Sunday, February 14, 2016

Nathan Carter Live in Dublin (The Helix 14 Feb 2016)

Its back to the future with this hunk of burning man talent At times its hard to decide whether Nathan Carter wants to be a worldwide star or if he’s just a handsome lucky young guy, thrust into the spotlight in a live Irish and UK music scene that has become complacent , dull and starved of fun and sex appeal. Cool rock acts and introspective singer songwriters may garner plenty of critical acclaim and even supply us with the odd classic record but, as many music venue owners and record company executives have discovered to their cost in recent years, only the very biggest of them manage to put bums on seats on a regular basis and even then only on the odd national or world tour. With Nathan Carter, its very much back to the future in terms of his decidedly old fashioned road to fame, a regular gigging now suddenly superstar big name act, prepared to tour more or less constantly, play big and smaller venues, make slick often pop inspired country/folk records, who looks good and is not uncomfortable appealing equally to a young and older female fan base and even a few straight and gay men thrown in for good measure. The result, a now massive and diverse fan base, ever increasing CD sales and sell out gigs wherever he plays. Throw in a solid talented backing band and it’s a recipe for good old fashioned success. This is Nashville meets the Showband & Ballad boom era with a touch of modern smouldering sex appeal thrown in, this guy can simply do no wrong at present. Gradually attracting the same packed houses in cities like Dublin and Cork as he has been getting for over 5 years in more rural venues and slowly building a significant UK fan base too, his sold out Helix show (the first of 2, a second date in March has already sold out) was another milestone gig for the clearly ambitious 25 year old star. More all round entertainer than pure country and western this handsome guy has a really interesting evocative voice which remains largely untested to date by the often safe carefully selected material. This has been changing albeit slowly with his current Decca (Universal) record company. While his recordings to date have been largely composed of tried and tested classic Irish and International country and pop hits from the past, if Nathan Carter is to have significant international success and genuine longevity he needs to start recording more original material. Meanwhile for now his audiences particularly in Ireland, cant seem to get enough of his brand of energetic nostalgia mixed with slick well devised performances and more than a little on stage sexual energy. Particularly effective in his Helix show was the wise focus on his strong vocals, his skills as a musician (Carter is a talented pianist and accordion player in his own right) and the experienced band which gives Carter a slick international sound. Far more impressive live than his more stage managed occasionally slightly uncomfortable TV appearances would suggest, this is a performer with a very bright future if he is prepared to slowly take a few more risks with his material. His performance style, sometimes reminiscent of an early Elvis exhibits an understated but still obvious sexual energy which , means various female underwear regularly thrown on stage and hit songs with lyrics about women getting drunk on tequila and stripping off ‘for fun‘. Clearly this guy know exactly what he is doing and where he wants to take his already successful career but there is also some solid talent to reckon with here, Nathan Carter is more than just a pretty face. Particular highlights at the Helix were a soaring interpretations of classics such as ‘The town I loved so well’ & ‘Caledonia‘, his own hit album track ‘Beautiful life’ and an effective intimate solo set with just Nathan & a white baby grand piano, where he really connects with his live audience. His signature smash hit ‘Wagon wheel’ opens the inevitable encore set which ends in a frenzy of Nathan worship to rival the stars of Country’s (and Pop’s) golden era. This is a performer who is old fashioned in many ways yet packaged perfectly for the modern world and whose real strength lies in the fact that he isn’t afraid to be sexy, open and genuinely entertaining. His cooler but much duller contemporaries and wannabe pop impresarios (yes POP impresarios) should take a good look at the reaction of his female fans, who as one twenty something devotee remarked to me at the interval, at last have a man they can fancy as well as listen to.

Wednesday, February 10, 2016

Why we shouldn't be too judgemenatal about Donald Trump or despair at the sexism directed at Hilary Clinton

