief spoken introduction Prince appears. It’s a surprise for me and a very welcome one. The heavy bass opening is greeted with screams from the crowd, and Prince responds with a strong aggressive vocal. He does work the crowd while singing, punching the air, and raising the roof. Things get more interesting from my perspective when he pulls out his guitar and begins to play. With plenty of concentration on his face, he plays a gritty break that captures the whole essence of the song in half a minute. There is another verse before Prince starts showboating on the guitar and the song winds down to its conclusion. I like this show already. 

 

“1999” is the more traditional opening I could have expected, and the crowd seems to rise as it’s played. I do like the fact that this is a nice clean version, that is the mix is closer to what we heard in the early 80s without too many embellishments. Prince’s guitar is well in the mix, as are his vocals with the girls. I’m not surprised to hear that this is the abridged version, and the crowd is soon singing ‘party’ with relish. As always my favorite part is near the end as Prince sings “Mommy, why does everybody have a bomb” with the guitar accompanying him. It’s all fairly predictable, and yet perfectly enjoyable.

 

A howl on the guitar as the band slows down and the light changing to red signals what’s coming next. After several moans on the guitar Prince sings the opening lines of “Little Red Corvette.” Another song aimed squarely at the nostalgic market, the crowd trades lines with Prince throughout. I do like the mournful sound of the guitar, I would like to see Prince push that sound much more. Most of the song is shallow in the emotional stakes, and it’s not until Prince goes into the guitar break does the feeling come out in the song. He first delivers the guitar break as heard on the album, before slowing down once again and beginning to stretch his notes out. With only slight prompting the audience joins in hand clapping, and it does give it a soft live sound. The best is yet to come as Prince gets on the microphone and recreates the moans of the guitar vocally. He moves to the slow-down section with some dancing that is suitably gentle, and the crowd softly sings “Slow down”. I had tired of this arrangement, here it once again draws me back in. 

 

Over the sound of a piano Prince begins some pillow talk to the ladies before the lights come up and “The Beautiful Ones” commences. This performance here is a knockout. Not only is Prince on the piano and singing well, but he is also joined on stage by Misty Copeland dancing. I don’t normally like dancers with Prince, I prefer to concentrate on the music, but Misty adds a lot to the show and I can’t take my eyes off her as she twirls around the stage. Any reservations I might have about the state of Prince's voice at this stage of his career are dispelled as he builds to the end of the song, singing to Misty on top of the piano before they both finally disappear into the stage. 

 

The sound of the “Controversy” guitar next, and I know exactly what to expect. This performance is very typical of how the song has sounded over the last 5 years. The beat is loud and full, and Prince's guitar adds the sharpness that the song needs. His vocals are a little lackluster, yet the guitar sound is so good I forgive him for that. I lose interest as the crowd and Prince sing “New York” before we have the typical “clap your hands and stomp your feet” chant. He never quite loses me though, and I do enjoy the guitar solo that follows a minute later, for me that is what saves the song from being mundane. Prince cracks me up as he asks Shelby to find him somebody to dance with “I want a big fine sexy Momma” One lucky woman is brought up on stage to dance the bump with him, and she looks like she enjoys every moment with him. There is further hilarity as Kim Kardashian comes on stage and stands still while Prince dances around her- before ordering her off the stage. Prince seems to be having a lot of fun with the crowd before eventually winding the song up. 

 

The set list seems to jump around a lot, there is a fast song, a slow song, and a fast song. He keeps to this as the gig again slows down as the opening music of “Purple Rain” begins. It’s a good one, with the crowd singing away for a bit before Prince picks some gentle figures out on his guitar. He sings all the verses and he puts plenty into his vocals, there is never the feeling that he is just going through the motions. One thing I have noticed about his shows is that every night he plays “Purple Rain,” it’s always as you expect to hear, and yet in the last minutes of the guitar break, he stretches out and finds new things to play. If not for that I would have probably given up listening to “Purple Rain,” as it is the one constant from all his shows and something I have heard hundreds of times. Here is no different and it’s the last minute of the guitar solo that I enjoy most. 

 

The concert takes an upbeat pop turn next as “Raspberry Beret” begins. Prince is absent at first, having disappeared into the stage after “Purple Rain,” but he does reappear a minute into the song to encourage the crowd to sing. It’s an interesting version, the first couple of minutes it is instrumental, and even once Prince appears it’s sometime before he sings. He does seem to be having a great time, playing with the crowd and teasing them, and encouraging them. 

 

The segue into “Cream” is smooth, and yet the energy levels seem to drop. The girls are very cool with their backing vocals, all fanning themselves as they sit on the piano. The song is neither here nor there for me, it's smooth sounding yet there is nothing in it that I can latch onto. A lot of people would enjoy it for its smoothness and I can’t fault the performance. 

