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| Review: Forest of Raised Hands. The people of Prague craved Nick Cave like a saint |
Nick Cave's performances pose a significant challenge for epidemiologists. Following two years of pandemic-induced social distancing, the singer's interaction with the audience at the Metronome festival in Prague on Thursday was unprecedented. As he approached the crowd, numerous hands reached out to touch, hug, caress, and grasp him, creating a level of physical contact rarely seen before.
The sixty-four-year-old Australian, now residing in Britain, has always delivered high-energy performances, but this event took it to a new level. As he took the main stage at Prague's Výstaviště under the open sky, the lights illuminated his presence. Dressed in a dark blue suit with an open white shirt, a gold chain around his neck, slicked-back hair, blue socks, black shoes, and adorned with two rings on his left hand, Cave immediately engaged with the audience.
Throughout the performance, Cave maintained direct physical contact with the audience, choosing individuals to sing to and even allowing himself to be held up by the crowd. He accepted a rose from one audience member, held the microphone, and interacted intimately with those around him. It was almost as if he drew energy from the crowd, which he then transformed into dynamic and compelling compositions.
This interaction evoked biblical imagery, reminiscent of a crowd reaching out to a preacher or healer for solace. Cave seemed to convey a message of solidarity, inviting the audience to share their fears and sorrows with him. His deep voice, combined with his gestures reaching towards the sky, created an atmosphere of upliftment and emotional connection.
Cave's acknowledgment of the Prague audience's talent further endeared him to the crowd, even if it may have been a customary compliment. Throughout the performance, he alternated between playing solo on the piano and performing with his band, occasionally taking moments to simply sit at the keyboard and soak in the atmosphere before returning to the audience.
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| Review: Forest of Raised Hands. The people of Prague craved Nick Cave like a saint |
Following the initial sound issues in the first three songs, attributed to the challenging acoustics of the Prague Exhibition Center, there's a miraculous turnaround orchestrated by the sound engineers. As the concert progresses, Nick Cave's piano resonates throughout the venue, his left hand punctuating rhythmic chord progressions while his right hand explores simple melodies or mirrored octaves. During "Waiting For You," a breathtaking display of thirty spotlights casts a kaleidoscope of pink, white, and blue hues upon Cave, creating a mesmerizing visual spectacle.
Even the seasoned performer takes moments to reflect on his appearance, alternating between focused piano playing and glimpses at the large screens projecting him in various filters. Despite the self-deprecating remark about his age, the audience responds with laughter, appreciating Cave's enduring charisma.
The setlist provides a comprehensive overview of Cave's repertoire, spanning from early hits like "From Her to Eternity" and "Tupelo" from the 1980s to newer tracks like "Bright Horses" and "Ghosteen Speaks." Seamlessly blending ballads with raw rock energy, the performance showcases sonic diversity, culminating in the instrumental solos featured in the encore performance of "Vortex."
Included in the lineup are tracks like "White Elephant" and the title track "Carnage" from Cave's recent album collaboration with multi-instrumentalist Warren Ellis. Ellis, a stalwart presence onstage since the mid-1990s, commands attention with his dynamic electric violin performances and deft handling of a portable synthesizer, adding layers of colorful electronic sounds to the mix.
As the concert reaches its crescendo, Cave incorporates snippets from his extensive catalog, borrowing lines like "can you feel my heart beat?" from "Higgs Boson Blues" and the emotive challenge "cry, cry, cry" from the vintage "From Her to Eternity." Despite including phrases from songs not performed in Prague, Cave seamlessly weaves them into the fabric of the evening's performance, showcasing his improvisational skill and deep connection with his music.
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| Review: Forest of Raised Hands. The people of Prague craved Nick Cave like a saint |
At a pivotal moment, Cave amalgamates these phrases and begins to echo them rhythmically. "Cry, cry, cry, boom boom boom, breathe, you feel my heart beat." He paces, thumping his chest like a primal being, repeating the words incessantly until they morph into a sort of mantra, an enchantment. He whispers, shouts, and then bellows them, enlisting the audience to chant along.
Through relentless repetition, he strips these phrases of their conventional contexts, rendering them hollow, yet potent vessels for emotion—a declaration of shared experience, an affirmation of unspoken depths.
In this darkly captivating ritual, the listener momentarily slips into a trance, ensnared by Cave's spellbinding performance. The singer, renowned for his lyrical and musical prowess, discovers a novel avenue of connection with his audience, leaving a profound impression.
In Prague, words and music hold sway. Cave asserts that a love song epitomizes the most authentic expression of humanity—a confession of love signifies a declaration of faith, a conduit to the divine. Among Cave's repertoire, "Into My Arms" stands as a quintessential love ballad. Previously performed in the grand O2 arena, it now resonates intimately at Metronome as Cave sits behind a Yamaha grand piano.