Before we laugh too loudly at the prospect of Donal Trump as President or marvel at the sexism faced by female political colossus Hilary Clinton, stop for a moment and reflect on the nature of Politics closer to home. US politics is easy to criticise or even openly deride, the larger than life often cartoon like Donal Trump, the bookish cerebral Bush brother Jeb (so different to his ex-President Brother GW) and the slew of still relatively unknown republican rivals (outside of the US), if one of them manages to enter our psyche eventually so be it. All seem bizarre choices to be even under consideration as the next President of the most important country on earth yet Trump and the yet to be reckoned with Jeb Bush are both relatively close to being the next Commander in Chief. On the Democratic side both Hilary Clinton & Bernie Saunders while eminently more appealing to us here at home, the UK and across Europe, have also seen their respective campaigns trip up on the often treacherous vortex of madness and mayhem that is the US political process. Before we laugh or sneer however at the often crazy world of US politics, let’s look at our own political system and the ironies it often throws up. Inept and occasionally corrupt politicians are regularly elected in these Islands and end up rubbing shoulders and even sometimes sitting in Cabinets with eminently able and yes even honest political colleagues. This happens often both here in Ireland and at Westminster. Continental Europeans, despite producing some brilliant politicians are also just as likely to elect far right neo fascist candidates with large levels of voter support and European history is littered with extreme political figures of which Hitler is merely the best known. Before we balk too much at Trump’s much criticised and inconsistent views, how about analysing why so many French people vote for far right candidates, how so many Italians supported openly corrupt leaders right to the bitter end. Closer to home why do so many UK voters support political figures whose primary goal seems to be to isolate them from the European Union at a time when an economically and socially unified but culturally diverse Europe is more crucial than ever. Here in Ireland can we really say that all our politicians aren’t at least as ‘out there’ as Trump sometimes appears to be and, to those who profess to be shocked by the sexism directed at Hilary Clinton, why have we still never had a female Taoiseach or chosen a woman as leader of at least one of the two largest political parties? Before we laugh too loudly at US politics , reflect for a moment on the often equally bizarre political landscape of Ireland, Great Britain and Continental Europe, where if we are really honest, our politics can seem be just as bizarre at times, maybe the yanks aint so crazy after all…..

Saturday, June 7, 2014

Still Cliff - Still Rockin, Cliff Richard Live In Dublin (Bord Gais Grand Canal Theatre) June 7th, 2014

Prince of Rock and Roll Delivers Knockout Dublin Performace. The second last show on a world tour that has spanned almost fifteen months saw the veteran rocker take the stage on a hot summer night in Dublin’s beautiful Grand Camal Theatre. Looking at least 15 years younger than his 73 years, Cliff Richard showed yet again why he has remained on top for over 50 years. In a glittering career that has seen him record one hundred albums and enjoy a volume of hit singles that will probably never be equalled, Cliff has lasted for one simple reason, he’s an outstanding singer and live performer. Slick, sophisticated, charming, relaxed and yes still sexy in his 70s (how does he do it?) Cliff was looking and singing better than ever in his sold out Dublin show. Showcasing his most recent hit album (his 100th release) ‘The Fabulous Rock and Roll Songbook’, Cliff and his band provided some knock out moments from the album such as the recent hit single the Little Richard Classic ‘Rip it up’. ‘Poetry in motion‘, ‘Sealed with a kiss’ and ‘Fabulous‘. Trawling through his back catalogue of smash hits the new show featured new performances of Cliff standards such as ‘Miss You Nights‘, ‘Wired for Sound‘, ‘Ocean Deep’ and his biggest ever hit, the late 70s pop classic ‘We don’t talk anymore’, which brought the Dublin audience to their feet, where they remained for the rest of the show. In a two hour set with two encores, Cliff Richard rocked the theatre and worked his captive audience into a frenzy. Other highlights on the night were a new arrangement of his first ever hit ‘Move It’, a soulful homage to his movie Summer Holiday, a trip down memory lane to his Eurovision past and a twenty five minute long energetic closing rock and roll classics medley which brought the house down. This enduring icon, misunderstood by some, is adored by his fans, who span the ages from young to old. His stunning vocal style, excellent material and most of all his innate ability to remain relevant in an era when performers have become disposable after one hit record, sets him apart as one of the true Princes of British pop. His many detractors over the years have failed to stop the march of one of the icons of pop music, the UKs own Rock and Roll Royalty. Cliff Richard closes his tour with a gig at Cork’s Marquee on Monday 9th June, the hit album (his 100th UK /Irish chart entry) ‘The Fabulous Rock and Roll Songbook’ is on sale now.

Saturday, February 15, 2014

Noel Coward’s ‘The Vortex’ Venue: Gate Theatre Dublin Date: February/March 2014 Director: Annabelle Comyn.

