Tuesday, February 17, 2015

New Van Morrison Album
Duets: Re-Working The Catalogue






Some Peace Of Mind - Bobby Womack
If I Ever Needed Someone - Mavis Staples
Higher Than The World - George Benson
Wild Honey - Joss Stone
Whatever Happened to P.J. Proby - P.J. Proby
Carrying A Torch - Clare Teal
The Eternal Kansas City - Gregory Porter
Streets of Arklow - Mick Hucknall
These Are The Days - Natalie Cole
Get On With The Show - Georgie Fame
Rough God Goes Riding - Shana Morrison
Fire In The Belly - Steve Winwood
Born To Sing - Chris Farlowe
Irish Heartbeat - Mark Knopfler
Real Real Gone - Michael Bublé
How Can A Poor Boy? - Taj Mahal







Monday, January 26, 2015

26-January-2015
Glasgow Royal Concert Hall

 Glasgow, Scotland


Brendan sent in his thoughts on gig
From the opening Celtic Swing when a fine bass solo from Paul Moore was met with an approving "Yeh!"from Van my instinct told me he was really up for the show tonight and so it proved.Having moved smoothly through Close Enough For Jazz and Magic Time(which Van clearly loves as he nearly always includes it) a blistering Baby Please Don't Go really brought the crowd to life and featured some great harmonica from Van. Dana Masters was great on backing/shared vocals during I Believe To My Soul which was a real powerhouse performance from Van and the band. Following a well received Moondance Van delved into his celtic mysticism songbook in keeping with this show being part of Celtic Connections festival and delivered a wonderful Raglan Road which featured beautiful organ playing by Paul Moran and Van hopping up and down on the spot as the sheer beauty of the music seemed to flow through his veins.Irish Heartbeat duly followed to keep the mood going before I Can't Stop Loving You moved us briefly into country territory. Following Sometimes We Cry and Whenever God Shines His Light which were both powerfully delivered and featured Dana prominently on vocals another surprise followed with the return of In The Afternoon. This was the centrepoint of many concerts some years back and the good news is that Van safely negotiated us all onto the ancient highway one more time briefly stopping by A Town Called Paradise along the way. Van allowed Dana the latitude to unleash her soulful tones on a couple of verses and she really delivered brilliantly. Enlightenment, Days Like This and Precious Time followed in swift succession before a really strong In The Midnight which featured another great organ solo from Paul Moran and Dave Keary bringing a smile to Van's face with his seemingly impossible high pitched vocal which Van made him repeat one more time. The opening notes of In The Garden confirmed that this was no ordinary show and Dana again got to sing solo and quite angelically on this. Dave Keary's beautiful Spanish guitar solo was of such quality that even Van seemed overcome as he shouted "woah!"when it finished. The song finished somewhat abruptly just when Van had taken it down to a whisper but it was fantastic while it lasted. We were now nearing the finish line and what better way to finish than with fine versions of Celtic Excavation/Into The Mystic and then Ballerina for the encore to the great delight of the highly appreciative audience.

T
he show ran for I hour 43 mins.and featured Van in great voice, really animated and into the music while urging and cajoling the band to greater heights all the time. The sound system was incredibly good and undoubtedly enhanced the overall performance.
-Brendan Hynes

The Scotland Herald
With a packed house and folk standing at the back upstairs, the appropriate support provided for Van Morrison in gospel quartet The McCrary Sisters should have made a few friends prepared to turn out for their own gig tomorrow (Wednesday) in the Old Fruitmarket. Between them Regina, Ann, Alfreda and Deborah have worked with some of the top names in music (and have Dylan's personal approval to cover Blowin' in the Wind), and together - and accompanied by an all-Scottish quartet of instrumentalists - they make fine contemporary praise indeed.

