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) 

05-June-2021
London Palladium 
London, England

Setlist 

Blue Fun 

Deadbeat Saturday Night 

Thank God for the Blues 

Love Should Come With a Warning 

Magic Time 

Have I Told You Lately

Saint Dominic's Preview 

Cleaning Windows 

Hey Mr. DJ 

I Can Tell 

Days Like This 

Brown Eyed Girl 

Wild Night 

Symphony Sid 

Tore Down a la Rimbaud 

In the Afternoon/Ancient Highway/Raincheck/ Sitting Pretty 

Moondance 

Did Ye Get Healed? 

Help Me

Gloria

01-June-2021
London Palladium 
London, England

Fumiko sends in this brief review:

With a socially distanced audience that seemed quieter than usual, Van was on top form, looking fit and well in a pale blue suit, a change from his usual dark one and delivered a slick beautiful set. Teena great, could hear her lovely bongo and Dana seems to have left. Chantelle Duncan who I've seen before was there instead of Dana. Chris Farlow was support at start. Notably, there was a long drawn out finish with Stand By Me where usually Gloria would be. Very strict about no filming and wearing masks even when sitting with constant reminder from ushers and a placard that we need to pull our mask up after each sip of drink!

Setlist (Thanks Fumiko I.)
Blue Funk
Deadbeat Saturday Night
Magic Time
Have I Told You Lately
Days Like This
Baby Please Don't Go/Parchment Farm/Mojo/Ancient Highway
Little Village
Big Lie (w/Chris Farlowe)
Hey Mr. DJ (w/Chris Farlowe)
Sometimes We Cry
Broken Record
Moondance
Symphony Syd
Cleaning Windows
In The Afternoon
Help Me
Brown Eyed Girl
Gloria
Stand By Me (w/Chris Farlowe)

16-February-2017
Nells Jazz And Blues
 London, England

via Matthew Jeffrey

Brendan's review of third and final night at Nells
The third and final night of Van's stint at Nell's was not prefaced by a statement from him that this would be a total blues set but he commenced once more with Goldfish Bowl which tonight featured a great extended guitar solo from Dave Keary. This was followed by the jazzy Symphony Sid and the lively Keep Mediocrity At Bay before Van slowed things down for Beautiful Vision featuring Sumudu on some shared vocals. Playhouse raised the tempo once more before Sometimes We Cry afforded Dana the opportunity to excel on vocals during a really good version. Bo Diddley's I Can Tell got another airing tonight and, if anything, was even better than the previous night. The Baby Please Don't Go etc. medley got a further outing before In The Midnight brought some order to proceedings once more. When Think Twice Before You Go was followed by Precious Time we had most definitely entered the 'hits' territory that Van had told us we wouldn't be entering on the first night. Corrective surgery was clearly urgently required and a momentary lull afforded dedicated Van fan Pamela Kendix (who was seated right in front of Van in the front row) the opportunity to request Why Must I Always Explain. Van responded by saying "Give Me A Rest" before adding that they needed to slow things down and picking up his electric guitar. And so it came to pass that Van delivered a top class version which included both backing singers finishing Van's lines and an excellent extended guitar solo by Van at the end. I Can't Stop Loving You featured both backing singers once more before another fine rendition of In The Afternoon which included nice guitar and trumpet solos. When All In The Game made a welcome return to the set list it was evident that Van was now firmly 'in the zone' and so it proved as he once more confirmed that he still has no Plan B and no safety net. Having thanked the band Van departed before returning for an incredible 15 minute version of Help Me which included a brilliant extended harmonica solo from Van which had the audience roaring and the band members smiling at one another in admiration. When Van had departed, the band members did their party pieces which included an excellent understated trumpet solo by Paul Moran ,fine bass from Paul Moore and great vocals from Dana and Sumudu.

