29-October-2021
Sheffield City Hall
Sheffield, England 

Exposed Magazine (Source)

There’s something about Van Morrison that inspires devotion amongst his legion of fans. It doesn’t matter how many times they’ve seen him before, they’re always up for the chance to enjoy another live show. For me, this was the first time I’d ever seen him, and almost straight away, I found myself thinking, why have I waited this long? He delivered just what everyone wanted: a perfect mix of new tracks, old tracks, crowdpleasers and cover versions.

He started with a selection from his 2021 album. You had to know that. He wasn’t about to break the habit of a lifetime and announce anything; he just launched into one superb song after another, with not one single word of chat to the audience. But that’s what Van is known for, that’s precisely what we got, and I have no problem with it. The band of outstanding musicians knew him well enough for him to call out the next song, just as the previous one was finishing, and off they went on another journey into his unique brand of soul and R&B – all filtered through a life of listening to folk, gospel, rock, jazz and even traditional Irish music.

After five songs, he signaled the end of the ‘new stuff’ section of the show by launching into ‘Moondance’, which also served to showcase what an accomplished saxophone player he is. Older tracks then alternated with cover versions, for the next hour or more, before he left the stage. The band stayed on. We all knew there would be more, and they weren’t going to waste our time with that ‘pretend last song’ charade. An encore of ‘Brown Eyed Girl’, and the anthemic ‘Gloria’ – the original garage-band classic, from the very start of his career, and that was it.

But that was only part of the fun. I was just as fascinated by the folks who had come out on a Friday night to see their hero. From my balcony seat I watched how the front row fans, who I’m thinking paid top-dollar to be up close, were somewhat reluctant to get up and boogie along with the R&B and soul groove that the superb band was laying down. No such reservations in the Upper Circle, however. They were having one hell of a party in the cheap seats: standing up, dancing and singing along from ‘Moondance’ onwards. I’m sitting up there next time. Between the two tribes, sitting in the Circle, we were a somewhat mixed bunch. There was some muted tutting at the odd rebel who got up and danced, but in the main, we remained seated until the end. I’m sure I caught the guy next to me tapping his knees with both hands at one point, but he soon calmed down. All in all a superb night.

Setlist (Thanks John C.)

Latest Record Project

Deadbeat Saturday Night

Double Agent

Thank God for The Blues 

Up County Down 

Days Like This 

Broken Record 

Moondance 

Cleaning Windows 

Baby Please Don't Go/Got My Mojo Working 

I Can Tell 

Ain't Gonna Moan No More 

Sometimes We Cry 

Symphony Sid 

Wild Night 

Real Real Gone 

Precious Time 

In The Afternoon/Big Joe Turner/Sitting Pretty 

Did Ye Get Healed 

Help Me 

Brown Eyed Girl 

Gloria

Big Hand For The Band! 

Dave Keary (Guitar, Banjo, Bouzouki, Backing Vocals) 

Paul Moore (Bass) 

Paul Moran (Keyboards)

Teena Lyle (Percussion) 

Elle Cato (Vocals)

Colin Griffin (Drums) 

27-October-2021
Powerhaus
London, England

Pamela was at both Powerhaus gigs:

Having been on a high for the past few days after attending both Powerhaus gigs I thought I would write some impressions for you. The first thing to say is that Van seemed to really enjoy himself on stage both nights. I have always thought Chris Farlowe brings out the best in Van and that was very obvious this week. 

Night One 

No surprises for the first half in terms of song selection but all very enjoyable. Sometimes We Cry and Magic Time were particular standouts, the former proving an excellent showcase for new vocalist Elle Cato, who has a fantastic voice. She had been very nervous in what was, in effect, her audition to replace Chantelle Duncan and this song helped to settle her. The gig went to a different level with Chris Farlowe's introduction and a very nice rendition of the somewhat rare Transformation. As Chris left the stage, Matt Jeffrey seated next to me in the front row requested The Healing Game. Van seemed a bit worried, saying "I don't know" and Paul Moran told Van that they didn't know it. Van then asked for another request and my husband, Chris, called out for And the Healing Has Begun. Van immediately agreed, popped his electric guitar strap onto his shoulder and, to use Brendan Hynes’ expression, we needed our seatbelts for what ensued! An amazing rendition of Healing, followed by Vanlose and then a magnificent Carrying A Torch, which again allowed Elle to shine in a stunning duet with Van. It was also nice to hear the Trans-Euro train coda to Vanlose with Kilroy getting a few mentions! 