Dublin’s historic Gate Theatre revives one of Noel Cowards most under appreciated masterpieces. Noel Coward’s controversial and leftfield piece caused a minor scandal in 1920s London where its heady mix of sex, hypocrisy and denial mixed with enough alcohol, tobacco and cocaine to shock even modern theatregoers, brought to the fore the more serious side of the occasionally superficial but always entertaining playwright and actor. This new 2014 production at Dublin’s Gate Theatre directed by Annabelle Comyn features a cleverly chosen mix of established and emerging actors and is the frst production from the Gate Theatre 2014 season. Flawlessly lit by Chahine Yavroyan and beautifully designed by Paul O’Mahony with costumes by Peter O’Brien, this Coward revival is further evidence of Micheal Colgan’s brilliant stewardship of the legendary Dublin Theatre. The Vortex, darker and less clichéd than much of Coward’s other work is one of his finest plays. As relevant today as when it was first produced almost a century ago, The Vortex is a beautifully written study of human need at its most visceral. The cast of this new production gel together beautifully under Comyn’s creative and innovative direction. ParticularLy impressive are Susannah Harker & Rory Fleck Byrne as Florence and Nicky Lancaster, the mother and son who share the same need for unconditional love and the same inability to achieve it. Star turns include Helen Saville’s beautifully observed ‘Fiona’ and an acerbic tour de force from Mark O’Regan as ‘Pauncefort Quentin’ one of Coward’s most amusingly written gay male characters. The Gate Theatre itself is thriving and producing theatre which compares extremely favourably with its West End counterparts. Its legendary founders, the late Hilton Edwards and Micheál MacLiammóir, would be delighted to see their creation still producing relevant and successful drama in the 21st century while continuing to attract some of the world’s leading actors and most importantly, sold out audiences. The Vortex runs at the Gate Theatre Dublin until March 22nd.

Monday, September 30, 2013

Alison Moyet ''The Minutes Tour' (UK/IRL Opening Night) Cork Opera House - 30 Sept 2013

As opening nights go this was as perfect as it gets. No major sound issues, a first night audience to die for in one of Europe’s emerging cities, a venue and set which were almost clinically perfect and a star exuding a renewed confidence as a live performer showcasing an album that has already been a major UK chart success and which marks a major return to form for one of the 80s most innovative pop artists. Even the warm up act 'Richard Walters' was astoundingly good with a voice that seems capable of seducing even the most jaded ear (where has he been hiding?). The set list featured all the knockout tracks from her 'Minutes' album interspersed with new takes on some of her classic 80s and 90s pop hits. Unapologetically revisiting her electronic roots, Moyet was ably assisted on stage by two stunningly talented musicians weaving a seductive soundscape and working her Cork first night audience into a frenzy. Never overly nostalgic and always original and challenging, Moyet admonished one of her fans for asking her to sing her hit ‘Invisible’ which she firmly proclaimed “I am never singing again” although she had no such qualms about revisiting most of the remaining back catalogue of major hits. Her audience seemed aware that this incarnation of their idol is a very different one to the 80s pop star they first encountered. Now very firmly a pop Diva (in the best sense of that word) this outstanding vocal magician is looking and singing better than ever and is riding the wave of what has been her biggest album in a decade. Apart from the classic hits which have stood the test of time to become pop classics, highlights of the night came very firmly from the new material with tracks such as ‘Remind Yourself’, ‘When I was your Girl’, ‘Love Reign Supreme’ and a stunning evocative performance of one of the new album’s most original songs ‘Filigree’. Finishing with a rousing revival of one of her initial Yazoo breakthrough hits ‘Don’t Go’ this tour is a must see throughout UK this Oct and extending later to the US & South Africa. Frankly it is just great to see Moyet back on form, being appreciated for the major talent that she is and having hit albums again after almost 30 years of making great original music. Don’t Miss the second coming of this true vocal genius and a slick stage show that proves yet again how good the UK are at producing brilliant pop music, if only they would ditch the XFactor rubbish and return to supporting long careers for classic and talented artists such as Alson Moyet. &

Monday, September 23, 2013

New Reviews Coming Soon- Alison Moyet, Jennifer Lopez, Dionne Warwick, Dickie Rock, Celine Byrne, Carmen, Johnny Logan, Barry Gibb and more

