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DPAS
LIVE REVIEW Schloß
Wertheim, Wertheim First impressions of Wertheim were very encouraging with the River Tauber and the giant Schloss perched on the hill overlooking a very quaint Medieval town, the perfect place for a Blackmore's Night concert. Time to don renaissance attire and get ready for the main event, but first a slightly embarrassing if leisurely walk was required to get to the gig much to the amusement of the local Wertheim population who seemed to have turned out in force just for the laugh! There was a pretty impressive army of fans collecting outside the Castle gates (including the owners of our hotel) snaking down the main approach. The arena was an intimate affair surrounded by castle walls and the perfect setting for a Blackmore's Night concert. Support group La Zag are a group of accomplished minstrels who specialise in Medieval and Renaissance instrumentals similar to the Geyers but delivered with Italian flair, and they must be a little unique as they are a family band. They clearly seemed to be enjoying their moment in the spotlight and were well received by an enthusiastic audience. Just time for a spot of seat re-arranging (thanks to the agreement of some very helpful locals) before it was time for Blackmore's Night to hit the stage. Opening with a surprise choice of 'Sake of Song' followed by 'Cartouche' off the excellent new album 'Ghost of a Rose', the band including Ritchie looked relaxed and were clearly enjoying the spectacle. The stage has once again had a revamp and is adorned with brickwork effect curtains and a renaissance style backdrop depicting a fairy tale castle completed by beer kegs positioned strategically around the stage and surrounding the stationery instruments. 'Play Minstrel Play' and 'Under a Violet Moon' followed. Latest band members 'Bard David of Larchmont' and 'Lord Marnen of Wolfhurst' seem musically proficient, in particular the latter whose fiddle playing was awe inspiring and deserved applause was well received in a flamboyant display of appreciation. Drummer 'Squire Malcolm of Lumley' impresses me more every time I see him and it is noticeable he is equally at home with renaissance percussion or all out rock. Candice really displays an air of confidence on the stage and this is echoed in her vocals both on stage and in the studio. Ritchie showed on numerous occasions why people travel to Germany from all over Europe to see him. 'Past Time', 'Minstrel Hall' and 'Soldier of Fortune' followed, the latter beautifully sung by Candice with the usual deft touches from the maestro in black, before much applause heralded the first appearance of the Strat for '16th Century Greensleeves' complete with extended guitar solo. 'Diamonds & Rust', the Joan Baez version (not the Judas Priest version as Candice was quick to point out) works live as well as it does on the new album with a haunting vocal from Candice and some superb emotional touches on the acoustic guitar from Ritchie. A song which was very well received by a hushed audience. 'Mr Peagrams Morris & Sword' once again gave TMIB the opportunity to display his acoustic credentials before a surprise and another workout for the electric 'Village in the Sand'. 'Durch den Wald zum Bachhaus' is followed by another new track 'Queen for a Day' with the slow tempo giving way to the up tempo instrumental section. Title track 'Ghost of a Rose' builds from humble beginnings to a colossus with the haunting chorus flowing over and over and is a real standout track which is considerably extended live with the band firing on all cylinders before the wave washes over you for the last time and ecstatic applause signals the end of a Blackmore's Night classic. 'Renaissance Faire' prompts a mini stampede of Henry VIIIs and Anne Boleyns as the front 3 rows become one and Candice dedicates the song to those fans wearing period costume. Ritchie's hurdy-gurdy signals the intro to 'The Clock Ticks On' which is made even livelier by the re-introduction of Albert from the Geyers and La Zag as support, making the song fairly bounce along and close the first part of the proceedings. 'All for One' which provides another outing for the Strat and works really well live is followed by 'The Storm' from 'Fires'. 'Home Again' gives the audience the opportunity to demonstrate their vocal skills in an extended sing-along section much to the bands appreciation. After another short break Bard David introduces audience favourite 'Writing on the Wall' which comes complete with a few bars of 'Burn' and the compulsory guitar solo a little conservative tonight before 'Dandelion Wine' finally closes proceedings leaving the Wertheim audience to show their appreciation of another excellent gig.
