In Nick Cave’s concert, one song stood out above the rest – Why wasn’t that the idea of ​​the whole concert?

Nick Caven charisma would carry, even if he appeared in the lobby of Ideapark at the opening of the ball sea.

Cave performs behind the piano in Helsinki’s Musiikkitalo three sold-out nights in a row. He is supported by the familiar band Bad Seeds and a pair of horns by Warren Ellis instead, Radiohead’s bassist Colin Greenwood.

Tuesday’s opening was the familiar Cavea from last years. He charmed his audience and chatted casually and humorously between songs. He remembered five years ago very well Conversations-performance at Musiikkitalo. Then you could hear even more talking. He even remembered a woman in her twenties who worked at the morgue in the audience at that time and where she was sitting. Cave asked if he was there now. Was not.

Sean O’Haganin in the interview book Faith, Hope and Carnage Cave talks about how groundbreaking the 2016 release was Skeleton Tree album tour was his career. During that time, Cave found a new relationship with his audience. From the viewer’s point of view, he became directly dependent on the audience’s attention, looks and energy. The new relationship with the audience has affected his performance night after night.

He also wants to gig constantly. In autumn, Cave will tour Europe again with the Bad Seeds with a new album, including in Stockholm. Did you also have to do things for the summer?

Tuesday In Musiikkitalo, it was at least not completely clear why exactly this concept existed. Why Radiohead’s Colin Greenwood, why not the Bad Seeds’ Warren Ellis? Or why not Cave alone?

At the beginning of the concert, Cave stated its most obvious justification: the songs that are presented in a more bare way reveal the core that might be buried in the band’s playing. Papa Won’t Leave You, Henryn Cave guided the interpretation in the direction of a lullaby. The performances were strong, but I didn’t really see anything revolutionary happening or being revealed. Cave also has solos or solo blocks of numbers at band gigs.

The best moment of the concert was from outside Cave’s production, borrowed from T. Rex Cosmic Dancer, which Cave has performed before. Its contrasting melancholy got under the skin. Greenwood and Cave played in symbiosis and interpreted on their own. Greenwood got space for a bass solo. The composition of the concert seemed motivated.

After the song, I wondered why this isn’t the whole idea of ​​the concert: Cave covering others and also a few of his own songs. A different set would also better justify a different composition.

Radiohead bassist brought the occasion a highlight and added interest. But yes Greenwood was mostly a name on the poster, a missed opportunity.

Greenwood’s charisma is of a different kind. Cave is a rooster and Greenwood likes to lay his eggs in a corner. Next to Cave, it looked like Greenwood had been put in Las Vegas.

With Radiohead on stage, Greenwood has found his peaceful place in the shadows. He’s at home creating an alternative rock groove with the credit types. It wasn’t exactly available in the ballad-driven repertoire. Greenwood was visibly excited at the end when he got to play Stagger Leen bass flow.

Cave could have had a clinical basic bass player anywhere. But a basic bass player would hardly be suitable for Cave, who hunts for dramatic peaks. Still, Greenwood’s role was specifically to be a basic bassist who does not step an inch on the master’s plot.

Cosmic Dancerin outside, Greenwood was very cautious and did not take a role. After the songs, he clapped as if he himself was watching the show. The bass certainly completed the sound picture, but Cave would have done well alone. He also performed many songs on his own.

Cave does not play with the precision of a session musician. He is both an impressionist and an expressionist pianist who plays with charisma and instincts. On Tuesday evening, these sides were first visible Higgs Boson in Blueswhich went bobby-dylan-like a bit off the original note, and then Mercy Seatin during Cave frantically pushed the keys towards the manala.

There was also a fascinating contrast in the difference between Greenwood and Cave, but they couldn’t quite find common ground, quite literally in some places.

Cave is a great performer, and it was not difficult to enjoy the over two-hour concert. Cave encouraged interjections and song requests, the atmosphere was fun and intimate. At the beginning of the gig Jubilee Street roaring with hope Michaelista became the mascot of the concert, which Cave rumored throughout the concert.

The idea of ​​the assembly has been better on paper than in practice. In terms of the audience, I hope that Greenwood and Cave’s chemistry will work better in the concerts on Wednesday and Thursday.