Peter Gabriel
Plays Live

THE REVIEW

What can be said about this double live album filled with increasingly tighter engagements with the adorable and ever-loyal audience?

Songs ranging from rock to the deepest mysticism, from the most blinding sun to the darkest night, an expansive freedom of expression from an artist who has never given up even in the face of countless challenges, always believed in himself and the works that would be born afterward. One of the many geniuses who created Music, as far as I'm concerned, indisputable, but you are free to comment in a properly musically democratic language.

First live album taken from concerts in America and Canada, from new recordings, studio arrangements, and the unreleased tracks "D. I. Y" and "I Go Swimming". Sixteen fantastic and highly engaging tracks, and how could one remain still at a concert by Peter, a shapeshifting stage animal? What memories I have...

"The Rhythm Of The Heat" drums, percussion, and steady rhythms, excited clapping from the audience introduce Peter's scream, guitars and synthesizers that mimic the beat of a deep, dark heart that bursts into a power of compelling rhythm - "I Have The Touch" wonderful track, perennially present Levin's percussion, Rhodes' guitars, Larry's keyboards and synthesizers, what rhythm, what sounds, what galvanization - "Not One Of Us" Peter’s vocal introduction and then off we go... - "Family Snapshot" slow track, sweet and sunny, the voice and keyboards flowing into clean and well-marked percussion blows closing in a wonderful lullaby - "D.I.Y." a non-sugary, rather progressive and captivating refrain pursuit - "The Family And The Fishing Net" now plunging into the darkness of an old, gloomy, and painful memory, all instruments are poignant, spiced up with unearthly screams - "Intruder" delirious percussion, repeating falsetto refrains with electrifying instrumental prompts - "I Go Swimming" bass opening, percussion, and rhythm galore, fantastic track - "San Jacinto" an endless dream beyond borders, bells, little bells, choirs, and synthesizers - "Solsbury Hill" how can the audience stay still, encouraging Peter with clapping, shouts, and joyful whistles - "No Self Control" drums, piano, soft percussion, and solitary choirs caressing Peter’s words - "I Don't Remember" wonderful wordplay traveling in rhythm with the percussion and piano - "Shock The Monkey" and who could stop him on stage anymore, with a fantastic face paint and typical monkey gestures as if to personify our dear ancestor - "Humdrum" an engaging, wonderfully slow and calm track reminiscent of his solo career and beyond - "On The Air" the finale is approaching, and here chaos breaks loose; the evening should never end, the instruments don't stop in a general cauldron, the people scream with the little voice left - "Biko" but what better finale, goosebumps and an audience now uncontrollable.

Every single track will be an emotion to experience second by second that will catapult you into the middle of the audience at a real concert just like he did by throwing himself backward and being carried by dozens of hands.