There was a slice of gospel in Morrison's set too, in Shine A Light from the Avalon Sunset album, but then there was a little bit of everything in it, including a nod to country in I Can't Stop Loving You, and some fine jazz trumpet and flugel horn doubling from his MD behind the keys, as well as the vocal improvisation of the man himself. His sax playing is not his strongest suit, and he did blow his alto a lot, but that was a small price to pay for a good-humoured Van the Man, whose thick, chewy voice was in top form, and who added some mean blues harp. Accompanied by a similarly compact combo, with the addition of female backing singer, this was a lean approximation of a Too Late To Stop Know set, that ranged right back to Them's Baby Please Don't Go, and included Moondance, Into the Mystic, and even an encore of Ballerina from Astral Weeks. Directing the band with a waving right fist, when he is channelling Big Joe Turner, you can forgive Morrison that he can't do Cannonball Adderley as well.
-Keith Bruce

Setlist
Celtic Swing
Close Enough For Jazz
Magic Time
Baby Please Don't Go/Parchman Farm/Don't Start Crying Now
I Believe To My Soul
Moondance
Raglan Road
Irish Heartbeat
I Can't Stop Loving you
Sometimes We Cry
Whenever God Shines His Light
In The Afternoon
Enlightenment
Days Like This
Precious Time
In The Midnight
In The Garden
Into The Mystic
Ballerina

Big Hand for The Band!
Dave Keary (Guitar)
Paul Moore (Bass)
Paul Moran (Keyboards)
Bobby Ruggiero (Drums)
Dana Masters (Vocals)

Tuesday, January 20, 2015

19-January-2015
Gran Teatre del Liceu

 Barcelona, Spain


El Confidential
Barcelona, ​​Jan 19 (EFE) .- Van Morrison has reigned today in the majestic Liceu in Barcelona with a studded classical repertoire, he has played with depth and containment, to the delight of an audience, mostly mature, who prefers to be petted the senses that hit directly in the heart.

The Gran Teatre del Liceu, with the patina that give many years of history, has proved to be the ideal place to listen to the Irish veteran musician. Something he seems to have discovered since, after many years without lavishing for Barcelona, ​​he has performed twice at the Liceo in the last thirteen months.

As in his previous performance in this temple of opera last December 2013, the palest Van Morrison has brought out his black soul and gave a master class in soul, jazz, rhythm and blues and rock.

The concert started with the instrumental track "Celtic swing" with the Lion of Belfast on sax, Paul Moran on piano, Rubby Ruggiero on drums, Dave Keary guitar, Jez Brown on bass and Dana Masters in choirs.

This home is common in the shows of Van Morrison, which otherwise are unpredictable, as the Irish repertoire likes to ride on the fly and not even the musicians themselves know what will happen, so staring at the teacher from song and song, to know what comes next.

On this occasion, the boss has decided to offer some of his most famous songs, including "Brown eyed girl", "Precious Time", "Moondance" or "Days like this".

It is not always so. In recent concerts, all close to home in his native Ireland, the veteran performer has offered less complacent repertoires, perhaps because in those latitudes is more common to see him live, while in Barcelona, ​​a city that has visited few times over of his career, the public has had little opportunity to experience live the classics that have so often heard at home, and Van Morrison knows.


Although Van Morrison has said that present to the public in selecting the songs is just a well-intentioned impression because hidden behind his sunglasses and his hat, the reclusive artist seems to ignore these.

Throughout the hour and a half that has lasted concert Barcelona, ​​Van de Man, as some call it, has not been addressed those present even once.

Yes, we have heard him give some dried orders to his musicians, to indicate the next song, because not always been from the microphone to do so.

All this without the rhythm of the concert has been resentful at any time as Van Morrison and solvent band have managed to string together one issue after another, creating a warm and melancholic atmosphere, which have been passed down songs like "Higher than the world "," I can not stop loving you "," Open the door to your heart "," Alan Watts Blues "," Magic Time "and" Sometimes I feel like a motherless child ".