Ain't Gonna Moan was a fine version and then Chris Farlowe reappeared for the Stormy Monday medley. I have never seen Van laugh so much as he did here, especially during Take Your Hand Out of My Pocket (not included in the setlist posted earlier). At times Van was doubled up in laughter and unable to sing! Chris remained on stage for Help Me as Van joked in his intro and then Gloria featured Van once more doubled up in laughter and a lot of improvisation concerning bedsheets and laundry! Van and Chris left the stage together and an incredible band jam ended the gig. A wonderful night, made even better as I saw Van afterwards and told him what an amazing gig it was. He smiled, seeming to be pleased! 

Night Two

This gig managed to top the previous night! It really took off in Parchman when Matt Jeffrey, again sitting next to me, shouted "yeah" at the "all I did was shoot my wife “ line. Van paused and asked "who said that?" Matt replied and Van doubled up in laughter, saying “ no comment”! After that there were several broad smiles from Van and, with the introduction of Chris Farlowe, we again had to fasten our seatbelts. 

Baby Blue was terrific, and when Van invited the audience to sing the chorus we knew something special was happening. It certainly showed how much Van was enjoying himself. 

As Chris Farlowe left the stage, my husband shouted for St Dominic’s Preview. Van immediately agreed, reaching for the acoustic guitar and then switching to electric a few bars in. A transcendent delivery, and he stayed on electric guitar for Healing and Vanlose, both magnificent. Three great songs on guitar - what a treat! Torch was equally stunning. Baby What You Want Me To Do seemed to be a spontaneous choice from Van. Dave Keary was momentarily surprised (possibly by Van mumbling the lesser known title?) and Van had to add additional info, repeating "Jimmy Reed" a couple of times! A great version ensued, with Van gesticulating animatedly. 

It seemed that Van had got carried away and suddenly realised that he was out of time so he went straight into Gloria and made his getaway, leaving the band to do another wonderful jam, including great scatting and some more audience participation from Elle, who was relaxing into her role. 

All in all, two wonderful nights. We are so lucky in London to get the chance to see him reasonably regularly in small venues like Powerhouse and Nell's.

-Pamela K.

Setlist 

Latest Record Project 

Deadbeat Saturday Night 

Double Agent 

Thank God For The Blues 

Up County Down 

Days Like This 

Precious Time 

Sometimes We Cry 

Magic Time 

Baby Please Don’t Go/Parchment Farm/Got My Mojo Working 

I Can Tell 

Cleaning Windows/Be-Bop-A-Lula 

It’s All Over Now, Baby Blue (w/Chris Farlowe) 

Hey Mr. DJ (w/Chris Farlowe)

Saint Dominic’s Preview 

And The Healing Has Begun 

Vanlose Stairway 

Carrying A Torch 

Stormy Monday (w/Chris Farlowe) 

Baby What You Want Me To Do (w/Chris Farlowe) 

Gloria (w/Chris Farlowe)

Big Hand For The Band! 

Dave Keary (Guitar, Banjo, Bouzouki, Backing Vocals) 

Paul Moore (Bass) 

Paul Moran (Keyboards)

Teena Lyle (Percussion) 

Elle Cato (Vocals)

Colin Griffin (Drums) 

26-October-2021
Powerhaus
London, England

 

Humo (Source)

Van Morrison in London: 'He has that fickleness in common with Dylan' 

We are in Camden, the London district where Van Morrison (76) this week – we write Tuesday 26 and Wednesday 27 October – will open the new PowerHaus hall with two concerts. I sit in the front row, next to me a Voluminous Man who has seen Van the Man at work a hundred and twenty times. By the way , we are here for 200 euros per ticket. There are two Van Morrisons: Highly Flammable Van, who once disappeared from the Queen Elisabeth Hall after just 39 minutes; and Geniale Van, who made brilliant live records like 'It's Too Late to Stop Now'. In the hope of meeting Geniale Van, we continue to follow him slavishly, if necessary for 200 euros. 