This show was the best of the three in my view with the final 40 minutes or so in particular reminding us why we keep coming back for more.
-Brendan Hynes

via Matthew Jeffrey

Set List
Goldfish Bowl
Symphony Sid
Keep Mediocrity At Bay
Beautiful Vision
Playhouse
Sometimes We Cry
I Can Tell
Baby Please Don't Go/Parchman Farm/Don't Start Crying Now/Custard Pie
In The Midnight
Think Twice Before You Go
Precious Time
Why Must I Always Explain
I Can't Stop Loving You
In The Afternoon
All In The Game
Help Me

Set Time 1h 29m

Big Hand For The Band!
Dave Keary (Guitar)
Paul Moore (Bass)
Paul Moran (Keyboards/Trumpet)
Mez Clough (Drums)
Sumudu (Vocals)
Dana Masters (Vocals)

15-February-2017
Nells Jazz And Blues
 London, England

via Matthew Jeffrey

Brendan's take on night two at Nells
As on the first night, Van announced at the outset that it would be a blues set given the name of the venue and he commenced the show once again with Goldfish Bowl which featured a great trumpet solo from Paul Moran. Playhouse moved things along at a brisk pace followed swiftly by Talk Is Cheap with Van first making a reference to "fake news". Fame was very strong once again and was followed by two covers in Take Your Hand Out Of My Pocket (which saw Van chuckling merrily for the first couple of verses) and I Believe To My Soul. The Pen Is Mightier Than The Sword from the new album then got a further airing followed by the most welcome inclusion of Beautiful Vision which featured Sumudu extensively on shared vocals and fine steel guitar from Dave Keary. Going Down to Bangor put us all in holiday mode and was followed by a great cover of Bo Diddley's I Can Tell which saw fine guitar and organ solos from Dave Keary and Paul Moran respectively. I Can't Stop Loving You featured both Sumudu and Dana Masters on vocals and they featured individually to great effect on Sometimes We Cry(Dana) and Whenever God Shines His Light (Sumudu).Van reprised his Maritime blues medley of Baby Please Don't Go/Parchman Farm/Don't Start Crying Now/Custard Pie to bring us all back with him to share his 1964 memories. In The Afternoon followed to great acclaim and once more was the highlight of the night featuring lovely guitar and trumpet solos and lovely backing vocals from Dana and Sumudu who repeated the phrase "it's my life, it's your life baby" over and over to complement Van's extended and quite superb vocal workout. It was quite magical. Help Me and Gloria brought proceedings to a most lively conclusion once more.
-Brendan Hynes

Set List
Goldfish Bowl
Playhouse
Talk Is Cheap
Fame
Take Your Hand Out Of My Pocket
I Believe To My Soul
The Pen Is Mightier Than The Sword
Beautiful Vision
Going Down To Bangor
I Can Tell
I Can't Stop Loving You
Sometimes We Cry
Whenever God Shines His Light
Baby Please Don't Go/Parchman Farm/Don't Start Crying Now/Custard Pie
In The Afternoon
Help Me
Gloria

Set Time 1h 30m

via Matthew Jeffrey

Big Hand For The Band!
Dave Keary (Guitar)
Paul Moore (Bass)
Paul Moran (Keyboards/Trumpet)
Mez Clough (Drums)
Sumudu (Vocals)
Dana Masters (Vocals)

14-February-2017
Nells Jazz And Blues
 London, England

via Matthew Jeffrey

Brendan Hynes checks in with review of night one at Nells
Right from the outset Van laid down a marker as he stated that the only reason they were playing Nells was because it is a jazz and blues club so they would be playing a mainly blues set. His announcement that there would be no 'hits' was quite enthusiastically received by a sizeable number of attendees which seemed to surprise Van who retorted "that's good?". Before opening with Goldfish Bowl, Van likened the song's theme to the new term "alternate facts" before delivering quite a good version which was followed by a really strong Fame. Look Beyond The Hill and The Pen Is Mightier Than The Sword from the new album followed in quick succession but in my view these are two of the weakest tracks and I was hoping for a first live performance of In Tiberon but it was not to be tonight. It may have been Valentines Day but Van was in no mood for sentiment as a request for Someone Like You was summarily dismissed with a rebuke that if one wanted to hear such songs then the large concerts were the place to hear them (this was quite a departure from previous shows at Nells where Van has often invited requests and been quite happy to play some of his more creative and lesser played material with no insistence that it be strictly blues or jazz material!) I Believe To My Soul which followed featured a great trumpet solo from Paul Moran while Dave Keary excelled on guitar during Take Your Hand Out of My Pocket which ran into Stormy Monday and Lonely Avenue. Going Down To Bangor raised the tempo considerably and gave Van the opportunity to reminisce about his bucket and spade while singing "tra la la tra la lee"! Rock Me Baby/Early In The Morning fairly rocked but at this stage we had probably reached 'blues overload' so a really powerful version of Sometimes We Cry(which saw Dana Masters get a deserved ovation for her vocal contribution) was quite a welcome diversion. We were quickly brought back to blues territory with Talk Is Cheap with Van once more making reference to alternate facts. Van then announced a blues medley from his time playing The Maritime in Belfast back in 1964 and featured Baby Please Don't Go/Parchman Farm/Don't Start Crying Now/Custard Pie(which saw Van became quite amused and to wonder whether lyrics which may have been acceptable in 1964 still are). A second deviation from the blues trail followed and brought us instead down the ancient highway with a quite magnificent In The Afternoon which went on for an age and was far and away the highpoint of the night and fully deserving of the extended ovation it received. The opening bars of Help Me indicated that the end was nigh and so it proved as Van asked for "a big hand for the band" before departing only to return one more time for Gloria which inevitably featured the band much more than it did Van as he beat a hasty retreat and left them to it as they kept playing for quite some time to stretch out the set time.

