31-March-2022
 Coliseum A Coruña

A Coruña, Spain

El Ideal Gallego (Source) 

Van Morrison delights nostalgics with a recital without buts at the Coliseum British musician Van Morrison arrived at the Coliseum yesterday to give an expected concert that had to be postponed last December for reasons of the artist's health. The Lion of Belfast, who had not visited the city for 22 years, reviewed his repertoire of classic songs and also some more recent ones. 

Arriving from the Wizink Center in Madrid, the musician went on stage at 8:28 p.m. - many had not yet had time to take their seats - and began the sax recital with the instrumental "Caledonia swing" to continue with "Latest record project" and “Up county down”. 

Accompanied by a six-piece jazz club band and a backing vocalist, Morrison did not He left no time for chatting or jokes and went about his business, practically without a pause between songs. 

There were hardly any interactions with the public, although he was cheered on numerous times, one of them when his first big hit came, "Days like this", where the artist scored one of his solos. 

Vocal brilliance

With "Someone like you" the public cheered with the palms. Van Morrison, who also excelled in ballads like “Sometimes we cry” -after which he delivered a single “thank you”-, stood out with a great crooner's voice over music that gave him all the prominence. 

“Baby, please don't go” made him take out the harmonica and with two other of his greatest hits, “Brown eyed girl” and “Gloria”, the Coliseum danced and sang at the end of the party, with a Morrison who, educated , he said goodbye with another “thank you”. Genius, figure and a delight for nostalgics. 

Setlist 

Caledonia Swing 

Latest Record Project 

Up County Down 

Double Agent 

Days Like This 

Someone Like You

I Forgot That Love Existed 

And It Stoned Me 

These Dreams of You 

Sometimes We Cry 

The New Symphony Sid 

Precious Time 

Dead or Alive 

Baby, Please Don't Go / Don't Start Crying Now / Got My Mojo Working 

I Can Tell  

Carrying a Torch 

Wild Night 

My Time After a While 

Laughin' and Clownin' 

Down to Joy 

Help Me

Brown Eyed Girl 

Gloria

Big Hand for The Band!

Chris White (Saxophone)
Dave Keary (Guitar)
Paul Moore (Bass)
Richard Dunn (Keyboards)
Teena Lyle (Percussion)
Colin Griffin (Drums)
Elle Cato (Vocals)

24-March-2022
 Sage Gatehead
 Gateshead, England

Setlist (Thanks Richard P.)

Caledonia Swing
Latest Record Project
Deadbeat Saturday Night
Up County Down
Days Like This
Someone Like You
Forgot That Love Existed
And it Stoned Me
These Dreams of You
Wild Honey
Dead or Alive
Carrying a Torch
Cleaning Windows / Be Bop a Lula
Precious Time
Symphony Sid
Broken Record
Down to Joy
In The Afternoon
Help Me
Brown Eyed Girl
Gloria

Big Hand for The Band!

Chris White (Saxophone)
Dave Keary (Guitar)
Paul Moore (Bass)
Richard Dunn (Keyboards)
Teena Lyle (Percussion)
Colin Griffin (Drums)
Elle Cato (Vocals)

06-March-2022
Limelight
 Belfast, Northern Ireland

Setlist - Early Gig (Thanks Pablo G.)

Latest Record Project 

Deadbeat Saturday Night 

Double Agent 

Days Like This 

 Precious Time 

Laughing & Clowning 

Baby Please Don't Go/ Got My Mojo Working 

I Can Tell 

These Dreams of You 

Worried Blues 

Did Ye Get Healed 

Sometimes We Cry 

Carrying A Torch 

Broken Record 

Turn On Your Lovelight 

Down To Joy 

Help Me

Setlist - Late gig (Thanks John M.) 

Caledonia swing 

Days Like This 

Precious Time 
Send You Back 

My Time After A While 

In The Midnight 

Don't worry About A Thing 

Laughing & Clowning 

Worried Blues 

Cleaning Windows 

These Dreams Of You 

Sometimes We Cry 

Think Twice Before You Go 

Ain't Gonna Moan No More

Magic Time 

Down To Joy 

Help Me 

Gloria

Big Hand for The Band!