Red Hurley - How Great Thou Art - The Spiritual Hits Concert - National Concert Hall (NCH-Dublin) 21 Sept 2013 & Gaiety Theatre Dublin Feb 3-8 2014

Always challenging his loyal audience, Red Hurley’s Autumn 2013 tour was billed as something different and so it is. Capitalising on his recent Stateside success in the Gospel market, Red Hurley has managed yet again to buck the trend and achieve what is nowadays a relatively rare ‘Sold Out’ sign at leading Irish venues. Such was the demand for tickets for this new show that the NCH is staging a second night in November, evidence of this legendary singer’s enduring appeal. The secret to his continued success and the loyalty of his devoted fan base is simple, that voice. Like a great wine it has matured with age and the man himself has also weathered the years well. The new show produced by Pat Egan Management showcases a more mature but still exciting performer augmented throughout by a chorus provided by leading Irish choirs and an impressive big band. The show even has its very own special guest Diva, Opera Ireland’s Sandra Oman a relaxed and assured performer and a wise choice to pair with Red. Highlights, and there are many too numerous too mention, include a knockout version of the classic 80s track ‘Living Years’, a moving and frankly outstanding interpretation of the leading negro spiritual, ‘Sometimes I feel like a Motherless Child’ (dedicated to his friend and mentor Maya Angelou) and the soaring ‘How Great Thou Art’ redefined by Red in a recent recording that has ironically given him one of his most successful ever tracks in the UK thanks to Terry Wogan’s constant support on his radio show. This new, part Gospel. part Pop. part classical (lite) show was somewhat of a risk for a man more associated with a string of floor filling pop hits in the 70s & 80s but, thanks to some extremely high production values, it works extremely well as an evening of sophisticated entertainment. No surprise then that it has been packing leading venues across Ireland this autumn such as the aforementioned NCH, Cork Opera House & Limerick’s University Concert Hall. The staging and overall standard of musicianship under musical director Eugene McCarthy are consistently strong throughout and serve the show's star well. In the midst of it all, Red Hurley yet again confirms why he is one of Ireland’s national musical treasures. A man who has been entertaining audiences for over 40 years, Red Hurley has known the inevitable high and lows of a long career in the music industry. The affection in which he is held by Irish audiences has been augmented in recent times by long overdue international success particularly in the United States but also in the UK, a market which seem to elude him at his pop hits peak. His majestic voice is best appreciated live and his vocal versatility enables him to handle pop, rock, country and of late Gospel with apparent ease and is the main reason why he still has such a substantial audience. There is no sign of struggle in hitting those high notes but in keeping with a performer who has learned over the years to look after the vocal chords, Red knows when to ease the pace and showcase his considerable middle vocal range with phrasing and projection that still set him apart from other lesser singers. One of Ireland's most sucessful ever male singers his appeal seems enduring and crucially the power of that voice is undiminished. This new show is a must see. Catch this latest tour at leading venues throughout Ireland this autumn and the second gig by popular demand at NCH on Sunday November 17th tickets

Saturday, July 7, 2012

Leo Sayer Live - Olympia Theatre Dublin - July 5th 2012 - Why we still need Leo.....

Leo Sayer has not played a live solo show in these islands for a long time, too long. He is one of the truly great stars of pop music, a man small in stature but a giant in terms of talent and artistry. His early success followed by a string of hits around the world in the 1970s and early 80s have left a legacy of pop songs which few solo male artists have managed to equal in terms of quality. His Dublin concert on July 5th at the historic Olympia Theatre was preceded by an appearance the previous weekend on prime time television in Dublin. During the interview with top broadcaster Miriam O’Callaghan, Leo talked about his life in music and his new life in Australia where he now lives. He also sang one of his classics, ‘When I Need You’ to a rapturous reception from the studio audience. Nothing however could have prepared Leo for the frenzy of adoration he met from his Irish fans at the Olympia concert. The sell out show was a triumphant return to live performance for one of the UKs greatest ever pop stars. The fans had the time of their lives as for Leo , he summed it up best when he said, “We lived in amazing times guys”. A reference no doubt to his 1970s & 80s heyday when he ruled the pop charts on both sides of the Atlantic. It is a tragedy that we have been effectively deprived of this man’s astounding talent by a pop music industry that has in recent years lost its way, preferring to promote karaoke cover artists with short lived music careers instead of developing and nurturing long term music talent. Leo was indeed fortunate to have made his debut in the 1970s when the music scene was diverse and eclectic. Lets hope Leo will come back more often to the UK and Ireland as he has lost none of his power as a live artist. His Dublin concert showcased some of his biggest hits and the band were clearly having a ball on stage playing the songs which have matured into some of pop’s most impressive classics. From the early recordings ‘One Man Band, Train and The Show Must Go On’, mega hits ‘You Make Me Feel Like Dancing and When I Need You to later more introspective tracks like the haunting ‘Orchard Road’, all the hits were there and more. The man has lost virtually none of his vocal ability nor has his zany on stage persona diminished. I first saw Leo live in front of 20,000 fans in Cork in his 1970s heyday and tonight in Dublin on July 5th 2012 almost 35 years on Leo Sayer is still a star with one big difference, he has become a LEGEND. Leo Sayer returns to the UK and Ireland in late 2012 in the ‘Once in a Lifetime Arena Tour’ with pop icons Hot Chocolate and David Cassidy. Don’t miss it.