In the latter, the Showgirl Masters Dana has had a chance to shine and booted sincere applause from an admiring public.

The concert was a tour of the gentle jazz, blues depth and personal sound Van Morrison, which has reached its climax with the wonderful performance of "Gloria", the song that popularized the Doors, but nobody plays like her author.

"Gloria" has closed a recital in which teacher, at 69 years old, has made clear that the experience is a degree and that his broken and soulful voice remains strong and hondura.
-Rosa Diaz

Setlist
Celtic Swing
Close Enough For Jazz
Magic Time
I Believe To My Soul
Baby Please Don't Go/Don't Start Crying Now
In The Midnight
Moondance
Enlightenment
Open The Door (To Your Heart)
Days Like This
Think Twice Before You Go
I Can't Stop Loving You
Sometimes We Cry
Brown Eyed Girl
Precious Time
Keep It Simple
High Than The World
Whenever God Shines His Light
Sometimes I Feel Like A Motherless Child
Help Me
I Just Want To Make Love To You
In The Garden
Gloria

Big Hand for The Band!
Dave Keary (Guitar)
Jeremy Brown (Bass)
Paul Moran (Keyboards)
Bobby Ruggiero (Drums)
Dana Masters (Vocals)

Tuesday, January 13, 2015

12-January-2015
Island Arts Centre

 Lisburn, Northern Ireland

Brendan sent in this report on gig
Van Morrison’s Monday night road show pulled into Lisburn tonight for the latest instalment in this small venue with a capacity of around 400. As the band lined up the noteworthy features were the return of Paul Moore on bass and the continued absence of the brass section.

After opening with Celtic Swing, Van led us Higher Than The World which was quite uplifting. Magic Time featured nice piano from Paul Moran before the first big belter of the evening which involved a fine rendition of I Just Want To Make Love To You merging with Hoochie Coochie Man and briefly Pagan Heart. Baby Please Don’t Go/Parchman Farm led into another medley which left the band with barely time to breathe as Van powered on at break neck speed. Slowing things down at last Van delivered a nice rendition of a rarity in Song of Home. Sometimes I Feel like a Motherless Child got another welcome airing and featured Dana Masters prominently on vocals and Paul Moran on organ. While this was really good it didn't quite match some of the recent versions played. One of the best versions I have heard of Open The Door To Your Heart followed with really nice jazz guitar from Dave Keary. A magnificent I Believe To My Soul followed during which Dana contributed hugely on vocals while Paul Moran was exceptional on trumpet. It struck me that he is as proficient on trumpet as he is on piano and organ and that is saying something.

Think Twice Before You Go saw the band let rip again before Van delivered a terrific vocal performance on That’s Life. Just as the band started into Enlightenment there were two bouts of major feedback from an offending amp which forced them to stop. When one of the stage crew charged on stage we all prayed to his holy guardian angel that he would find the source of the problem quickly (which he did) as Van’s demeanour was not exactly one of his more jovial ones tonight. When the song re-started we were treated to really nice guitar and organ solos which enhanced the song’s delivery considerably. Whenever God Shines His Light and Sometimes We Cry featured strong vocal contributions from Dana after which Moondance was delivered and it was notable for a nifty duet at the end between Van on sax and Paul Moran on trumpet. Who Can I Turn To was a vehicle to display Van’s continued vocal prowess which he certainly did. In The Midnight was a nice arrangement but even Dave Keary’s high pitched vocal contribution failed to elicit a smile from Van on this occasion. Days Like This was followed by Van’s sole interaction with the audience as he announced “and now for something completely different” which led to a nice instrumental opening to Centrepiece. Brown Eyed Girl served only to remind us the show was coming to a close and it was followed by the final number which was Help Me this version saw Van take the sound way way down so low that at one stage he turned to Dana and Bobby Ruggiero who were sharing background vocals to say “no microphones”. Van then shuffled off stage barely whispering his vocals before his final shout of “BIG HAND FOR THE BAND”saw him disappear into the night. He did not return for an encore which was no real surprise on the night.

