Dire Straits
On The Night

THE REVIEW

Nine years after the previous double live album "Alchemy," Dire Straits return to the market with a record that immortalizes the essence of their latest endeavor, the world tour following the release of "On Every Street" in 1991. The intention is to release an album without copying themselves, thus trying not to repeat the same tracks featured in the previous live album. Scrolling through the tracklist, one immediately notices the absence of some milestones, such as "Sultans Of Swing" or "Tunnel Of Love," which were nonetheless regularly performed during tour stops. The reprises are limited to just two songs, which, when compared to the versions recorded live ten years earlier, become evidence of how the refinement of sounds, the quality of performances, and, not least, the skill of Mark Knopfler and his companions live have further improved over the years, if possible. Well, yes, it is possible: "Romeo And Juliet" sounds more majestic than ever, an eternal declaration of desperate love that will make people dream as long as there is good in this world, while "Private Investigations," always dark and cavernous, is brought here to its maximum splendor by smoothing out some of the minimalism that has always characterized it: the instrumental passages sound much more expansive.

The novelties thus pass through the tracks taken from the two studio albums released after "Alchemy": from the latest work "On Every Street," the proposed tracks are the opening "Calling Elvis," "Heavy Fuel," "You And Your Friend," and "On Every Street," while from its award-winning predecessor "Brothers In Arms," we have "Walk Of Life," "Your Latest Trick," "Money For Nothing," and, of course, "Brothers In Arms." What is most striking in this live album is the perfection of the performances, which makes each piece superior to the corresponding studio version. Mark Knopfler towers over anything that stands in his way, devours it, the balding maestro who 15 years ago brought to life that machine of emotions that was Dire Straits has now, like never before, become the creator of his world of notes, everything revolves around him and waits for a nod, a bending, any signal from his guitar, the natural extension of his arms. Moving with a calm and confidence that make him like marble, lord, idol, he caresses his six strings making them sing, conducts an orchestra that has in him the one and only point of reference, and when at the 0:45 mark of the concluding "Brothers In Arms," the first rough notes of his guitar make their entrance on the sound carpet specially prepared, one realizes that this, exactly this, is one of the most reassuring moments that exist.

Yet, he is supported by a band that runs wonderfully: Paul Franklin on pedal steel guitar proves his skill when Knopfler gives him space, as seen in the excellent solo in "Walk Of Life," Chris White creates soft atmospheres with the sax and plays a supporting role in "Your Latest Trick," Guy Fletcher at the keyboards shows he is only a boy in terms of age while Alan Clark is a veteran. This is just to name a few. And then there's John Illsley, the master's only loyal companion who followed him from the smoky pubs of London to this point, the last farewell of a band molded around a single father and master who, from this moment on, will take off his cuffs and headband to pursue a solo career that will see him increasingly distanced from the dimension of a rockstar, even though he will still fill concert halls in every order of seating, standing, or lying down.
 Last farewell, and thank you for everything.