Since I’m now based part of the time in Geneva, this blog, never frequently updated at the best of times, is becoming more sporadic than ever. There are a few decent venues in Geneva, but on the whole the live music scene is far quieter than it is in Vienna. For some reason there seem to be more concerts in the neighbouring cities of Lausanne and Vevey than there are in Geneva, even though they are both much smaller, which blows.
Anyway, since moving here in July I’ve only been to two concerts. The first of these was Cat Power, which I may get around to reviewing at some point (although I wouldn’t hold your breath). It was a great pleasure, though, to catch up with Peter Rehberg last week on the first date of a mini Swiss and French tour. The venue, Cave 12, seems to be the nearest equivalent to the Rhiz in Geneva, with an impressive roll-call of visitors from the avant rock, noise and experimental music scenes. Centrally located just a few minutes’ walk from the main station, staffed by friendly people and with a PA that has plenty of wallop, Cave12 gets the thumbs up from me.
My heart did little somersaults when I saw this concert announced, and did some more when I realized that I would actually be in Vienna on the relevant date. A Keith Jarrett concert is a rare event, a solo concert doubly so. Add in the fact that he would be playing at the Musikverein, the most acclaimed and legendary concert hall in Vienna but one which I had never previously visited, and you had an evening of unmissable proportions.
I’ve been preoccupied with the matter of Jarrett ever since I first heard The Köln Concert, a stunning piece of work and one that is fully deserving of all the accolades that have been heaped on it over the years. Subsequent solo recordings such as The Carnegie Hall Concert and (oh, the irony) Vienna Concert connected with me as no other piano music has ever done. Here was music that seemed to exist outside space and time, its every note an instance of shimmering beauty, the performance as a whole a vast depiction of Jarrett’s rare improvisational gifts.
Every time Shearwater come to Vienna they play in a larger venue, their début visit to the Chelsea in 2012 having been followed by a 2014 appearance at the Szene Wien. It was inevitable, therefore, that their 2016 tour should bring them to the Arena, which was nicely full on this occasion, a clear sign that more and more people are waking up to the greatness of Jonathan Meiburg and his group. I’m happy, though, for them to remain at this level of support; I wouldn’t much care to see them at the Gasometer, gratifying as such a level of fandom would no doubt be to Meiburg and co.
Anyway, this was an absolutely thrilling concert that pretty much confirmed Shearwater as one of the most daring and powerful forces in rock today. I have to admit that I’ve not gone a bundle on the new album Jet Plane and Oxbow so far, finding it a tad overcooked compared to the Arctic chill of the ‘Island Arc’ trilogy and the impassioned disturbance that animated 2012’s Animal Joy. In a live context, though, and stripped of their excessive studio-based production, Meiburg’s new songs stand revealed as the taut, controlled masterpieces they are. Bristling with barely concealed rage, songs like “Prime” and “A Long Time Away” present a seething vision of contemporary, battle-scarred America.
Since Philip Glass is nearing his 80th birthday, his previously relentless touring schedule must surely be winding down to some extent. It was a no-brainer, then, to make the journey to Linz to see him perform a piano concert of his own works, flanked by Glass’ long-time musical collaborator Dennis Russell Davies and Japanese pianist (and Davies’ wife) Maki Namekawa. This was the second time I’d seen a Glass event at the magnificent Musiktheater, the first being the baffling opera The Lost in 2013. I hadn’t seen Glass playing piano before, although I’ve seen him twice with the Ensemble playing keyboards on Music in Twelve Parts.
What a rum evening this was. Shampoo Boy, the group consisting of Editions Mego label boss Peter Rehberg alongside Christian Schachinger on guitar and Christina Nemec on bass, played a curtain-raising set on the second and final night of some heavily sponsored festival or other at the Museumsquartier. (The forerunner of this group, the sadly missed Peterlicker, also played the opening set at a similarly corporate shindig five years ago; see my review of that event here.) Thanks to the logos plastered everywhere about the place, entrance to the entire festival was free. The event was originally supposed to take place in the main Haupthof of the MQ, which would have been nice; sadly, however, inclement weather meant that it was moved inside to a very large and swish hall known as the Hofstallungen, where I had never been before. The audience was fairly large, but I suspect I was the only one among them who had come especially to see Shampoo Boy.
My long, slow initiation into the world of opera continues, all of it so far through the music of Philip Glass. Following the overwhelming experience of Einstein on the Beach in London in 2012, and the intermittently fascinating but relatively minor The Lost in Linz a year later, last month I made a return trip to London for my first ever visit to the English National Opera. The occasion, of course, was the last night of the ENO’s new production of Akhnaten, the third part of Glass’s major trilogy of operas about historical figures. (At this rate I should be able to tick off the second part of the trilogy, Satyagraha, somewhere around 2020.)
My first Tindersticks concert in four years, and it was a delight to spend another evening in the presence of a group who have meant so much to me over the years. I must have seen them dozens of times by now, in both their pre- and post-split incarnations, and their concerts have always been emotionally draining affairs laced with romance, heartbreak and regret. This was certainly the case tonight, as the group responded beautifully to the splendour of the Konzerthaus with a set drawn heavily from their new album The Waiting Room.
Another of my sadly rare visits to one of my favourite venues in Vienna, the Radiokulturhaus. The comfort, intimate size and excellent acoustics of this space all combine to make attending concerts there a pleasure, while the programming is also adventurous enough to make it a fairly safe bet that you’re going to see someone interesting. Such was certainly the case here, as guitar and laptop wizard Fennesz trod the boards ahead of Ukrainian pianist and composer Lubomyr Melnyk. The concert was sold out, no doubt mostly on the basis of Melnyk’s burgeoning reputation as the fastest pianist in the world (19½ notes per second, fact fans), but also in part because it was part of a festival promoted by a sugary soft drinks manufacturer whose logo was displayed prominently on the stage.
As usual, I find myself way behind with writing for this blog at the end of the year. I hope I’ll be able to go back and fill in some of the gaps in the list below, but who knows. Anyway, here is a list of the best concerts I attended in 2015: