There is a light and it never goes out

One always hopes a little bit for that light. I mean, if forty years ago with your talent made in Belfast you could light up London or New York, it seems incredible to me that now there's not even a dim candle, a fleeting spark left.

And there remains a square full of people, but cold, even if it's thirty degrees and there's just a barely noticeable breeze.

Because Van Morrison doesn't care about the audience, he gets on stage, does his thing, doesn't even wait for the applause to end and moves on to the next track, with mechanical timing and craftsman-like perfection, the mechanics of a prostitute.

You almost feel like pressing skip if you don't like the track. But you can't, even if maybe you paid 100 euros for a front-row ticket (no, that wasn't my case, I got in for free).

And the final cherry is enjoying the scene of the car parked at the side of the stage and The Man leaving halfway through Gloria, without even a “Grazii millei” or a “Ciaou Breiscia,” leaving the excellent band he didn't even introduce to finish the dirty work.

In short, you feel a bit disappointed in the end.

You lower your head, leave the square with a bitter taste in your mouth, and return to the b&b to console yourself with “It’s Too Late To Stop Now!” loaded on the mp3 player before departure.

Maybe it's not too late to stop. Almost certainly, though, at this point, it's the case to do so.

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