via Matthew Jeffrey

Van was in good form throughout and in fine voice in what was a committed performance albeit somewhat restricted by the overwhelming adherence to the 'blues only' theme which resulted in exactly half of the songs performed being cover versions of other artists' work.
-Brendan Hynes

Setlist
Goldfish Bowl
Fame
Look Beyond the Hill
The Pen Is Mightier Than The Sword
I Believe To My Soul
Take Your Hand Out of My Pocket/Stormy Monday/Lonely Avenue
Going Down To Bangor
Rock Me Baby/Early In The Morning
Sometimes We Cry
Talk Is Cheap
Baby Please Don't Go/Parchman Farm/Don't Start Crying Now/Custard Pie
In The Afternoon
Help Me
Gloria

Set Time-1h 28m

Big Hand For The Band!
Dave Keary (Guitar)
Paul Moore (Bass)
Paul Moran (Keyboards/Trumpet)
Mez Clough (Drums)
Sumudu (Vocals)
Dana Masters (Vocals)

30-October-2016
Bluesfest - O2
 London, England

Brendan Hynes review of gig
Van Morrison made what has become by now his annual appearance at this festival but as this large venue was only filled to about half capacity, saturation point appears to have been reached. Van had a hard act to follow in Jeff Beck who turned in a guitar virtuoso performance in opening the show but Van proved well up to the task. Too Late from the new album opened Van's set in lively fashion followed by an up tempo version of Have I Told You Lately which in my view detracts from the song's quality. A nice delivery of Magic Time was followed by a lively version of Wavelength. Van then announced his new single off the album as Every Time I See A River and this sounded great live and even better than on the album featuring a lovely guitar solo from Dave Keary and nice backing vocals from Dana Masters.Baby Please Don't Go/Parchman Farm/Don't Start Crying Now raised the tempo and was followed by Here Comes The Night.Cleaning Windows was enjoyable but continues to suffer from the absence of a brass section which is such an integral part of the song in its original incarnation.

When Van announced a blues medley featuring Chris Farlowe and Jeff Beck few could have imagined what was to follow as we were taken through Stormy Monday/Take Your Hand Out Of My Pocket/Lonely Avenue with Van and Chris trading vocals interspersed with searing guitar solos from Jeff.Van went into John Lee Hooker style mode during Lonely Avenue with terrific vocals answered magnificently by Jeff on guitar. This was incredible! Chris stayed onstage to trade vocals with Van on Sometimes We Cry and as usual improved Van's humour no end.Moondance was merged with Way Beyond The Hill from the new album to good effect before we reached another major highlight with In The Afternoon which again got the full treatment from Van and included a superb trumpet solo from Paul Moran and nice backing vocals from Dana.Help Me signalled that the end was nigh but Van returned for two encores in Ballerina which featured lovely acoustic guitar from Dave Keary and then Gloria which saw the band cut loose once Van had departed with Dana on vocals and Paul Moore on bass being particularly impressive.