I would describe this performance as workmanlike with plenty of really good music and Van in fine voice. It was however devoid of those really special moments that make the hairs stand up on the back of your neck where Van totally immerses himself in the moment and there was no interaction between Van and the audience or indeed his band which didn't help the overall atmosphere which was fairly reserved.
-Brendan Hynes

Setlist
Celtic Swing
Higher Than The World
Magic Time
I Just Want To Make Love To You/Hoochie Coochie Man/My Pagan Heart
Baby Please Don't Go/Parchman Farm/Don't Start Crying Now/Stop Drinking That Wine/My Babe
Song Of Home
Sometimes I Feel Like A Motherless Child
Open The Door (To Your Heart)
I Believe To My Soul
Think Twice Before You Go
That's Life
Enlightenment
Whenever God Shines His Light
Sometimes We Cry
Moondance
Who Can I Turn To
In The Midnight
Days Like This
Centrepiece
Brown Eyed Girl
Help Me

Big Hand for The Band!
Dave Keary (Guitar)
Paul Moore (Bass)
Paul Moran (Keyboards)
Bobby Ruggiero (Drums)
Dana Masters (Vocals)

Tuesday, January 06, 2015

05-January-2015
Lyric Theatre

 Belfast, Northern Ireland

Brendan sent in his thoughts on performance
This was the third in the series of Lit Up Inside shows by Van Morrison in conjunction with the launch of the book of his lyrics by the same name.It was also the first of four consecutive Monday night shows by Van in January which indicates that unlike the lyrics written by fellow Irishman Bob Geldof all those years ago Van does like Mondays.There was quite a substantial gathering of the more dedicated Van fans from far and wide all of whom were eagerly awaiting what was to follow.

The show followed the same format as before with film footage of Van and Bob Dylan singing Foreign Window being followed by Van being interviewed by author Ian Rankin and then readings by Michael Longley of Coney Island and Into the Mystic.The interview itself covered much of the same ground as before and has become somewhat repetitive which is not too surprising.There were however some further insights on the night with Van revealing that the songs which are really personal to him and fact based are ones such as Too Many Myths, I Was Educated By The School of Hard Knocks and others of that ilk.Van indicated that Wonderful Remark should have been in the book and it seems it was inadvertently omitted but there was a strong suggestion of at least one further volume to come in which it can be included.Van’s interview with Spike Milligan again got a mention with Van revealing that Spike was nothing like his stage character in person and was not in a good mood when they met.Ian Rankin suggested that is not something Van would know much about which greatly amused the audience.When asked if he had enjoyed being a window cleaner Van was quite enthusiastic and said he had as it gave him the freedom to control his own working time and tie it in with his music commitments.Given his tendency to send Van up when given an opening I thought Ian Rankin might have asked Van if he used to lose his rag at all and whether he found there were a lot of ups and downs in the window cleaning business but sadly he didn’t take the opportunity to explore such important issues.

After a short interval the music section commenced as before with Alan Watts Blues before another thunderous version of Why Must I Always Explain with Van again featuring prominently on electric guitar.Wonderful Remark and Tore Down A La Rimbaud were followed by The Street Only Knew Your Name which had not featured at the two previous Lit Up Inside shows and was quite brilliant.Coney Island,Magic Time and Moondance were followed by the highlight of the night(as was the case at the other two shows) in Celtic Excavation/Into The Mystic.Van became totally immersed in the music and brought proceedings down to such a whisper that at one stage he sang briefly without using the microphone.Van departed the stage during this song but continued to sing on in the wings for what seemed like an age as he issued utterences such as ‘not breaking down’ and ‘you’ve got to pull yourself together’over and over as the audience sat mesmerised.Finally the booming voice of drummer Bobby Ruggiero shouting VAN MORRISON broke the spell and the audience roared for more.Van returned one more time to deliver On Hyndford Street for the hometown audience who clearly appreciated the Belfast namechecks liberally dispersed throughout.
Overall I felt that the music performance segment of this concert fell somewhat short of the quality of the two previous ones largely due to the omission of Madame George and Foreign Window from the set.I considered both songs to be in the top three performed each night at the London and Dublin shows and their absence diluted the quality somewhat.Nevertheless it was still another outstanding evening of words and music which was thoroughly enjoyed by those lucky enough to be present.
-Brendan Hynes

