|
by Daniela Stolla
translation by Astrid Nolde-Gallasch
Almost like in the livingroom at home
Solo doesn't have to mean alone. Even when Chris de Burgh sometimes seems
a little lost on stage in the Künzelsauer Schlosspark, he doesn't have a
big band behind him but in front of him: the audience.
The 2000 people percussion isn't always in time, but the background singing
is sometimes quite bombastic. Especially from the fanclub, on the left hand
side of the stage, the chorusses of the star continue to sound, even when
the song is already finished.
That's not the only reason why the concert evening with the musician from
Ireland is a special experience in Künzelsau. The atmosphere couldn't have
been better with a band on stage. Rather early, during the song "St. Peter's
Gate", the feet are itching and even the first row visitors are swinging
back and forth on their chairs.
With his very special, charming character Chris de Burgh has his audience
quickly in the bag, and not just musically. When he stops in the middle of
a song to receive flowers from fans who security guards wanetd to send away,
there's an extra applause. And the hearts of the Künzelsauers fly towards
the Irish singer. He chats and sings as if he'd be with friends in the
livingroom at home. Talks about difficulties of small people at parties
("Save Me") and looks on his setlist whether he can fulfill the song
requests of his audience at all. He can, at least some.
Of course "Lady In Red" can't be missed, accompanied by the piano that in
opposite to the guitar sounds really soothing and powerful over the
Schlosspark. Whichever instruments: Chris de Burgh's solo performance lives
above all from the expressive voice of the artist. Technically underlaid
with a lot of echo, it sounds over the Schlossplatz as if there was a whole
choir singing. And whether piano or guitar - Chris de Burgh manages with
rhythm and dynamics, to make the audience dance, and not just during the
wellknown songs like "Don't Pay The Ferryman". When the security guards put
the barrier straps away, nobody can stay on their seat. In a split second
the area in front of the stage is crowded with dancing people, who even
rock back and foth during the slower ballads. The atmosphere is like the
first encore: "High On Emotion".
Chris de Burgh doesn't have a chance to leave early. And even when classics
like "Crusader" or "Spanish Train" aren't on the setlist: At the end he
plays some sing-alongs of his musician colleagues like "Pretty Woman" (Roy
Orbison" or "Hey Jude" (Beatles). The "Nah nah nah nanananah" goes on
sounding, when Chris de Burgh disappeared. Well deserved, after two and a
half hours of a super show.
|