CityLife

Leonard Cohen

By Mike Caulfield

IF this year has found many of the elderly stateside stalwarts of classic songwriting hitting the road again for the first time in a long time, with relative recluses Tom Waits and Neil Young possibly scared into action by the credit crunch klaxon, Leonard Cohen’s return has certainly courted the most headlines.

Some 15 years since he last had to size up tour buses, Cohen’s early summer four-night sold out stand at the Opera House drew plaudits and frothing enthusiasm from all those lucky enough to get hold of tickets, and some six months on having travelled full circle around the globe he’s still able to astound.

While few artists beyond normal retirement age would hardly even consider such a lengthy schedule the sight of Cohen - who recently celebrated his 74th birthday - almost skipping to centre stage for opener ‘Dance Me To The End Of Love’ is a strange sight that defies his undeserved sullen reputation.

Still as dapperly dressed and prominent now as on previous album sleeves, the only thing that seems to have changed beyond those dusty vinyl covers is his once unremarkable voice dropping to a gentle calming low baritone adding further gravitas to even Cohen’s more emotionally charged expert word play.

Bird On A Wire

Dipping into hits and fan favourites from his impressive back catalogue the force of early set songs such as ‘Bird On A Wire’, ‘Who By Fire’, ‘Anthem’ - each delivered with a surgeon's precision by his expert nine-piece backing band - has the devoted M.E.N audience transfixed.

Whether through the angelic vocal harmonies of regular collaborator Sharon Robinson and the “sublime” Webb sisters, “shepherd of strings” Javier Mas’ virtuoso Laud/ nylon string runs or “master of breath” Dino Saldo’s woodwind expertise the musicianship on display is near perfect.

Soon hitting his stride following the short interval with knockout numbers ‘Suzanne’ and ‘I’m Your Man’, ‘Tower Of Song’, ‘Chelsea Hotel No.2’, a staggering reading of ‘A Thousand Kisses Deep’ and not to mention his hijacked masterpiece ‘Hallelujah’- soon to be given the X Factor treatment (i.e. ruined).

Remaining genial, enthused and humble throughout, even moved to removing his trademark hat in gentlemanly fashion as the vocal harmonies take centre stage, Cohen soaks up the thunderous applause that follows each song.
 
Whilst it may have taken some persuasion for the Canadian poet to once again take to the stages following such a long lay off the three encores this evening - each met with a standing ovation - suggests he has taken to performing again with gusto, lets hope it lasts.

What did you think of Cohen's show? Have your say.

Reviewed: Mon, 01 December, 2008

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