Ian Rankin, Eamonn Hughes & Van Discussion
Michael Longley reads Coney Island & Into The Mystic

Setlist
Alan Watts Blues
Why Must I Always Explain
Wonderful Remark
Tore Down A La Rimbaud
Coney Island
Magic Time
Street Only knew your Name
Moondance
Into The Mystic
On Hyndford Street

Big Hand for The Band!
Dave Keary (Guitar)
Jeremy Brown (Bass)
Paul Moran (Keyboards)
Bobby Ruggiero (Drums)
Dana Masters(Vocals)

Sunday, December 21, 2014

21-December-2014
Nell's Jazz and Blues Bar

 London, England

Setlist (Thanks Mike S.)
Celtic Swing
Higher Than the World
Baby Please Don't Go/Parchman Farm/Mean Mean Woman Blues/Cry Cry Baby
MagicTime
I Believe to my Soul
Precious Time
What Am I Living For
Playhouse
Keep It Simple
Alan Watts Blues
Enlightenment
Sometimes We Cry
I Just Wanna Make Love To You
Whenever God Shines His Light
In the Midnight
Moondance
Who Can I Turn To
Real Real Gone/You Send Me
In the Garden
Gloria

Big Hand for The Band!
Dave Keary (Guitar)
Paul Moore (Bass)
Paul Moran (Keyboards)
Bobby Ruggiero (Drums)
Dana Masters (Vocals)

Saturday, December 20, 2014

20-December-2014
Nell's Jazz and Blues Bar

 London, England


Brendan sent in his thoughts on gig
This was the second night of Van Morrison's weekend residency at this newly opened club which is quite a bit off the beaten track.Were it not for the presence of some long established Van fans in the queue along the side of Sainsburys I would have concluded there was a pre Christmas clearout in the store.

Coming off the back of two really good Downpatrick shows and two excellent Lit Up Inside shows in London and Dublin I had no great expectation that this show could emulate those but what a surprise was in store.This turned out to be one of those nights when Van was really in the mood which combined with the quality of the set which developed on the night provided the lucky 300 or so present with a terrific show.Having opened quietly with Celtic Swing Van quickly took us an excursion Higher than the World before launching into a blistering combination of Baby Please Don't Go/Parchman Farm/Don't Start Crying Now which included De Nero and Pesci impersonations and Van aiming a number of kicks at an imaginary victim.A superb I Just Want To Make Love To You featured brilliant guitar playing from Dave Keary and brought us right back to the It's Too Late To Stop Now shows all those decades ago.Magic Time saw Van do some overtime on saxophone given the rather surprising absence of the brass section while Whenever God Shines His Light saw Dana Masters being quite em..masterful when given the opportunity to shine on vocals.Blue Money was preceded by a humorous background story from Van all the way back to his Monarch showband days in the 1960s. The song itself was great and included a high pitched vocal competition between Dana and Dave but no matter how high they went Van looked for them to go higher.We then had another epic return to the It's Too Late To Stop Now days with I Believe To My Soul which included beautiful back up vocals from Dana and quite incredible trumpet playing from Paul Moran.

