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Rating: Another beautifully successful spell by the Dark Poet of Progressive.
I am eagerly waiting in the seat of the splendid theater in Vicenza. In front of me, a stage slowly filling up with smoke. It's nice to see some young people around who, like me, have discovered this wonderful band; I wear the official band t-shirt with pride and hold a video camera confidently, while chatting with other fans who tell me about when they saw the VdGG, or other bands like Genesis, back in the glorious '70s. Someone comes out to announce the band.
The lights go out.
The three enter slowly and casually, the audience does not applaud. Perhaps, like me, they are too excited. They take their places at their instruments, the silence is broken by an irreverent and mocking "Good eeeevening!" from Hammill, everything is very fast, and Interference Patterns starts. A chill runs through me as Hammill sings the first lines (it's the first time I've seen them live!). The piece is intense, and I have always wanted to see Evans' beats in that babel of sounds. A roar welcomes the end of the song. Hammill informs us (as if we needed it) of what they played and announces the next remarkable Mr. Sands. He will do this for each piece, in a confident and almost perfect, though unexpected, pronunciation. Playing Mr. Sands live proves to be a wise choice: the song, intricate and engaging, flows very well and warms the atmosphere. Your Time Starts Now is eagerly received by fans. Hammill's performance is impeccable. Then... Scorched Earth, from "Godbluff". Banton and Hammill support the singing, and Evans seems on edge. He moves, he shakes, he hits the cymbals with perfect precision, he gives himself no respite. He is the true protagonist, with his jazzy and claustrophobic touch. The long outro is executed flawlessly. Hammill stands up (he has been behind the piano so far), and I can notice his extreme thinness and his look, which is more or less like my grandfather's when he goes to the garden. He picks up one of the guitars on stage, and an irregular sequence of charleston announces Lifetime. I didn't expect to see it live, and this allowed me to appreciate its lyricism and delicacy, and also its unfathomable sadness. One of the pieces that turned out better than the studio version, along with the following Bunsho. Here Evans is the epitome of neurosis. His unique riffs replace each other without continuity. Here you can see how Hammill has never stopped practicing with his Meurglys. The transitions, in fact, are not at all obvious or merely accompanying. Silence falls, and PH adds that they will play one of his pieces rearranged in trio: Gog! Roars of joy (including mine) rise from the audience. Now I understand why they are considered the grandfathers of punk. The voice is sandpaper, the drums beat hard, and Hammill strikes his guitar as if to pull something out of it that it cannot give him. The piece is powerful, and not a few remain stunned by the sonic power of the trio, which sounds like at least six. A note of reproach for the lighting, somewhat annoying at times. The next piece is a gift from God: Hammill, not content with having shown us that his voice defies time, nods to Banton, who starts the celebrated Rossa. The voice rises powerful, flies, spins, softens, and destroys.
"One more heaven gaaaaaaaaaaaaaaaaaaaaaaaaaaaained".
Evans goes all out, doesn’t hold back, and staff run to fix his drum kit, which was coming apart. Year of birth: 1947, no joke. The next one is the alienating All Over The Place, with its violent yet desolate, and assertive and overbearing, pace. The only (small) flaw is Over the Hill, which in my opinion is a bit too long and flat in the live version, and serves as a sort of truce for our lively old men. In fact, without announcement, they finally gift us with Man-Erg, a concentration of nostalgia. Particularly unsettling is the harsh central part, slowed almost to a halt. Around the seventh minute, I have the honor of witnessing one of Banton's rare organ solos, in place of Jaxon's. A perfect solo, yet minimalist and solemn. A standing ovation breaks out at the end of the concert. Joyful cries drown out the artists' thanks.
Vicenza, Teatro Comunale, April 8:
Interference Patterns; Mr Sands; Your Time Starts Now; Scorched Earth; Lifetime; Bunsho; Gog; La Rossa; All Over The Place; Over The Hill; Man-Erg
Hammill was timeless. Not only did his voice pass the test brilliantly, but he also proved he still has something to say (I was told he made the walls shiver; well, I confirm, and add that my brain was shaking). His stage presence, in the absence of a sax, is very welcome. He also makes quite an impression on the piano.
Hugh "octopus" Banton amazed me with his alien performance. Keyboard, piano, and synth played with their respective pedals, to which all the bass pedals must be added, of which he covered the parts. So, besides his very restless fingers, it was possible to admire him effortlessly dancing on the pedals from a seated position. I could almost say he never rested his feet during the entire concert.
Evans, with his particular way of holding the drumsticks, was and is the engine of the Generator. I have already spoken enough about him. However, I would politely like to add that he puts 99.99% of drummers on this earth to shame.
The applause does not stop. Hammill says something like "always like this here in Veneto" and smiles. Everyone back to their places.
+... The Sleepwalkers
Banton's 17/8 almost makes me lose consciousness. The rest is indescribable. They couldn't have ended in a better way.
"But soon my time is ended".
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