The song encapsulates love in its purest form—a plea to a non-interventionist deity, a fervent desire for protection and guidance. "If he needs to direct you, then let him direct you into my arms." While perhaps not as poignant as its rendition at Michael Hutchence's funeral in 1997, the song's essence remains unchanged—a testament to unwavering devotion, transcending belief.
In the end, can a person in love express more?
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| Review: Forest of Raised Hands. The people of Prague craved Nick Cave like a saint |
Seated beside him, Ellis consistently spits into a designated bucket throughout the concert. "We'll auction off the spit bucket later," Cave jests. "Got twenty euros for this one. Any takers for twenty-five?" Fortunately, the auction remains rhetorical.
The band comprises six musicians along with two backing vocalists. Martyn P. Casey's role is pivotal, particularly given Cave's penchant for crafting songs around bass riffs, notably evident in the impressive rendition of "Tupelo." During the euphoric chorus, British guitarist of Croatian descent, George Vjestica, employs a vibrapka technique on the Telecaster guitar.
Vjestica intermittently switches to a red Gibson Hummingbird acoustic guitar, accompanying Cave in another concert highlight, "O Children," a song linked by younger audiences to an emotional scene in a popular film.
The Prague audience encounters a revamped lineup of the Bad Seeds, including Carly Paradis, a blond, bespectacled English Canadian composer who recently joined the band. Cave introduces her as new and exceptionally talented.
No further introductions are made for other musicians, including drummer Toby Dammit and Jim Sclavunos, who handles percussion, keyboards, organ, and glockenspiel. Sclavunos's distinctive contributions punctuate the rhythmic cadence of hits like "Red Right Hand," loosely inspired by John Milton's "Paradise Lost," where the titular phrase symbolizes divine retribution.
Nick Cave arrives in Prague less than two months after the tragic death of his 31-year-old son, Jethro. His recent loss, coupled with the passing of his son Arthur in 2015, remains unmentioned during the performance. He simply embodies his charismatic self, displaying exceptional physical, acting, and vocal prowess honed over four decades of performing. His resonant, deeply nuanced voice commands attention, each word hanging in the air with gravity, captivating the audience as if they were divine utterances.
While his performance may not resonate with everyone, Nick Cave undoubtedly leaves an impression, offering solace to some, inspiration to others, and stirring emotions that linger long after the concert concludes.
IMAGE: Nick Cave performed at the Metronome festival. Several thousand fans welcomed him in the open air
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IMAGE: Nick Cave performed at the Metronome festival. Several thousand fans welcomed him in the open air |
After thirty years since his initial performances in clubs and smaller venues across Prague, Australian musician Nick Cave took to the stage for an electrifying two-hour-plus open-air performance at the Metronome Prague festival. The event marked a significant return to the live music scene after several pandemic-related postponements, kicking off on Thursday at the Exhibition Center in Holešovice.
Drawing a crowd of thousands, including many who had fond memories of Cave's earlier shows and his affection for Prague, the sixty-four-year-old artist delivered a deeply personal and engaging performance. Throughout the concert, Cave connected with fans, shaking hands, allowing them to lift him, and expressing gratitude for the warm reception Prague offered.
Two screens flanking the stage provided close-up views, though they remained in black and white until the final moments when they burst into red alongside the climax of Cave's set.
With The Bad Seeds, Cave treated the audience to over two hours of music. While his fame spans the globe, Cave has cultivated a particularly devoted following in the Czech Republic since the early 1990s, with sold-out shows in iconic venues like Prague's Lucerna.
Cave's connection to Prague runs deep, as evidenced by his 1994 album "Let Love In," featuring the track "Thirsty Dog," inspired by the city's beloved Žíznivý pes pub.
Hailing from a culturally rich Australian family, Cave's early interests in literature, visual arts, and music blossomed into a prolific career, catalyzed by his partnership with Mick Harvey in high school. Their collaboration led to the formation of The Boys Next Door, later renamed The Birthday Party, marking the beginning of Cave's influential journey through the post-punk landscape.
The concert featured a blend of Cave's classic hits alongside selections from his recent albums, including "Ghosteen," "Skeleton Tree," and "Carnage," offering a fresh perspective for fans, particularly with the addition of backing vocalists.
The festival, spanning three days, kicked off with performances by Ukrainian band Go_A and local favorites Mňága and Žďorp, with Czech acts Lenka Dusilová and Čechomor rounding out the evening. Saturday's lineup includes headliner Beck, British duo Oh Wonder, and a special appearance by Sunnbrella, featuring David Žbirka, son of the late Miroslav Žbirka, fresh from Abbey Road studio.
Metronome Prague has seen a steady increase in attendance, with organizers reporting numbers swelling from 7,500 in its inaugural year to approximately 20,000. Over the years, the festival has hosted an impressive array of talent, including Kraftwerk, Primal Scream, Liam Gallagher, and Massive Attack, solidifying its status as a highlight on the international music calendar.