Van's latest record, 'Latest Record Project, Volume 1', is by no means his most exciting. Three problems, I guess. One: no one dares to contradict him. Two: Van doesn't want to give the impression that he is living on his past, so he releases a load of new songs every year - only they can't match his classics. Three: he himself revels in nostalgia for his early years, when he played fairly banal blues. The first half hour of the first concert, in which he chases through six interchangeable R&B songs, is therefore boring. Thank God for the Blues? No, Van, there are hundreds of artists who can handle the blues, but no one has your body of work. 

Then follow decent songs ('Days Like This'), carelessly reeled beautiful songs ('Have I Told You Lately') and great played good songs ('Help Me', 'And the Healing Has Begun' and 'Cleaning Windows' , with a bit of 'Be-Bop-A-Lula' mixed in). Van plays saxophone (very good) and harmonica (masterful). The only real irritation factor is the percussionist, who plays congas too much. 

The guest tonight is Chris Farlowe , an old fellow who still sings quite well with one leg in the grave (fat, pale, limping). Not that his voice matters much: Farlowe is above all a companion for Van, with whom he wants to evoke the craic (Irish for 'fun', 'atmosphere') of yesteryear before it's too late. And that works. During 'Stormy Monday', the otherwise often gruff Van gets a giggle twice. And as he exchanges sexual innuendos with Farlowe during 'Gloria', he shouts: 'And afterwards even the furniture was in a different place!' 

The second evening the Voluminous Man sits next to me in the front row again. Saint Dominic's Preview! he suddenly shouts. "Okay, for once we'll do request numbers," Van grumbles, and he's still playing it. During a fierce, blistering medley of 'Baby Please Don't Go' and 'Got My Mojo Working' he sings something like 'When I hit (shit?) my wife'. To which the Voluminous Man yells a little too enthusiastically: 'Yeah!' Again Van has heard: 'Did you call that? Maybe you like that?' 'Yes!' replies the Voluminous Man. 'You too?' 'No comment,' Van sneezes. 

'Vanlose Stairway' is beautiful, although it contains 'Orgel! Organ!' must yell at the pianist, who is on the wrong instrument. And also tonight 'Gloria' is an irresistible steamroller. The backing band adds a steaming, ten-minute jam to it. 

After the concert I get to see the set list. There are gems on it like 'In the Afternoon', 'Enlightenment', 'Brown Eyed Girl', 'Moondance' and my favorite 'Did Ye Get Healed?' — he skipped them all. Van is impulsive: if song 12 on the set list is a ballad and he feels like uptempo at that moment, song 12 is not played. All evening you saw the six musicians glance at each other and say: 'What now? We didn't even rehearse this!' Van has that fickleness in common with Dylan. These were two good concerts, and for a 76-year-old they were miraculous.

-SERGE SIMONART 

Setlist 
Latest Record Project 
Deadbeat Saturday Night 
Double Agent 

Thank God For The Blues 

Up County Down 

Days Like This 

Precious Time 

Baby Please Don’t Go/Got My Mojo Working 

I Can Tell 

Sometimes We Cry 

Cleaning Windows/Be-Bop-A-Lula 

Magic Time 

Have I Told You Lately (Swing version) 

Transformation (w/Chris Farlowe) 

Hey Mr. DJ (w/Chris Farlowe) 

And The Healing Has Begun 

Vanlose Stairway 

Carrying A Torch 

Ain’t Gonna Moan No More 

Stormy Monday (w/Chris Farlowe) 

Help Me (w/Chris Farlowe) 

Gloria (w/Chris Farlowe)

Big Hand For The Band! 

Dave Keary (Guitar, Banjo, Bouzouki, Backing Vocals) 

Paul Moore (Bass) 

Paul Moran (Keyboards)

Teena Lyle (Percussion) 

Elle Cato (Vocals)

Colin Griffin (Drums)