Such was Van's humour he had by now ventured into asking us what we wanted him to play which brought Melancholia as the first successful request and this was another lovely rendition.Following the always welcome Enlightenment, Van did a long and humorous introduction to Why Must I Always Explain which he again informed us started out originally as Tupelo Honey.Van was in his element on this one playing electric guitar while vocalising over his end solo to brilliant effect.Such was the energy on stage that even the most regularly played numbers such as Moondance seemed to have a new vibrancy and on this occasion Van had introduced a chant of "So What" a number of times towards the end of the song.Keep It Simple was preceded by Van asking what someone has to do to get a ukulele around here before re-telling his 'Billy Connolly thinks Van is very funny' story.

By now the song requests were coming fast and furious with a couple of audience members literally pleading for In The Garden.Van finally relented and delivered a stunning elongated version during which he brought everything down to a whisper before the holy guardian angels brought us up into the heavens in a stunning crescendo.Magnificent!

A wonderful Ballerina saw Van depart the stage before returning with a power packed Help Me which included his "It's Too Late to Stop Now" chant(always a sign that he is really into the performance).When Van had finally departed the band cut loose with extended solos to send the audience into rapturous applause after 1 hour 40 minutes of magnificence.

Travelling back from the concert my overriding feeling was one of being privileged to be able to see an artist of such quality in such small and intimate surroundings delivering a set that left one almost breathless by it's conclusion.
-Brendan Hynes.

Setlist (Thanks Mike S.)
Celtic Swing
Higher Than the World
Baby Please Don't Go/Parchman Farm/Cry Cry Baby
I Just Wanna Make Love to You
Magic Time
Whenever God Shines His Light
Blue Money
I Believe To My Soul
In the Midnight
Enlightenment
Why Must I Always Explain
Moondance
Keep it Simple
In the Garden
Ballerina
Help Me

Big Hand for The Band!
Dave Keary (Guitar)
Paul Moore (Bass)
Paul Moran (Keyboards)
Bobby Ruggiero (Drums)
Dana Masters (Vocals)

Friday, December 19, 2014

19-December-2014
Nell's Jazz and Blues Bar

 London, England


Setlist
Celtic Swing
Higher Than the World
Baby Please Don't Go/Parchment Farm/Don't Start Cryin Now
I just Wanna Make Love To You
You Don't Love Me No More
Blue Money
Days Like This
Magic Time
Did Ye Get Healed
Think Twice Before You Go
I Believe to My Soul
Moondance/My Funny Valentine
In the Midnight
Whenever God Shines His Light
I Can't Stop Loving You
Enlightenment
Help Me
Brown Eyed Girl

Big Hand for The Band!
Dave Keary (Guitar)
Paul Moore (Bass)
Paul Moran (Keyboards)
Bobby Ruggiero (Drums)
Dana Masters (Vocals)

Wednesday, December 17, 2014

Van Morrison Signs With RCA For 35th Studio Album, Due Early 2015

George Benson & Van Morrison recording session for "Higher Than The World" duet in August 2014. 
Breaking news from Billboard Van has signed with RCA and will release new album in 2015.

Van Morrison will release his as-yet-untitled 35th studio album on RCA Records in early 2015, the label confirmed Tuesday. The set will be a follow-up to 2012’s Born To Sing: No Plan B, which was released via Blue Note and debuted and peaked at No. 10 on the Billboard 200.

“We are thrilled to have Van Morrison, the iconic musical visionary and legend, join the RCA roster,” RCA President and COO Tom Corson and CEO Peter Edge said in a joint statement. “He is one of the most prolific and talented songwriters and performers in music today and we are honored to have him join us at the label and work with him on his forthcoming new album.”

Added Morrison in a statement, “I am looking forward to working with Tom, Peter and the RCA team as we plan release of the new project for next year.”

The upcoming set will mark Morrison’s first set for Sony Music, following a long stint with Warner Bros. in the 1970s (Astral Weeks, Moondance), a 7-year run with Mercury in the 1980s and stints with Polydor, Exile, Virgin/Point Blank and Blue Note. Though he continues to tour extensively through Europe, Morrison hasn’t performed in the States since a U.S. tour wrapped in November 2013.

Wednesday, December 10, 2014

10-December-2014
Olympia Theatre

 Dublin, Ireland

via Pablo G.
Brendan sent in his thoughts on the show
The question I pondered in the build up to this show was whether the magic of the inaugural Lit Up Inside show in The Lyric Theatre in London the previous month could be repeated. The resounding answer delivered at the Olympia was that it most certainly could and this was another marvelous night for dedicated Van Morrison fans in particular.


via Pablo G.
The format was similar to the London show with Eamon Hughes, editor of Van’s Lit Up Inside book, doing the introductions before some footage from an old BBC Arena programme was shown of Van and Bob Dylan singing Foreign Window in Greece. Van was then introduced for a question and answer session largely conducted by author Ian Rankin but with some input also from Eamon Hughes.If anything, Van was even more relaxed this time round and really warmed to the process as it developed. Interestingly, the questions explored differed significantly from the London show and Van somehow got drawn into areas one might not have anticipated including a reference to a book written by Morrissey which Van was clearly very impressed by as he really enthused about its brilliance. At this point Ian Rankin somewhat mischievously interjected to say that Morrissey is not like Van at all because Morrissey is grumpy. This seemed to go over Van’s head despite Ian repeating the comment but it was not lost on the audience who laughed heartily. Van also got quite animated talking about Spike Milligan and a performance he had given where a cat ran on to the stage and according to Van the cat did a 30 minute performance. This all went down great with the audience who would not normally encounter Van’s humour and wit to such a degree.



Following the interview there was a short film of Van in discussion with poet Michael Longley followed by readings of some of Van’s lyrics by Michael Longley (Coney Island and Into The Mystic) and by Irish broadcaster Marty Whelan (Tore Down A La Rimbaud and Madame George).The latter, who was hugely enthusiastic about Van’s work, was unable in my view to match Edna O’Brien’s mesmeric readings of both songs at the London show, particularly Madame George.



After a short interval the concert performance commenced with the rarely played Alan Watts Blues in a really nice arrangement followed by stirring performances of Tore Down A La Rimbaud and Wonderful Remark. The beautiful Foreign Window followed and while it was great the brilliant acoustic guitar work of Dave Keary which was so prominent at the London show was somewhat drowned out by Van’s electric guitar on this occasion which was a pity. Coney Island conjured up lovely images in our minds and was followed by Magic Time which was one of two additions to the London set list (the other one being Moondance as the penultimate number).In introducing Why Must I Always Explain, Van informed us this was a re-write of Tupelo Honey and this version featured Van on electric guitar with the legs pumping as he sang over his solo in that inimitable style of his. Incredibly when the song had just finished an audience member shouted out looking for Tupelo Honey to which Van replied like a shot “we just played it!”.Van then brought us through Celtic Excavation with nice saxophone playing from him and on Into the Mystic. This was quite incredible and Van brought things down to a whisper as he stepped away from the microphone and then back and then away again gently whispering the lyrics to a totally silent Olympia. It was hard to follow that but Madame George wasn’t far behind and it is great to be treated to such a classic from the vaults again. Moondance brought proceedings to a halt as Van thanked the band while the audience clapped along enthusiastically with their closing instrumental workout. This was not quite the end however as Van returned one more time to deliver On Hyndford Street to leave the audience truly healed having enjoyed a really magic time in the presence of the undisputed musical genius that is Van Morrison.
-Brendan Hynes

Setlist (Thanks Mike S.)
Alan Watts Blues
Tore Down at La Rimbaud
Wonderful Remark
Foreign Window
Coney Island
Magic Time
Why Must I Always Explain
Celtic Excavation/Into the Mystic
Madame George
Moondance
On Hyndford Street

Big Hand for The Band!
Dave Keary (Guitar)
Jeremy Brown (Bass)
Paul Moran (Keyboards)
Bobby Ruggiero (Drums)