All in all this was a fine and fitting show to conclude Bluesfest 2016.
-Brendan Hynes

Setlist
Too Late
Have I Told You Lately
Magic Time
Wavelength
Every Time I See A River
Baby Please Don't Go/Parchman Farm/Don't Start Crying Now
Here Comes The Night
Cleaning Windows
Stormy Monday/Take Your Hand Out Of My Pocket/Lonely Avenue (w/Chris Farlowe & Jeff Beck)
Sometimes We Cry (w/Chris Farlowe)
Moondance/Look Beyond The Hill
In The Afternoon
Help Me
Ballerina
Gloria

Big Hand For The Band!
Dave Keary (Guitar)
Paul Moore (Bass)
Paul Moran (Keyboards)
Mez Clough (Drums)
Dana Masters (Vocals)

Set Time 1H 29M

29-September-2016
Radio Theatre
 London, England

Setlist
Too Late
Magic Time
Wild Night
Baby Please Don't Go/Don't Start Crying Now
Here Comes The Night
Every Time I see A River
Cleaning Windows/Be Bop A Lula
Let It Rhyme
Whenever God Shines His Light
Sometimes We Cry
Going Down To Bangor
The Pen Is Mightier Than The Sword
Keep Me Singing
Enlightenment
Carrying A Torch
Brown Eyed Girl
Jackie Wilson Say
In The Garden

20-December-2015
Nells Jazz And Blues
 London, England
Evening Show

Brendan sends in this review
After all the excitement surrounding the afternoon show it was perhaps unsurprising that the evening show started in a very sedate manner. However, when the opening three numbers consisting of Celtic Swing, Sack of Woe and Centrepiece/Corrine Corrina(none of which rose above the level of mediocre) were followed by Days Like This and Precious Time the prospect of a really disappointing set list loomed largely. Mercifully, Van then played Enlightenment and following repeated requests by dedicated fan Pamela Kendix he finally capitulated and performed the always treasured Foreign Window to great acclaim. When a terrific Tore Down A la Rimbaud followed, the concert was back on an upward curve. Sometimes We Cry was well delivered and enthusiastically received quickly followed by What Am I living For? from the country album. Early In the Morning/Rock Me Baby were powerfully delivered and really lifted proceedings. The only song repeated from the matinee show followed in the form of In The Afternoon which once more was fantastic and was thankfully afforded total reverence by the audience. There were also a couple of comedic moments included on this occasion with Van telling us the ancient highway was actually the MI 5 before quickly correcting the reference to the M5 but not before the band and audience had erupted with laughter. When Van had moved into a segment of Don't You Get Me High and referred to 'when you feel my leg' an enthusiastic chap appeared to be volunteering and shouted up to Van who quickly retorted "not you" much to everyone's amusement! Cleaning Windows was good to hear again but suffered significantly once more from the absence of the brass section. In my view the band are restricted considerably by the reduced band numbers as there is a predictability and inevitability which sees every musical break in songs consist of a guitar solo followed by a piano/organ solo (or vice versa) apart from the occasional trumpet solo by Paul Moran who obviously has to stop playing the piano/organ at that point in the song to the detriment of the overall sound. From a musical viewpoint it is hard to understand why Van chose to eliminate the brass section which has been a constant and I daresay key element of his music throughout almost the entirety of his career but the decision has certainly not resulted in enhanced concert performances.

Van strapped on his guitar for Why Must I Always Explain but didn't really bring it to the level of previous renditions and Ballerina which followed was dogged by some sound problems which Van was clearly unhappy with but it nevertheless included a fine trumpet solo from Paul Moran. In The Garden brought proceedings to an end but Van departed quite early without ever getting really engrossed leaving the band to play out the last six minutes without him which they did with each taking extended solos and Paul Moore's one on bass being particularly good.

Set time was 84 minutes with Van really pushing the boat out by staying on stage for 78 minutes.

-Brendan Hynes

Setlist
Celtic Swing
Sack O Woe
Centerpiece/Corina
Days Like This
Precious Time
Enlightenment
Foreign Window
Tore Down A La Rimbaud
Sometimes We Cry
What Am I Living For
Early in the Morning/Rock Me Baby
In the Afternoon/Raincheck/Burn Baby Burn
Cleaning Windows
Why Must I Always Explain
Ballerina
In the Garden

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

20-December-2015
Nells Jazz And Blues
 London, England
Matinee Show

Brendan sent in his review
Early arrivals for the third of Van Morrison's four weekend shows were met by closed doors and signage indicating a repossession of the premises. There was talk of bailiffs inside the premises and I had a vision of Van throwing himself in front of the doors to stop the band's equipment being seized but with the show eventually going ahead we were denied such a sight!