 

I love hearing “Cool” live, and the performance at this show is something I get a lot of enjoyment out of. Prince gets ?uestlove out of the crowd to play cowbell on the drums with John, and I feel a little sorry for him as he has to reach over John to play- it looks very uncomfortable to me. Prince calls for just the drums and gives ?uestlove a couple of shouts for the crowd to acknowledge. The crowd energy picks up a lot during this song, and I can feel their energy here at home. I do cringe a little at Prince and Shelby dancing, but their smiles and laughter are very infectious and there is no denying that they are having a great time on stage. 

Prince runs the band well, as he calls the band to change and stops ?uestlove with a quick “Thanks ?uestlove”.  Ida starts “Let’s Work” with some excellent bass work before the band fills out the sound. As with the last song, there is plenty of Shelby and Prince dancing, and the vocals take the backseat a little as the dancing continues. 

I was surprised to hear “U Got The Look” next, after all that dancing the guitar sound catches me off guard. Prince doesn’t bother too much with the song, with a yell of “turn me up” he plays a short yet rocking solo before the song resumes with another chorus before Prince plays the riff out of the song. As he disappears into the stage again I realize that the song was only a couple of minutes. 

There is a lovely long piano intro into “Nothing Compares 2 U” next. Prince is initially off stage as Renato plays, but he reappears and begins to address the crowd. There is a very touching moment as Prince dedicates the song to Bobby Z and wishes him a quick recovery. He tells that many people helped him along the way and Bobby was “a good fine soldier” He goes on to mention several other causes, before singing the opening lines of the song. It was worth the wait, as his vocals are just brilliant, and he is well accompanied by Shelby. The much-maligned Shelby does a fine job, and her voice is strong and clear. The interplay between her and Prince is excellent, and there does seem to be genuine warmth between them. Mr. Haynes plays a full organ solo, and with a call of “take us to church” he ups the ante. Not to be outdone Prince gives his all for a final verse and chorus before the song ends. 

 

As the beat of “Crazy” begins I expect to hear Shelby take the lead vocals, instead is something unexpected, Ceelo Green appears to sing his song. He gets quite a cheer, but not as loud as Prince gets when he appears and picks up his guitar. His playing is restrained, yet has a touch of fire to it. He doesn’t steal the song from Ceelo, but he certainly puts his stamp on it, there’s no mistaking whose show this is. As much as I prefer to hear Prince sing and play, I do enjoy hearing him just contribute his guitar sound to someone’s song. He adds a lot, without ever taking over the song completely, which I am sure must be a very tempting thing to do. 

 

Prince keeps his guitar on and calls a series of chords that eventually leads us to “Let’s Go Crazy.” I do like his intro here, there is some extra guitar noodling which is fun and adds a sharpness to a sometimes tired song. I am not as enthused by the rest of the song, the keyboards are too bouncy for my tastes and the song doesn’t deviate from what I have heard plenty of times before. I am fortunate that it is kept short and halfway Prince transitions into “Delirious.” 

 

I was wondering what he could do to freshen up “Delirious,” but Renato plays a quirky keyboard solo, the likes of which I hadn’t heard before and I am happy with that. As Prince gets the crowd clapping Renato plays another more rockabilly-sounding solo on the piano before Mr. Hayes takes a turn with the organ. It’s all very Vegas and fun and Prince leads the crowd back into chants of “oh no let's go” over Johns's drum beat. 

I get my wish for something newer next as Prince plays “Dreamer.” The opening of it sounds very good as it sounds out, and Prince is focused on his playing. It’s strong on the guitar sound, but this changes midsong as Frédéric Yonnet strolls up on stage and plays energetic harmonica (He does stroll up on stage). It gives the song another sound and dimension, that is until Prince reclaims it a moment later with a guitar solo. There is another treat as Prince plays the unreleased “Welcome 2 America.” It’s little more than a few lines and a guitar solo, and a very good solo at that. 

 

Prince takes a break from the guitar as he sits at the piano. I was hoping for a piano set, but instead, he opens with a sample of “When Doves Cry.” He calls to the crowd “we gonna be here all night, who going to pay the bill?” He doesn’t play much over the sample, after playing the intro and a couple of lines he begins “Kiss.” 

He steps away from the piano to sing “Kiss.” It’s a very electric-sounding arrangement, the keyboards have a very electric sound to them. I am not feeling the music, but I do enjoy the performance. Prince is all smiles as he plays with the audience. There is a lot of interaction as he sings and he works most of the stage. The song ends with a single drum beat and Prince dancing alone in the spotlight. He’s not as young as he used to be, yet he still moves smoothly even if his dance moves aren’t as extreme as they used to be. It’s enough to elicit plenty of screams from the ladies in the crowd, and a few men too. 

I was half expecting the sampler set before, but it’s only now that he resorts to this box of tricks. He first teases the audience with “Nasty Girl” as the house lights come up, before another tease of “Forever In My Life.” 

 

He then settles on “Sign O The Times,” which is would be great if not interrupted by him looking at an imaginary watch and wondering aloud “how much time I got”. It does take me right out of the moment. “Alphabet Street” then gets a couple of lines before something better comes along. 

That something better is “A Love Bizarre,” and Prince gives it far more attention as he steps away from the keyboard. I can’t get enough of this song, and do generally enjoy it at every show I hear it. My only complaint here would be that the band sounds a little thin, but that may be the recording rather than the performance. There is a fantastic keyboard solo that sticks in my head. That is the high point of the song for me after this plenty of dancers come on stage as Prince begins to toy with “Hot Thing” on the sampler. 

 

I forgive this interlude as he plays a fuller version of “Pop Life.” It’s full of pop, and there are plenty of smiling faces as he plays it. Prince does hover near the keyboard, choosing not to engage with the dancers on stage too much. It is frustratingly cut short as he lurches into another crowd-pleasing “I Would Die 4 U.” 

As good as “I Would Die 4 U” sounds I don’t get my hopes up too much as I know it will be cut short soon enough. Prince doesn’t disappoint as he quickly dispenses with it and the sampler moves to the next tease. 

The next tease is “All The Single Ladies,” and although they don’t play the song it does provide a funny moment. One guy is enjoying it way too much, and Prince highlights him with the spotlight as he has his moment. It’s very light-hearted, and the guy makes the most of his moment. 

 

Prince calls for John to play something, and the band strikes up “If I Was Your Girlfriend.” Prince tells them “I can’t do that, someone might get pregnant” which, although corny, does bring a smile to my face. The band does however continue and brings sings it from on top of his piano. This is a good cleaning recording and the song shines. Prince’s vocals are clear and all the parts I want to hear in the song are there. I am pleased to report too that he does play the full song, now the sampler part of the show has been dispensed with. I have rarely heard this song sound so good, and it’s a good reflection of the show. I must make mention too of Renato, his piano near the end is a nice little touch. 

Prince calls the band to play “Insatiable,” and its sound is every bit as good as the previous song. It’s popular with the audience, I can hear them singing along clearly. The groove is nice and gentle and I love the sound of the organ quivering underneath. Prince does perform as he sings, but it’s mostly his vocals he is concentrating on, and the payoff is great. He does take time later in the song to acknowledge the band, and they do play very well. 

 

Prince continues in the same vein as next the opening notes of “Scandalous” sound. This is a great-sounding trio of songs, and I think to hear them all together is a great way to near the end of the show. I can’t decide which of them sounds best, but rest assured this one is just as good as the previous two songs. I can’t speak highly enough of the last 10 minutes we have just heard. 

 

Prince caps all this off with “Adore,” which has me beside myself. The crowd is on its feet singing and I know just as many people feel about this song as I do. Prince lets them sing at first but then picks up the microphone to deliver his lines. He sings in his falsetto, and yet still drops down to his natural voice in places. His vocals are passionate, playful, full of character, and just downright great to listen to. I have been listening to this song for almost 20 years now and this show is just as fresh as the day I first heard it. I am surprised by the very simple ending as Prince and the girls sink into the stage, a fantastic ending to the show. 

 

The encore starts with Prince and the band playing a smashing version of “Mountains.” Again it’s a nice surprise to hear an old favorite. The girls carry the vocal load well, and Prince isn’t heard until the chorus. The song is very much a band sound, and there is again a lovely moment as Prince calls Bobby Z right before the bridge. The song becomes a jam as they begin to play “Shake Your Body.” Prince roams the stage, apparently having a lot of fun, even playfully tossing a chair from the stage and encouraging a fan to take it. The crowd seems amused and Prince waves at the crowd as they move on to “Everyday People.” The mood is very upbeat, and this comes across well on the recording, you can almost hear the smiles. I can’t say I’m too surprised as “I Want To Take You Higher” follows, it's completely in character. The crowd is well and truly on their feet and dancing and Frédéric Yonnet returns for another shrill harmonica break. The band hit their groove for the last couple of minutes as Prince solos before dropping his guitar into the crowd. There is one final hurrah before he sinks into the stage for one last time. 

 

I could not have guessed how must I was going to enjoy this show. For a relatively recent hits show, I was caught off guard by the sheer fun of it. Although I couldn’t pinpoint one moment that made it great, there were enough very good moments to make the whole show one to enjoy. The last half hour of the show was the highlight for me, and a reminder of just how good Prince is every show. 

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.