Chris White (Saxophone)
Dave Keary (Guitar)
Paul Moore (Bass)
Richard Dunn (Keyboards)
Teena Lyle (Percussion)
Colin Griffin (Drums)
Elle Cato (Vocals)

10-November-2021
Millennium Forum
Derry, Northern Ireland

Brian's thoughts on Derry night 1

I attended my first Van show in several years on a whim, having made a late decision to attend just the night before. The tickets came courtesy of a kindly list member, Darren O'Beirne, who offered two front row seats at face value (did I mention front row seats?). I had no real expectations about what I was going to get from Van and was very pleasantly surprised. I’ve seen him enough (hundreds of times since the 70”s) to know a good performance when I see one. 

Onto the show, we caught the opening act, Dea Matrona and I really liked them. They are an up-and-coming trio of young girls. They’re not the finished article, but I think they’ve got the potential to break out. 

Van came on promptly at 8 and delivered a fast-paced bluesy, jazzy be-bop set and I LOVED it. He was on and engaged and while the setlist was not what I personally might have chosen, it was really well constructed as a performance and entity. Without going through the setlist which others have posted, he started off with a bunch of songs from his Latest Record Project. Having heard them on CD and Spotify I couldn’t believe the difference (Improvement) in the songs when performed live. Van belted out the tunes with the backing of his slick and professional band. If i had my druthers, I could've used a little guitar from Van (he didn't pick one up) but there was some absolutely stellar harp work. 

Am I mistaken, or is Van’s voice getting better? This is no tribute act or band, this is a singer in command of his god given talents with a great set of musicians supporting him. Even the much derided Broken Record worked really well in this environment. The set was over all too soon for me, but I left feeling the whole rushed effort to get to see the show was wholly worthwhile. So, thanks once again Darren O'Beirne for the “nudge” to attend, and thanks to Van Morrison. My advice, if you stick to songwriting and performing music, you can’t go wrong and you’ll have a great career. I’m back on the train. A big hand for the band! 

Ps did I mention I got to witness all of this from the front row? Couldn’t take my eyes off of Van but unfortunately couldn’t see the lovely Teena Lyle or Elle Cato although I did catch Teena’s “Swim” dance when standing for the encore. 

-Brian H.

Setlist 

Latest Record Project 

Deadbeat Saturday Night 

Double Agent 

Thank God for the Blues 

Up County Down 

Days Like This 

Don't Worry About A Thing 

Gonna Send You Back 

Symphony Sid 

Sometimes We Cry 

In The Midnight 

Baby Please Don't Go 

Think Twice Before You Go 

Ain't Gonna Moan No More 

Broken Record 

Foreign Window 

Magic Time 

Moondance/My Funny Valentine 

Wild Night 

Cleaning Windows 

Help Me 

Brown Eyed Girl 

Gloria

Big Hand For The Band! 

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

Paul Moore (Bass) 

Paul Moran (Piano, Keyboards, Trumpet)

Teena Lyle (Percussion) 

Elle Cato (Vocals)

Richard Dunn (Keyboards)

Colin Griffin (Drums) 

07-November-2021
St. David's Hall
Cardiff, Wales

Setlist 

Latest Record Project 

Deadbeat Saturday Night 

Double Agent 

Thank God for the Blues 

Up County Down 

Days Like This 

Precious Time 

In the Midnight  

Baby Please Don't Go / Got My Mojo Working 

Think Twice Before You Go 

Sometimes We Cry 

Magic Time 

Jumpin' With Symphony Sid 

Foreign Window 

Vanlose Stairway 

Wild Night 

Ain't Gonna Moan No More 

Broken Record 

Moondance  

The Healing Game 

Help Me

 
Big Hand For The Band! 

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

Paul Moore (Bass) 

Paul Moran (Piano, Keyboards, Trumpet)

Teena Lyle (Percussion) 

Elle Cato (Vocals)

Richard Dunn (Keyboards)

Colin Griffin (Drums) 

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) 

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)

08-May-2021*
Real World Studios
 Box, England
*Broadcast date. Actual recording date possibly April 2021

Van returned to "live" performing with a virtual gig that was livestreamed on the internet. Van was in excellent voice backed by some of his best musicians that have played on and off with him over past 25 years. Much of the setlist was drawn from his new album, Latest Record Project Volume 1. Van played sax, guitar & harmonica throughout gig. 

Fans in the Mystic Avenue Facebook group were ecstatic with the performance and many can't wait to see the Man and his great band back on stage getting the healing done!
-John Gilligan

Setlist

Only A Song
Dead Beat Saturday Night
Love Should Come With A Warning
Do The Right Thing
Up County Down
Latest Record Project
Blue Funk
My Time After A While
Diabolic Pressure
Why Are You On Facebook?
Where Have All The Rebels Gone?
Baby Please Don’t Go/Parchman Farm/Mojo Working
Ain’t Gonna Moan No More
Days Like This
Broken Record
Cleaning Windows
St Dominic’s Preview
Have I Told You Lately?
Help Me
Think Twice Before You Go /Boom Boom 

Big Hand For The Band!