The show started with an alternative instrumental apparently called Bags Groove which was followed by Who Can I Turn To? which featured a great trumpet solo from Paul Moran. Moondance also saw Paul excel on piano and he was really hogging the limelight as he also excelled on trumpet during a powerful I Believe To My Soul. Sometimes I Feel Like A motherless Child went down a storm with Van's electric guitar contribution getting an ovation. Things I Used To Do was a pretty pointless addition to the set but Take Your Hand Out of My Pocket which followed was certainly welcomed and featured great guitar from Dave Keary and an absolutely incredible organ solo from Paul Moran (is there no end to this man's talent?). Think Twice Before You Go and Whenever God Shines His Light raised the tempo and were well received before Carrying A Torch afforded Dana Masters a chance to shine on vocals. Van briefly alluded to the bit of drama earlier in the afternoon before appropriately playing In The Afternoon.Yet again this was the show stopper as Van took us an extended journey down the ancient highway to the overpass before finishing with the repeated line"sitting pretty at the end of the line "to an enraptured ant totally hushed audience. Phenomenal! Magic Time and Baby Please Don't Go/Parchman Farm/Don't Start Crying Now were well performed but contained no surprises. All In The Game included some Hawaiian guitar sounds from Dave Keary which greatly pleased Van who departed the stage shortly after leaving the band to play on for a further 5 minutes or so. Paul Moore played some intricate bass but the drum solo which followed was simply a time filler.

My overall feeling was that the show which lasted just 81 minutes was very short but also very sweet.

-Brendan Hynes

Setlist
Bags Groove
Who Can I Turn To
Moondance
I Believe To My Soul
Motherless Child
Things I Used To Do
Take Your Hand Outta My Pocket
Think Twice
Whenever God Shines His Light
Carrying A Torch
In the Afternoon/Burn baby burn
Magic Time
Baby Please Don't/Go Parchman/Don't Start Crying Now
It's All in the Game

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

19-December-2015
Nells Jazz And Blues
 London, England
Evening Show

Brendan Hynes sent in this review
This show had a somewhat erratic start as an instrumental number was quickly abandoned after a few notes to be replaced by Celtic Swing. Unlike the previous runs of shows at this intimate venue the setlist did not deviate greatly from the standard and pretty predictable shows of recent months with the exceptions being Sack of Woe, Wild Night and Take Your Hand Out Of My Pocket (which included a great organ solo from Paul Moran). Highlight of the show was undoubtedly In The Afternoon which saw Van become totally engrossed and providing us with one of those moments we always hope for and savour. The ancient highway was certainly fully utilised tonight and after Van went into Burn Baby Burn territory it ended with him humming for quite some time to the band's laid back accompaniment. Wonderful! The rest of the set was somewhat predictable but was played with considerable vigour by both Van and the band so the energy level never flagged.

After Brown Eyed Girl was somewhat surprisingly played,the opening strains of Gloria which followed indicated that the show was over already. Set time was a paltry and unacceptable 80 minutes (Van was gone after 74 minutes) and quite honestly if Van is either unable or unwilling to do two full shows he should confine himself to one show per day as the audience at each show just end up being shortchanged. The much criticised standard 90 minute set length is miserable enough without cutting it even further.

Two more shows await on Sunday and one hopes for a few rare nuggets to be unearthed during them.

-Brendan Hynes

Setlist
Celtic Swing
Sack O Woe
Motherless Child
Carrying A Torch
Wild Night
Sometimes We Cry
Think Twice Before You Go
Take Your Hand Outta My Pocket
Keep It Simple
Whenever God Shines His Light
In the Afternoon/Burn Baby Burn
Baby please Don't Go/Parchman Farm/Don't Start Crying Now
I'm Not Feeling It No More
Brown Eyed Girl
Gloria

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

08-November-2015
The O2
 London, England

Photo via Alan L.

Brendan Hynes sent in this review

Van Morrison and Tom Jones at O2 Arena, London 8th November 2015.

This was a much anticipated concert which brought together two septuagenarian music legends still performing great music so late in their careers.

