Leonard Cohen
Seattle, Washingon - The Key Arena
Taper: u22utoo; Section 103, Row 27
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Set One
01. Dance Me To The End of Love
02. The Future
03. Bird On A Wire
04. Everybody Knows
05. Who By Fire (w/ Extended Guitar Solo Intro)
06. The Darkness
07. Ain't No Cure For Love
08. Amen
09. Come Healing
10. In My Secret Life
11. A Thousand Kisses Deep (Recitation)
12. Anthem / Band Intros
-INTERMISSION-
Set Two
01. Tower Of Song
02. Suzanne
03. The Guests
04. Waiting For The Miracle
05. Anyhow
06. Heart With No Companion
07. Democracy
08. If It Be Your Will*
09. Alexandra Leaving**
10. I'm Your Man
11. Hallelujah
12. Take This Waltz
-ENCORES-
13. So Long Marianne
14. First We Take Manhattan
15. Famous Blue Raincoat
16. Going Home
17. Closing Time
*The Webb Sisters - lead vocals
**Sharon Robinson - lead vocal
Band:
Leonard Cohen - vocals, acoustic guitar, keys
Roscoe Beck - bass, double bass
Mitch Watkins - guitar
Neil Larsen - keyboards, Hammond B3
Javier Mas - bandurria, laud, archilaud, guitar
Alexandru Bublitchi - violin
Rafael Bernardo Gayol - drums
Sharon Robinson - vocals
Hattie Webb - vocals, harp
Charley Webb - vocals, clarinet
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Concert review | Troubadour Leonard Cohen delivers masterful WaMu show
Concert Review: Singer-songwriter Leonard Cohen performed a masterful sold-out show in Seattle April 23 at WaMu Theater, demonstrating that the 74-year-old troubadour is the best interpreter of his own canon; review by Misha Berson.
By Misha Berson
Seattle Times arts critic
He has not performed in Seattle in about 15 years, Leonard Cohen told his sold-out WaMu Theater crowd on Thursday. The last time was back when he was only 60, he cracked, and "just a crazy kid with a dream."
Cohen fans could not have dreamed of a more fulfilling, transporting return by the esteemed Canadian troubadour. With a luxuriant band and three backup singers, all of whom have accompanied him on his current world "comeback" tour, Cohen graciously welcomed the crowd into his "tower of song." And like a poet-shaman of old, he put us under a seamless, timeless musical trance that lasted more than three hours.
Now a spry 74, Cohen literally skipped onto the WaMu stage, to the strains of his rapturous love song, "Dance Me to the End of Love." Looking gangster-of-love sharp in his trademark black suit and rakish fedora (his band sported the same look), Cohen swirled us through the riches of his songbook � from the witty doomsday scenarios ("The Future"), to the love ballads of heartbroken jubilations ("Ain't No Cure for Love"), to the incisive anthems ("Democracy") and haunting incantations ("Hallelujah").
Cushioning his "thousand kisses deep" voice (still a surprisingly sturdy basso rasp) were the musicians saluted repeatedly by the Buddhist-Jewish singer with warm praise, and reverential bows from the waist.
The band earned his love, with lush instrumental arrangements that brought out the Mediterranean/Middle Eastern flavor of Cohen's minor-key melodies. The work of Javier Mas, a Spanish virtuoso of such string instruments as the bandurria, and the snake-charming horn solos of Dino Soldo on a variety of horns, were especially savory. And the celestial harmonies of British sisters Charley and Hattie Webb, and vocal interplay of Sharon Robinson (co-composer of "Everybody Knows" and other Cohen odes), were integral to the mix.
But the songs of human failing and transcendence Cohen has wrought over a lifetime could soar even without such fine embellishment. Marbled with biblical allusions and existential ironies, prayers and omens, apocalypse and celebration, sexual politics and political metaphysics, they are novellas and elegies and sermons on the mount.
And they're saved from pretentiousness by wit, and self-mockery, and sheer genius.