Dave Keary (Guitar, Banjo, Bouzouki, Backing Vocals)
Pete Hurley (Bass)
Richard Dunn (Keyboards)
Colin Griffin (Drums)
Alan "Sticky" Wicket (Percussion)

Chris White (Tenor & Baritone Sax)
Matt Holland (Trumpet & Backing Vocals)
Stuarst McIlroy (Piano)
Dana Masters (Vocals, Tambourine)

19-March-2017
The Theatre At Ace Hotel
 Los Angeles, USA

Forbes

Van Morrison Pays Tribute To Chuck Berry At L.A. Show

What better way to spend St. Patrick’s Day weekend than with one of Ireland’s greatest musical exports, Van “The Man” Morrison? The Rock And Roll Hall Of Famer spent three nights, Friday, Saturday and Sunday, at the Theater At Ace Hotel in Los Angeles.

Reflecting an incredibly eclectic more than 50-year career that includes some of the greatest songs in rock history – “Brown Eyed Girl,” “Moondance,” “Saint Dominic’s Preview,” “Gloria” and countless more – Morrison concerts in recent years can be whatever the singer/songwriter feels like at that time, be it troubadour, folk rocker or, most likely, a jazz and blues cat.

It was the jazz and blues cat that took the stage for the closing show of his three-night stand. Even the gorgeous ballad “Have I Told You Lately,” was transformed into a swinging jazz number by Morrison and his superior band.

Looking the part in a dark suit, hat and sunglasses, Morrison worked through a mix of hits, such as “Moondance,” the upbeat “Wild Night,” the 1987 single “Someone Like You” and the agical closer “Into The Mystic,” and lesser-known fare like 1991’s “Why Must I Always Explain?,” a highlight for the way it was extended into a jazz jam, last year’s “Every Time I See A River” and the brilliant “Ballerina,” from the landmark Astral Weeks.

One of the highlights of the final night was a nod to rock and roll founding father Chuck Berry, who passed away this weekend, at the age of ninety. Morrison introduced his band’s cover of Berry’s “Sweet Little Sixteen” as a tribute to the late rock legend, starting with a strong guitar solo, followed by Morrison’s lively and reverent interpretation of Berry’s timeless 1958 classic, one of his biggest commercial successes, hitting No 2 on the Billboard pop charts and No 1 on the R&B charts.

Of course musicians all around the world rightfully paid tribute to Berry this weekend, but seeing an artist of Morrison’s stature, a fellow Rock And Roll Hall Of Famer, added a sense of gravitas that only a handful of living musicians can match.

That applies to Morrison’s concerts in general. Though he is never going to be the type to play a greatest hits set, that is not who he is nor has he ever been as an artist, his place as a true rock icon and one of the greatest vocalists in the history of the genre is unquestionable. Just seeing that presence and listening to “the voice” still sound so powerful and compelling on songs like “Into The Mystic” make for spine-tingling moment that every true rock fan should experience at least once.
-Steve Baltin

Setlist (Thanks John M.)
Look Beyond the Hill
Have I Told You Lately
Magic Time
Someone Like You
Going Down to Bangor
Wild Night
Sweet Little Sixteen "Tribute to Chuck Berry"
Playhouse
Sometimes We Cry
Moondance
Precious Time
Days Like This
Cleaning Windows/ Johnny B Goode
In the Afternoon/ Ancient highway/ Raincheck/ Sitting Pretty
Baby Please Don't Go/ Parchman Farm/ Don't Start Cryin' Now/ Custard Pie
Why Must I Always Explain
Help Me
Ballerina
Into The Mystic/ High on the Hill/ Sense of Wonder

18-March-2017
The Theatre At Ace Hotel
 Los Angeles, USA

Setlist (Thanks Mike S.)
Look Beyond the Hill
Have I Told You Lately
Magic Time
Someone Like You
Moondance
Carrying a Torch
Cleaning Windows
Sometime We Cry
Baby Please Don't Go/ Parchman Farm/ Don't Start Cryin/ Custard Pie
In the Afternoon/ Ancient highway/ Raincheck/ Sitting Pretty
Wild Night
Days Like This
Precious Time
Whenever God Shines His Light
Enlightenment
Help Me
Ballerina
Brown Eyed Girl
Gloria

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

17-March-2017
The Theatre At Ace Hotel
 Los Angeles, USA

Los Angeles Times

Van Morrison brings Irish heartbeat to L.A. for St. Patrick's Day

Lightning, we’re often told, doesn’t strike the same place twice. Instead, it hits unpredictably — a principle also true of a Van Morrison live performance.

