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Suddenly a silence, all the agitation in the RDS, all the movement, the laughter, the impromptu meetings and the snatches of conversation heard seeming to consist of commercial song titles. It is agreed; Paul Simon has an amazing job and his fans know everything. Nobody wanted to miss that. The atmosphere is a relaxed anticipation, the sun comes out even.
The plaintive sound of the strings draws all eyes towards the huge stage. The public sits as one. A gracious instrumental introduction announces that Simon is about to interpret his clbadic America, a song that he has sung so many times but the only thing that he lacks, and the current international embarrbadment that the USA experience, did the beauty of Simon's lament. even more charged with emotion. Paul Simon, master musician and now very wise of the tribe of artists of the world, brought his magic and a certain mark of kindness, a vision that combines a dull political wisdom. There is a message, only it does not engage in jostling or rhetoric.
People have danced 50 times to leave your lover, even early by Simon's criteria. He had mentioned that it was his farewell tour "but maybe I will keep coming back to Dublin, I said it in Scotland." He likes his little jokes. Over the years, Simon became more comfortable speaking to his audience, the show was never a problem, but he was not always so good at small talk. His songs are written for the rhythm: "So if you want to dance, only the couple behind you might not like it." The couple did not care.
Mother and Child Reunion and I and Julio Down in this schoolyard also moved the crowd
Brilliant band
As always at a Simon concert, he is accompanied by a brilliant group of world-clbad musicians. and it leaves them plenty of opportunities for dazzling improvisation. The same higher production values that he brought to his recordings shape his live performances. Simon, the most musical of singer-songwriters, can add and embellish with ease, his voice soft, mid-range and always soft, never showy or tense. His support singers are great and the Dublin crowd is not too bad either – tenacious with an obvious command of the lyrics. The evening sun began to gain strength for a memorable sunset. Simon thinks about it; He is very impressed and comments
"Hi my friends" and gasps – on my part – the accordionist points out that the next issue is The Boy in the Bubble, one of Simon's greatest hits of the Graceland album. A subtle little interlude starts with Dazzling Blue and slows down the mood. But fast like lightning, it speeds up with That Was Your Mother. Simon amuses himself and remembers asking his father, a musician, to teach him chords, then explains how he quickly traded an electric guitar for an acoustic guitar. He could have said, "Well the rest is history" only he did not – instead he demonstrated his skill with a fine selection of immediately recognizable musical prologues, including The Sound of Silence and Homeward Bound. Cue his spiritual rewriting.
He presents Rene and Georgette Magritte with their dog after the war, a song that he wrote after watching a book in the house of Joan Baez. He calls it his surrealist song.
After a staggering performance of Can not Run Goal, about a nuclear disaster, he mentioned a song that he had written (almost funny considering the amount he wrote), one that many people had sung; an "that Artie has made his own" but Paul Simon to his mildest reasoning as it is a farewell tour, "I want to recover my lost child." Most of his fans had a good idea that the "child" in question was – his spiritual bridge over the troubled water. In an arrangement with Why Music, an outstanding young ensemble, it must be pointed out that on a scene in Dublin at the age of 76, Paul Simon singing at a lower register, certainly recovered his wandering child.
Tribute
spoke about his friend guitarist Vincent Nguini from Cameroon and congratulated musicians from West Africa asking if the music was coming from the land, and in tribute to Nguini has performed a song by The Rhythm of the Saints, Spirit Voices.
It is quite logical defiance as to why the RDS did not stand up and did not go to the skies while You Can Call Me Al was played to the great pleasure of the crowd
Parents. The age bracket could be described as democratic; the very young shared the cramped spaces with people of more than a few distant generations. The three girls in summer dresses were killing, as in slaughter, The Boxer yet they certainly knew the words. The RDS, without a horse in sight, has taken on the appearance of a large community. A security man who said he was still recovering from his exams, said that "this is the only place to be."
Still crazy after all these years resonated with a lot of older couples, and there's that eloquent saxophone solo. Maybe this should be still brilliant after all these years and here is an artist with Graceland about to send the dance crowd into a new frenzy. And for a final? The Boxer, Homeward Bound and The Sound of Silence. Nobody wanted to leave.
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