The complexity and erudition of Cohen's songs make most pop-music lyrics seem like nursery rhymes. "The dealer wants you thinkin' it's either black or white," he intoned. "Thank God it's not that simple, in my secret life."
Arguably, save Bob Dylan, no other pop bard has stockpiled three hours of material as profound, eloquent and enigmatic as what Cohen and company performed. But while he rose to fame in the 1960s alongside Dylan and others, the Montreal native was not shaped so much by folk Americana as by Beat poetics and the chansons of such French balladeer as Jacques Brel.
It was folkie diva Judy Collins who first popularized Cohen's songs ("Suzanne," "Famous Blue Raincoat") in the U.S. And when Cohen's debut album appeared in 1967, many listeners preferred Collins' prettier treatments of his tunes to his own craggy-voiced, string-drenched renditions.
But at WaMu, there was no doubt that the songwriter is now recognized as the definitive interpreter of his own canon. For eloquence and intimacy, his expressive voice-of-God delivery of such standards as "Bird on the Wire" could hardly be bested.
"Ring the bells, that still can ring / Forget your perfect offering," he sang. But on this concert tour, perhaps but hopefully not his last, Cohen's offering was as close to perfection as one dares to imagine.
Misha Berson: mberson@seattletimes.com
Leonard Cohen thrills KeyArena crowd with long concert
Leonard Cohen, the gloomy Canadian troubadour who so masterfully conflates the sacred and the profane, performed more than three-and-a-half hours to a packed house at Seattle�s KeyArena Friday, Nov. 9.
�I�ve told the truth,� said 78-year-old Canadian singer-songwriter Leonard Cohen, near the end of his thrilling, packed concert at KeyArena Friday. �I did not come to fool you.�
Or he made his best attempt, at least, as poets do, wrangling with the language of love and salvation � word by word, chord by chord, rhyme by rhyme.
It was an extraordinary experience, a full-body immersion in the personal universe of a great troubadour who, like his Proven�al forebears, fearlessly conflates the sacred and the profane, the courtly and the spiritual the erotic and the fatalistic.
Speak-singing in a conspiratorial, basso whisper, Cohen performed two voluminous sets lasting more than three-and-a-half hours.
Wearing his trademark fedora and dark, tight suit with bolo tie, Cohen played with a nine-piece, Euro-style ensemble featuring violin, two guitars, rhythm section and three backup singers. He often knelt as he sang and occasionally saluted the crowd by jauntily doffing his hat.
The moody stage lighting often silhouetted the behatted band.
Cohen sampled generously from his gloomy four-decade-plus oeuvre, starting with the infectious �Dance Me to the End Love� and quickly dispensing with such classics as �Bird on a Wire,� �Everybody Knows,� �Ain�t No Cure For Love,� �In My Secret Life� and a spine-tingling recitation of �A Thousand Kisses Deep.�
Other high points included his incantatory first hit, �Suzanne�; the hilariously unrepentant �Anyhow�; Democracy,� which drew a cheer from the post-election-wired crowd (mostly boomers, including some cuddling couples); and �I�m Your Man.�
Cohen generously showcased backup singers the Webb sisters, who delivered shimmering harmonies on �If It Be Your Will,� and co-writer Sharon Robinson on the gospel-tinged �Alexandra Leaving.�
Prancing offstage near the end, then back again, Cohen shared the singalong-friendly �Take This Waltz� and �So Long, Marianne,� then delivered two encores that included the dark and driven �First We Take Manhattan�; the yearning �Famous Blue Raincoat�; his whimsical self-reprimand from on high, �Going Home� (�I�d love to speak with Leonard, he�s a lazy bastard�); and, finally, appropriately, �Closing Time.�
You had the feeling Cohen would have sung willingly into the after-hours. The crowd would have stayed, too.
�Leonard Cohen thrills KeyArena crowd with long concert� by Paul de Barros, The Seattle Times, November 10, 2012.