On Friday, at the first of three nights at the Theatre at Ace Hotel in downtown Los Angeles, the veteran Irish singer, songwriter, poet, saxophonist, harmonica player, guitarist and sometimes shaman once again cast spells and summoned the kind of artistic forces that have made his music exceptionally rewarding for more than half a century.

Where most musicians find the high points of their shows in their iconic songs and biggest hits, Morrison used them Friday chiefly as signposts pointing to the vistas he was most interested in exploring.

The result was a performance that was generous with his most familiar numbers — “Moondance,” “Wild Night,” “Have I Told You Lately,” “Bright Side of the Road” — but which soared most convincingly in songs that got little mass public exposure when he first released them.

He delivered the hits efficiently, in an almost business-like way, but with remarkable nuance and definition thanks to the savvy support from his band of four instrumentalists and two singers.

But he truly ascended into the emotional stratosphere when he called on “Too Many Myths,” a cut from his 2003 album “What’s Wrong With This Picture?”

Lyrically, it’s another of his essays on the price of fame — ”There’s too many myths/Can’t you see I’m just trying to stay in the game” — but in the moment, it became a meditation on a sincere search for what’s real in life.

The spiritual side of things is frequently at the crux of Morrison’s music-making, and Friday he also addressed matters of the soul in “Enlightenment,” in which he shared his struggle with the quest for meaning: “Chop that wood, carry water/What’s the sound of one hand clapping?/Enlightenment — don’t know what it is.”

Those two songs encapsulate key themes Morrison returns to repeatedly, ideas that form a yin-yang exploration on his recordings and in concert: on one hand, his struggle not to succumb to forces that would hold him down, and on the other, a yearning to connect with humanity’s higher nature in an effort to be lifted up.

As those themes were expressed Friday, Morrison elicited cheers and shouts from the near-capacity crowd. So did his blues excursion that began with “Baby Please Don’t Go,” the standard with which his first band, Them, had a hit in 1964. The song was the first part of an extended medley that segued into Bukka White’s “Parchman Farm,” Morrison’s Them-era song “Don’t Start Crying Now” and a boogie-woogie version of Sonny Terry’s “Custard Pie.”

When the 71-year-old Belfast, Northern Ireland, native subsequently dipped into his groundbreaking 1968 album “Astral Weeks” for “Ballerina” near the end of the set, he shifted onto yet another emotional plane, delving deep into the meditative possibilities in its jazz-soul-folk mix. Guitarist Dave Keary served up an exquisite solo on a Spanish classical instrument that beautifully answered Morrison’s plaintive vocal.

Oh, yes, and Friday was St. Patrick’s Day. Yet anyone who came hoping to hear one of Northern Ireland’s most celebrated musician of the rock-era take on “Danny Boy,” “Whiskey in the Jar,” “I’ll Take You Home Again Kathleen” and the like probably also still expects Bob Dylan to play “Like a Rolling Stone” just like it sounded on record.

Still, Morrison did acknowledge the occasion, turning to the traditional “Star of the County Down” from his stellar collaboration in 1986 with the Chieftains, “Irish Heartbeat.” In doing so, he gave it an entirely new treatment, replacing the stately march of that rendition with a rollicking arrangement that turned it into a kissing cousin of Del Shannon’s “Runaway.”

“Happy St. Patrick’s Day,” he said at the end.

His set didn’t include “Into the Mystic” this night, but that’s just a technicality. He took his audience there anyway.
-Randy Lewis

Setlist (Thanks Mike S.)
Too Late
Have I Told You Lately
Magic Time
Sometimes We Cry
Precious Time
Days Like This
Wild Night
Moondance
In the Midnight
Why Must I Always Explain
Star of the County Down
In the Afternoon/ Stretching Out/ Sittin' Pretty
I Can't Stop Loving You
Bright Side of the Road
Whenever God Shines His Light
Baby Please Don't Go/ Parchman Farm/ Don't Start Cryin Now/ Custard Pie
Enlightenment
Ballerina
Gloria

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

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)