First onstage was Van Morrison who started rather tamely with Celtic Swing and Close Enough For Jazz before a wonderful Sometimes I Feel Like A Motherless Child got the show properly under way. A powerful Early In The Morning/Rock Me Baby went down a storm with the blues festival audience and featured a great organ solo by Paul Moran. In the Afternoon which followed was a great extended version the early part of which was marred for me by the now almost obligatory group of ignorant people talking loudly until I asked them to desist in no uncertain terms which mercifully had the desired effect. Playhouse fairly moved at pace and included nice guitar from Dave Keary and piano by Paul Moran. Days Like This and Precious Time brought somewhat of a lull to proceedings for me but were well received. Baby Please Don't Go/ Parchman Farm/Don't Start Crying Now went down a storm as usual and featured Van singing the first two songs in the medley almost entirely through cupped hands and harmonica. I Can't Stop Loving You and Magic Time were well delivered but nothing exceptional but that cannot be said of All In The Game which followed and it was once again magnificent. This version saw Van return to the mantra of No Plan B/No Safety Net/This Is It before telling us over and over that Time Is Running Out. Van shuffled off stage still singing in the wings only to return for an encore and telling us he wanted to bring on his old friend Tom Jones. While waiting for Tom's arrival on stage Van informed us that for this show he had given us a mixture of the club sets and the bigger concert sets which pay the bills. Former band member Leo Green also joined proceedings on stage to play some great saxophone which certainly enhanced the band's sound. The first duet with Tom was a really strong slow blues number Sticks and Stones(I've Been Abused) which was followed by That Lonesome Road which saw Van become very amused by the depth of Tom's vocals. Finally we got a terrific performance of Not Feeling It Anymore which of course Tom also recorded back in the 1990s.As the song came to it's conclusion Van and Tom departed to great acclaim leaving the band to finish off aided in no small part by a blistering extended saxophone solo by Leo Green. I thought this song was the end of Van's involvement for the night but surprisingly this did not prove to be the case.

Tom Jones set opened with an incredible Burning Hell from his Praise and Blame album and his set drew heavily on material from that album and his Spirit In The Room and Long Lost Suitcase blues/soul/gospel albums . Tom's voice is simply phenomenal and at 75 really defies human logic. A cover of Leonard Cohen's Tower of Song was absolutely superb while Didn't It Rain brought the audience to their feet. Tom still managed to include a bluesy version of Sex Bomb while a calypso version of It's Not Unusual had the unfortunate effect of encouraging a troop of women to try to storm towards the stage only to be turned back by security staff who may have had worries on health and safety grounds about the possibility of injuries being caused by flying underwear.

When Tom returned for his encore he told us that Van was coming on to sing some more songs which was quite a surprise. The first duet performed was a fine version of the Chuck Willis number What Am I living For with both in fine voice as they traded vocals. The second number was the dreaded Goodnight Irene. This is a song I never desire to hear and whenever I do I hope it's the last time a singer will feel the need to say goodnight to Irene but alas.... Tom reminisced about first meeting Van in London in 1965 and attempted a number of times to engage Van in conversation but quite hilariously most of Van's responses were of the one word variety such as 'yes'and 'no'. Van kept asking after each song "what's next" and they were about to do the up tempo Strange Things from Tom's Praise and Blame album when the drummer intervened and said they had forgotten Sometimes We Cry. I for one am most grateful for his intervention because while I have heard Van sing this song with various singers over the years none come anywhere close to the sheer power with which Tom delivered his contribution. Van was suitably impressed too as he shouted "one more time" for a repeat chorus at the end. The aforementioned Strange Things brought the night's proceedings to a very lively end after almost 3 hours of top quality music leaving the audience very satisfied at the unique experience they had enjoyed which may never be repeated.

-Brendan Hynes

Setlist (Thanks Lynn C.)
Celtic Swing
Close Enough for Jazz
Motherless Child
Early In The Morning
In The Afternoon/Burn Baby Burn
Playhouse
Days Like This
Precious Time
Baby Please Don't Go/Parchment Farm/Don't Start Crying Now
I Can't Stop Loving You
Magic Time
All In The Game/No Plan B/The Waiting Game
Sticks And Stones w/Tom Jones
Lonesome Road w Tom Jones
I'm Not Feeling it Anymore w/Tom Jones

Tom Jones Set
What Am I Living For w/ Tom Jones
Goodnight Irene w/ Tom Jones
Sometimes We Cry w/ Tome Jones
Strange Things w/ Tom Jones

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

25-March-2015
Royal Albert Hall
 London, England

Brendan sent in this review
Given that this concert for the Teenage Cancer Trust coincided with the worldwide release of Van Morrison's new Duets album and that there were rumours of many special guests there was a great sense of anticipation in the air before the concert. As it transpired, the rumours proved well founded with no less than five special guests partaking at various stages during the night.

