Witnessing Peter Gabriel’s performance just two weeks after seeing Roger Waters at the same venue was enlightening. Both musicians are revered figures in the world of prog-rock, having been part of legendary bands like Genesis and Pink Floyd, respectively. However, their approaches to their shows and their messages about the state of the world differ greatly. While Waters takes on an antagonistic and pessimistic stance, Gabriel remains hopeful and inclusive. If a cuddly soft-plush doll of Gabriel were ever created, it would undoubtedly be a best-seller among Genesis fans looking for a gift for their grandchildren.
With his trademark ability to see the big picture, Gabriel’s concert at the O2 Arena began with an exploration of the origins of life. As an avuncular figure with a shiny bald head and silvery goatee, one can only imagine his twinkling eyes if they were close enough to see. He brought down a small spherical light from above, symbolizing the meteor that is believed to have crashed into Earth 4 billion years ago. He then mimicked smashing the light into a replica of a smoldering fire.
Other rock musicians from Gabriel’s generation, who are also in their seventies like him, might have accompanied this display of life-bringing motion with power chords and drum solos, as the astrophysics of old-school arena entertainment dictate. However, Gabriel has always managed to strike a balance between showmanship and thoughtfulness. He sat himself down on a semicircular bench near the fake fire and began to play a hymnal slow song about rebirth, titled “Washing of the Water,” with a keyboard balanced on his lap.
He was initially accompanied by his longtime collaborator, bassist Tony Levin. Other musicians joined them on the bench for a livelier number from Gabriel’s solo repertoire, “Growing Up.” At this point, the stagehands magically transformed the space from a prehistoric cave into a full-band setup with drums, piano, and microphone stands. It was at this significant moment, symbolizing a leap forward in human civilization, that Gabriel introduced the first of his new songs.
These songs have been a long time in the making. While not quite from the dawn of time, Gabriel’s last album of new material was released back in 2002 with “Up.” His upcoming album, “i/o,” which is set to be released later this year, featured heavily in the concert’s setlist. The first song played from the new album was “Panopticom,” an electronic rocker introduced with Panglossian talk of technology making the world a better place. Other tracks had titles like “Live and Let Live” and “Love Can Heal.”
Gabriel’s optimism about progress may sometimes come across as overly sentimental, but his music had a lively feel to it. Regular collaborators like Manu Katché on drums and David Rhodes on guitar were joined by new recruits, including trumpeter Josh Shpak and cellist-singer Ayanna Witter-Johnson. Witter-Johnson skillfully took on Kate Bush’s vocal part in the comforting anthem “Don’t Give Up,” which is a fan favorite from Gabriel’s solo career. This balanced out the inclusion of unfamiliar new songs and there were no tracks from Genesis.
The use of screens and lighting in innovative ways was a highlight of the show. Specially commissioned visuals by artists like Cornelia Parker and Ai Weiwei added another layer to the performances. Gabriel alternated between playing the piano and wandering the stage with a microphone. While his voice has become hoarser and less agile, he settled into his expressive singing style as the concert progressed.
“And Still,” a tender ballad dedicated to his mother, exuded warmth and nostalgia. He matched Witter-Johnson’s dynamic performance when they sang “In Your Eyes” together. The atmosphere was nuanced and responsive, occasionally bordering on tranquil. However, there was a noticeable surge in energy when Gabriel performed “Sledgehammer” just before the intermission. Overall, the show captivated the audience with its richly layered sound and expert pacing. It concluded with Gabriel’s customary set closer, “Biko,” a tribute to the late South African activist Steve Biko, providing a renewed sense of Gabriel’s enduring belief in the transformative power of music.
★★★★☆
Denial of responsibility! VigourTimes is an automatic aggregator of Global media. In each content, the hyperlink to the primary source is specified. All trademarks belong to their rightful owners, and all materials to their authors. For any complaint, please reach us at – [email protected]. We will take necessary action within 24 hours.