Wednesday, April 4, 2012

Steps - The Ultimate Tour - O2 Arena Dublin - 3 April 2012

The Return of a truly great British Pop Group

I have been to many pop concerts over the years. I even recall seeing a previous Steps concert back in their 1990s heyday and to enjoying every minute of it at the time. Of all the pure pop concerts I have seen over the years however nothing prepared me for what amounts to one of the most spectacular live concert comebacks in UK pop history. Steps new show ‘the Ultimate tour’ is quite simply one of the best produced most professionally performed pop shows I have ever seen. Mixing Vegas production values with competent often soaring vocals and a well chosen selection of pulsating pop music, the result is a triumph and puts the former pop superstars firmly back in the limelight. The capacity crowd at Dublin’s biggest indoor arena the O2 were enraptured by the show from start to finish. Opening the previous night in Belfast and working its way around the UK to a sold out 2 night run at London’s O2 later in the tour, the newly reformed Steps comeback show is truly a spectacular nights entertainment.

From the outset the new show grabs and holds the attention with intricate 3D graphic backdrops, innovative set designs and a brilliant troupe of dancers who mix eroticism with amazing performance technique. At the centre of it all the triumphant live return of one of the best British pop acts of all time. Unsurprisingly the greatest hits feature heavily throughout from the innocent debut single ‘5.6.7,8’ to the sophisticated slick pop sound of later hits like ‘Deeper Shade of Blue’ and ‘Summer of Love’. So too do ‘Steptacular’ solo interpretations by band members of more recent pop classics such as Maroon 5s ‘Moves Like Jagger’ remixed with Rhinanna’s S&M, Jennifer Hudson‘s smash One Night Only to a surreal rendition of the Celine Dion power ballad ‘I Surrender’ performed by Claire Richards, always the strongest singer in the group but in her own right one of the best female pop voices of her era. The show rarely stumbles nor does it stray too far into nostalgia preferring instead to reposition the classic Steps material in a new more confident and mature setting. The finale, lasting almost twenty minutes and ending with the inevitable ‘Tragedy’ (their biggest hit) is one of the most frenzied pop set pieces ever staged working the audience into a true pure pop music high in every way as intense as any opera or rock performance.

Often derided in the 1990s simply for being a pop act in an era when pop itself was seen as deeply uncool by elements of the British music press, they were in many senses the sole occupants of the pure pop space. This was something at which the British had so excelled in the past but which the music establishment became deeply uncomfortable with in the era of Britpop, a misnomer if ever there was one. Bands like Blur, Pulp and others were not Pop bands at all. They were indie inspired rock bands. Therein lay the difficulty for bands like Steps who found their often brilliant pop music dismissed by a music establishment who simply could not or would not recognise the validity of a great ‘Pop’ band. This despite their huge commercial success and a slew of truly great hit records probably eventually led to the band‘s early break up depriving British pop prematurely of one of its few great acts. Rock and Pop are not the same thing, they are distinct musical genres and need to be recognised as such. The failure to appreciate this has led to the now fractured nature of popular music in general and to a decline in live music performances and thus a music industry in crisis. Co-existing rather than mutual intolerance could lead to a new era of great distinct rock and pop acts emerging rather than the consistent demonisation of fun escapist pop by a jaded narrow elitist music press. Steps suffered the same fate as their idols ABBA in the 1970s. It is often now forgotten that ABBA while massively successful were, at their peak, also deeply derided by the music press. Like ABBA it is only many years later that a true impartial assessment of their discography shows us just what a great pop band Steps were and still are.