The opening Celtic Swing featured a much longer intro than usual from the band which was really nice and then Van appeared playing saxophone to bring the song to it's conclusion. Higher Than The World followed and while it did not feature any duet it was very impressive. Van then introduced Clare Teal who performed a beautiful duet with Van on Carrying A Torch. A surprise followed with a further duet between them on The Way Young Lovers Do. What really struck me during this number however was how much the absent brass section is missed at times, particularly on a song like this. The brass element has been synonymous with the'Van Morrison sound' throughout almost all of Van's career and it's absence results in Paul Moran having to double up on trumpet solos during particular songs leaving the piano/organ unplayed while he is doing so. Very strange!

Baby Please Don't Go/Parchman Farm/Don't Start Crying Now were powerful as always and went down a storm. Roger Daltrey then joined in on Talk Is Cheap to Van's obvious delight and while his voice was no match for Van's he contributed some fine harmonica playing.Following this, Van asked if anyone had heard of P.J.Proby(who must have been delighted with this introduction) before PJ and Van dueted nicely on Whatever Happened To PJ Proby. Pretty surreal really!.PJ then contributed a song he wrote in tribute to Van in his hotel room after seeing him in concert a few years ago. The kindest thing I can say about this song is that I don't quite see it re-launching PJ's career in any major way. Their final duet delivered a nice version of Sam Cooke's Bring It On Home To Me.

Precious Time provided a filler before Georgie Fame appeared for a good duet on Get On With The Show which has more than a passing resemblance to Stand By Me. Van then announced that as Georgie Fame was on stage they would play some jazz and my heart immediately sank. No Vanlose Stairway and instead we got fairly mundane versions of Symphony Sid and Centrepiece/Corinne Corinna. Georgie Fame's exit was followed by an uninspired Days Like This and I feared the worst but when Van announced Mick Hucknall I knew what was coming and they certainly delivered on a wonderful performance of Streets Of Arklow which saw both singers scale the vocal heights and Paul Moran contribute magnificently with an organ sound throughout that swirled all around the famous concert hall. This was musical magnificence and Van summed it up perfectly at the conclusion when he said "wasn't that really something?".

Moondance, Magic Time (featuring another great organ solo from Paul Moran) and Brown Eyed Girl brought a bit of a lull to proceedings but thankfully Van delivered yet again with a superb Celtic Excavation/Into The Mystic during which I heard gasps of astonishment at various stages from several members of the audience at the wonder of it all. When Van departed the stage he continued to sing on in the wings for what seemed like an age only stopping when drummer Bobby Ruggiero's booming voice cut in to shout VAN MORRISON. The band continued to play on until it became clear Van would return which he did for a beautiful In The Garden which featured really fine guitar from Dave Keary and piano from Paul Moran before Van left the stage and the band played on for several minutes to a standing ovation. That's just the way to provide a fitting end to a Van Morrison concert.

This concert was rather unusual in that it included several moments of absolute musical magnificence which were matched in almost equal measure by moments of comparative mediocrity. However it is the former, including those possibly never to be repeated duets with Mick Hucknall and Clare Teal, which will provide the lasting memories and were worth the admission price alone. Van's voice was really powerful throughout and the vast expanses of the Royal Albert Hall failed to inhibit it's impact.
-Brendan Hynes

Uncut 
What to expect from a Van Morrison concert, then? Morrison, of course, has a reputation as an unpredictable live performer. Anecdotal evidence gathered from around the Uncut office suggests he is just as capable of transcendent moments of sublime mystery as he is of turning in perfunctory, no frills sets. Will he favour the roaming spirit of his peerless Seventies albums, or the blues and R&B numbers from his youth that have become increasingly foregrounded in his live sets? Tonight, there are two additional elements that might inform the tone of tonight’s show. First, this is part of this year’s run of Teenage Cancer Trust shows; a cause that obliges the artist to ensure they’re at their best. Secondly, this show convenient falls close to the release date of his new album, Duets: Reworking The Catalogue, and there is in all likelihood an imperative to support that.

