Concert at the Walbühne Berlin 2018: Nick Cave gets his fans up

Elvis is to blame. Who else? In the middle of the concert, at its peak, Nick Cave tells "Tupelo", the night Elvis, the king, was born. On the screen, a black and white storm rumbling, bending palms, causing floods, shaking wooden huts, and in front, Nick Cave grazes the black suit, summoning death and demons while his Bad Seeds bellow the heavy rock blues in the ground, "Oh God, help Tupelo!" He yells at the chorus under a pouring rain and seals the fate of the Mississippi city, which has carried the king of rock'n'roll. roll.

The fate of his audience in the Waldbühne was in this moment, which after all went from a song of 33 years, decided long ago. One might fear that an outdoor arena of 17,000 people would be too big a challenge for the master of the Gothpunk Ballade. Cave himself was amazed: "So many people – that's scary – and then it's so damn brilliant!"

The day is not one of the natural allies of Cave music. If Old Testament fury or ultimate inconsolability – these are feelings that are easier to bear in the shelter of the night than in the sun on a balmy summer evening. But Nick Cave, at the age of sixty and in the spring of the third artist, has found such an impressive presence, such a charisma, that he can turn off the light with a short, dark roar or a single wave of the hand

] "With my voice / I call you" it whispers at the beginning, the mantra of "Jesus Alone", a litany of futility of the last album "Skeleton Tree", and with each loop, it seems a little more urgent, more plaintive, more precise – until he, as it were, summoned the night: "Let us sit together till the moment comes." [19659002] As common as tonight, no one has ever had a concert with Cave. It has always been good to badert only through the intensity of the center of gravity. You do not watch him, you're not. We are with him. But how he literally crushes his audience tonight has another unexpected quality. In front of the stage, he has a small footbridge that he reaches by a small descent without steps.

He goes down the strip in front of the people, then he walks left and right, as if he was wading waving arm-sticks. For some pieces, he asks people to help with the song, "It could be really good, maybe," he says. Because "Weeping Song", that he improvises for a few minutes, interrupts, resumes, he runs to a small stage in the audience and enjoys sobs with thousands of voices. He searches for closeness and speaks directly to people, breaking his share with little jokes or singing to someone a friendly ironic line over his "shitty little phone" in the face

"damn devil"

He comes out of the bathtub in the crowd about 50 people that he stages in front of the Bad Seeds, while he pulls one out on his jetty under high tension – a very big picture that warms up the heart and which is simultaneously projected on the screen, The repertoire has brought Nick Cave together through the career, almost 35 years in two and a half hours, of the clbadic intensity "From Her to Eternity" on the hysterical "Stagger Lee" and marshy of his murderous ballad to the youngest songs of Soul's Night.

On stage, they are held together by his wonderful band and their Leaderzausel Warren Ellis. Inside, as a work and also in this fantastic concert, they live off his feverish energy, the indulgence with which he speaks against the hereditary curse, quarrels with God and the "bading devil" as he explains in German – from the Bacharach in the Palace of Admiral ” width=”80″ height=”60″/>

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