It is interesting that despite a recent number 1 UK chart placing for their greatest hits collection, the band seem to be having difficulty getting a release date for their new material. Lets hope that the rumoured deal with Universal leads to a new second era of Steps original pop music introducing a whole new generation to the art form that is fun escapist pop music. Welcome back Steps, a great pop band. The new concert tour is quite simply their best to date. If over cautious record companies allow, Steps could easily be poised to produce a whole new cluster of modern pop hits as the energy of the band and the enthusiasm of the fans seems undiminished.

Steps the ultimate tour continues around the UK until end of May 2012 with special appearances later in 2012 at various festival venues.

Daniel Lindon April 2012

Monday, July 4, 2011

Red's Way

Concert: A Summer’s Night with Red Hurley
Venue: Olympia Theatre, Dublin
Date: Sat 2nd July 2011

I have reviewed Red Hurley’s live shows many times in recent years, spanning his gradual rise back to the top of Irish Showbusiness and his new found significant international success in the United States & UK. It seems everyone is praising the singer of late from leading Irish media figures such as Kevin Myers & Ryan Turbridy to American luminaries such as Oprah Winfrey and her own mentor Maya Angelou. Yet it wasn’t always this way.
Not so long ago Red's once glittering career had gradually ebbed away and his live appearances and recordings were few and far between. During the 1990s in particular, he seemed almost invisible spending most of his time in the USA. Gradually in the 21rst century all that began to change. Just as he had done in the 1970s & 80s it was through well produced recordings that Red Hurley slowly rebuilt his career. Unlike his contemporaries of the showband era, Red always placed a premium on well produced records often working with the very best international producers and writers at a time when others were content to churn out covers and poorly recorded material. It was this professionalism in the end which enabled him to make what must surely be one of the most spectacular comebacks in Irish Showbusiness history.
During the past 5-6 years he has recorded almost half a dozen successful albums, appeared regularly on top TV shows including his own US TV special (Recorded live in Ireland) and mounted at least 2 concert tours a year, selling out shows at Dublin’s Grand Canal Theatre and other nationwide venues despite the recession. It seems Ireland has fallen in love with Red Hurley all over again.
There are few who can possibly envy Red his return to the top. Well liked by his peers and admired by musicians and composers alike for his wide musical repertoire and sheer vocal power, the man is literally riding the crest of a wave at present. Despite this he is never complacent and always striving to innovate and even educate his own audience on differing musical styles.
His Olympia Theatre summer show on July 2nd (part of a small Irish summer tour) showcased once again not just his still stunning voice but his varied musical influences. The concert naturally featured his crowd pleasing greatest hits but also material as diverse as Jerome Kern’s ‘The way you look tonight’ and Paul Anka’s Sinatra classic ‘My Way’ which he sang with moving pathos and deliberate restraint. Never derivative and always original he managed to avoid a Sinatra esque imitation finding new depths to the song and virtually making it his own.
A songwriter’s dream, Red Hurley can find so much to say through his skilful and impeccably judged vocal performances breathing new life into classics and reenergising even his own back catalogue. Some of his biggest domestic hits ‘When & Love Is All’ have been brought into the modern era with fresh contemporary arrangements. He has even ventured into Gospel music similar to his idol Tom Jones. Both singers have recently recorded well received Gospel Albums aimed primarily at the US market but which have crossed the Atlantic and found an audience here and the UK.
Red Hurley is due back in Dublin later in 2011 to play a Christmas Concert at the Helix which will no doubt once again be a sell out. 2011 has been a good year for him. He has returned to the top of Irish Showbusiness with a high profile Late Late show appearance, sell out Irish and US tours and seen his talents recognised as never before by a wide variety of critics. Red Hurley is one of those rare singers who can actually sing ‘My Way’ with complete authenticity. Despite the setbacks and career ups and downs, he has endured and prospered with a voice which sounds better than ever and a stage presence that has not diminished. The man has indeed done it 'his way' remaining faithful to his own unique musical style but always open to change and innovation and indeed to pushing his own musical boundaries and those of his loyal fanbase. He is quite simply, a living legend.

Daniel Lindon