Burggarten,
Rothenburg Friday, and another sunny morning so up at the crack of dawn for a final flying visit of Wertheim armed with mandatory cameras before hitting the road for the short journey to Rothenburg and our final gig before heading home. Rothenburg ist ein sehr schon stadt if you happen to be on foot, or have four legs and a mane but on four wheels it was something approaching a nightmare. It was hugely contrasting set list from the night before and one which saw Ritchie, much to the delight of the older established fan base, employ the Strat at very regular intervals. 'Cartouche' opened proceedings which was greeted with great enthusiasm from a captivated and attentive audience before an extremely unexpected, very life like (and brave!) impression of a cockerel by my partner in crime Mr.Stanbury threatened to bring proceedings to a halt. The out burst was well received by both band and audience a like and clearly impressed Ritchie and amused Candice who had great problems trying to negotiate the opening verse of 'Play Minstrel Play' without bursting into fits of laughter. Similar set list to Wertheim before 'Fires at Midnight' which featured mesmerizing acoustic guitar from Mr.B and yet more splendid fiddle improvisations from Lord Marnen of Wolfhurst which was greeted with the same enthusiasm at Wertheim by both musician and audience alike. 'Minstrel Hall' followed with Mr.B weaving his usual magic up and down the fret board with stunning accuracy, precision and speed. 'Back Home' prompted the now familiar foray to the front before there was a few minutes interval whilst we were all ushered back to our seats (and the correct ones). After 'Soldier of Fortune', the opening bars of 'Temple of the King' signalled another popular addition to the modified set list before '16th Century Greensleeves' followed again complete with extended Strat solo. This song really rocks live, powered on by drums, bass and guitar and has become a firm favourite with the audience. In total contrast 'Diamonds & Rust' with haunting guitar and powerful vocals slows the tempo. 'Mr Peagrams Morris & Sword' interspersed with snatches of 'Whole Lotta Love' leads into an acoustic / electric version of 'Village in the Sand' . Title track 'Ghost of a Rose' is no less impressive than Wertheim with the violin, guitar and drums building the song to a towering crescendo. 'Bachhaus' again showcases the talents of the new fiddle player before 'Queen for a Day', 'I Still Remember' (another addition from the previous show), 'Renaissance Faire' (foray no.2 to the front) and 'Clock Ticks on' complete with instrumental accompaniment from La Zag closes the first part of the show. Encores and the beginning of a somewhat surprising electric section (perhaps as a result of a request to 'crank it up Ritchie!') opened with a thumping version of Hendrix classic 'Purple Haze' with Sir Bob of Normandy handling lead vocal duties, followed by Geyers inspired tune 'All for One'. A short break before the opening bars of 'Swan Lake' give way to 'Writing on the Wall' c/w snatches of 'Burn' and lengthy electric solo well received by the faithful following. Yet more surprises 'Difficult to Cure' and an electric version of 'Self Portrait' which fairly rocks as does Jethro Tull classic 'Rainbow Blues' from the new album before another short break. Whilst enjoying these songs enormously I could not help notice the expressions on the face of Squire Malcolm who was obviously having a ball on the skins (lucky git!) The ecstatic audience quickly pick up on (and thankfully drown out) my rendition of 'Black Night' which signals the entrance of the Strat yet again for a stomping version of the said tune ably supported by Candice doing her best Ian Gillan impression (vocals only!) before the most famous three chords send the crowd into raptures and 'Smoke on the Water' blasts out from the speakers with a rather bemused Candice once again passing vocal duties to Robert of Normandy. Finally calm is restored and the more sedate 'Wind in the Willows' (another change from Wertheim) follows before 'Now & Then' closes the set and for me the pick of the two concerts I was lucky enough to witness. The end of a truly wonderful four days which we had both thoroughly enjoyed for a number of 'leasons': some memorable experiences, great music, great company, beautiful scenery, great beer and a bit of stress to spice things up.
Review: Richard Gillitt. |