As it transpires, all these things become to some degree relevant. Critically, we get an avuncular Morrison. He is hardly an unstoppable raconteur – he says very little, in fact – but his demeanour suggests he is at the very least enjoying himself. Sauntering on stage a few minutes after his band have started playing the light, jazzy grooves of “Celtic Swing”, he joins in with an expansive saxophone solo. His five piece backing band are dressed soberly in blacks and greys; Morrison himself wears a black suit, hat and sunglasses. I’m reminded to some extent of Dylan’s current touring band: another group of well-drilled musicians who are sensitive and discretely responsive to both the material and the demands of a notoriously capricious frontman. Under Morrison’s current musical director Paul Moran, they hold the line admirably. Admittedly, it’s not that difficult in the early part of the show. No sooner have the band warmed up, than Morrison introduces his new album to the audience and brings on the first of tonight’s duet partners, Clare Teal, for “Carrying A Torch” and “The Way Young Lovers Do”. The vibes are a little Pizza Express Jazz Club; fortunately, Morrison moves on to a persuasive version of “Baby Please Don’t Go” before he is joined by Teenage Cancer Trust founder Roger Daltrey for “Talk Is Cheap”, which never quite lifts off. Perhaps they’re under-rehearsed, but instead of the fiery R&B thrill they’re presumably aiming for, the song feels sluggish where it should swing.

Personally, I find this section of the show a little difficult to get my head round. As he brings out PJ Proby for three songs, including one of Proby’s own and a cover of Sam Cooke’s “Bring It On Home To Me”, it begins to feel suspiciously like two old mates have a laugh. Morrison dwells too long here and what could passably be considered a generous act of sharing the stage with a favourite contemporary begins to feel like an indulgence. Things pick up, though, when Georgie Fame sits in for a handful of songs. This seems to change the shape of the music; the songs become looser, jazzier, fuller. The night’s brief collaboration with Fame culminates in a warm, gently swaying version of “Centrepiece”, which seems to segue into Dylan’s “Corrina Corrina”, lubricated by Morrison’s extraordinary baritone and Fame’s evocative Hammond playing. Fame is followed by Mick Hucknall, who gives a pleasingly restrained and sympathetic reading of “Streets Of Arklow”.

By this point, it’s increasingly hard to guess where Morrison is going with his set. Is this a promo job for the Duets album, an opportunity to dust down some old R&B and soul covers or a leisurely trip through his capacious back catalogue? Or is it all three? And if so, is the balance of material right? But then he pulls out a final clutch of songs that showcase not only his most famous work but also mark a foray into the wild beauty of those Celtic landscapes. “Moondance” appears as its lightest and most delicate, lifted by some nimble sax work from Morrison. “Magic Time” continues to illustrate Morrison at his freewheeling best before we get a galloping “Brown Eyed Girl”. For a finale, he plays magical, meandering versions of “Into The Mystic” and “In The Garden”, rich in wonderment, that transport and elevate.

It’s arguable to a point that Morrison is at a place now where he is entitled to play what he wants, when he wants. Indeed, some might find the digressions into old soul and R&B pleasing in their own right. But there’s enough in Morrison’s own formidable back catalogue that he doesn’t need to dwell too long in other people’s music. We are here for the mystic; and when it finally arrives, it is a most astonishing thing.
-Michael Bonner

Setlist
Celtic Swing
Higher Than The World
Carrying a Torch w/Clare Teal
Young Lovers Do w/Clare Teal
Baby Please Don't Go/Parchman Farm/Don't Start Crying Now 
Talk is Cheap w/Roger Daltrey
Whatever Happened to PJ Proby w/PJ Proby
P.J. Proby Calling Van Morrison w/PJ Proby
Bring It On Home To Me w/PJ Proby
Precious Time
Get On With The Show w/Georgie Fame
New Symphony Sid w/Georgie Fame
Centerpiece w/Georgie Fame
Days Like This
Streets of Arklow w/Mick Hucknall
Moondance
Magic Time
Brown Eyed Girl
Into the Mystic
In The Garden

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