Concert Review – Leonard Cohen

Leonard Cohen is about as enigmatic an artist as you will find on the world concert circuit. The fact that at age 74 that he is on the world concert circuit is in itself a mystery.

Fated by a suddenly revealed financial necessity to return to touring after an absence of around 15 years he has found some of the biggest and most appreciative audiences of his career. In his hiatus he spent over half those years living as a Buddist monk probably a pursuit as far from touring concert artist as it is possible to get.

A life of extremes indeed.

Promoter Mick Newton took to the stage at the end of Paul Kelly’s set and announced a “change of schedule”. With a septuagenarian headline act that didn’t bode well. The relief was palpable when he explained that Cohen would do two sets – a one hour opening set in the daylight and then another couple of hours as the sun went down over the Rochford Winery.

Cohen entered the stage unannounced and immediately enticed the crowd to the palm of his hand. Looking dapper in dark suit, vest, bolero tie and fedora, and surrounded by a band dressed in variations on this theme, Cohen looked like a cross between an aging Atlantic City mobster and Hugh Hefner.

He opened with Dance Me To The End Of Love just as he did on the 1994 Cohen Live album, an album pieced together by Columbia after he entered the monastery.

His band swings and grooves but with the dignity and earnestness of a New Orleans funeral procession crossed with a house band at a bar mitzvah. It’s apparent that this is going to be fun, but serious fun. Cohen is gentlemanly and respectful. He doffs his hat to the audience, he focuses intently on each musician as they take their moments and he gazes almost reverently at the trio of angelic voiced backing singers. Rumours of the death of this ladies man have been greatly exaggerated. It would seem that age hath not wearied his eye or appreciation of the female of the species.

The first set leaves you wondering what could possibly be left for the second. Before the sun has even gone down we get to hear Bird On A Wire, the incomparable Everybody Knows, My Secret Life, the exhilarating Who By Fire and Chelsea Hotel (where he delivers the songs graphic content so convincingly that makes you wonder if he can really be 74 years old).

It’s towards the end of this set that he delivers a well rehearsed line about it being 14 years since he last toured back when he was a 60 year old, “just a kid with a crazy dream”. He talks about his use of anti-depressants (comically listed the various pharmaceuticals by name) and states “I also indulged in the various religions and philosophies. But cheerfulness kept breaking through”.

They are well rehearsed lines , one and all, but they lose nothing in the delivery.

In a moment of strange, but endearing playfulness he then literally skips off the stage! Leonard Cohen skips!

Cohen returns with a scarf looking every inch the New York Upper Westside gentleman in October just as the winter approaches. The first song of the second set is Tower Of Song, a composition performed with aplomb by Nick Cave on the I’m Your Man tribute album. The conclusion of this song also provides us with a funny moment as Cohen hams up a moment of revelation and enlightenment by revealing the answer to the mystery of life is…. “ doo dum dum dum, do dum dum”.

I think he was joking but perhaps….

The second half went from strength to strength from here. Suzanne, Boogie St (one of many several collaborations with Sharon Robinson), an extraordinary and defining version of Hallelujah which was followed by the electrifying I’m Your Man – by this stage for most of the audience the evening had gone from concert to religious experience. The spoken word performance of A Thousand Kisses Deep was received with “pin drop” reverence.

The encore was simply a celebration. Upping the tempo a little Cohen and his sublime band moved through So Long Marianne, a very funky take on First We Take Manhattan and the seductive Famous Blue Raincoat.

He virtually hands If It Be Your Will over to the Webb Sisters and Cohen becomes a another transfixed audience member as the sirens weave their spell.

Each band member has their moment in the spotlight and each of them take it with grace and taste. They are all great contributors to a greater whole, but special mention could be reserved for the stylish Javier Mas playing guitar and mandolin and multi instrumentalist Dino Soldo whose contributions particularly with the EWI are of vital importance.

So many great songs, so much great musicianship but the stand out fact remains that the man at the centre of it delivering the powerful and seductive vocal performance is approaching his 75^th birthday.

It would appear that the mid/late career “time out” that Cohen experienced has been beneficial. In the same way that Brian Wilson’s shows having returned from a performing exile were revelations Cohen seems to be filled with the joy and pride of being appreciated the way this audience does appreciate him.

This was a special night.