Rock: Good Gazpacho Recipe at Betty Pine

“It’s a new song. Finally, it was new in 2020…” “We were supposed to come and play in 2020, and it was pushed back to 2021. And in 2021, it was pushed back to 2022.” Jan-Henrik Ume seems kinda calm Ma and on stage, the gazpacho singer doesn’t actually have anything of a rage. But several times, during the concert of the Norwegian band on Saturday evening in Petit Pine, he revealed his frustration, and above all his happiness, to finally be able to perform his music in front of the Parisian audience. A crowd completely filling the small room, already primed to perform the British Pure Mind Revolution. The show, which we unfortunately saw only halfway through, is clearly divided into two parts, one progressive rock, the other more trip hop, but with a very satisfying outcome.

At 8:35 p.m., the Scandinavians took to the stage dressed in all black. And they’re quick to install their soothing and melancholy vibes, halfway between Marillion and Meuse, thanks to their (2020, therefore) novelty, “fireworks.” In the “Emperor Bespoke” that followed, guitarist Michael Krumer took the violin he would repeat several times during the concert, embellished with psychedelic images projected onto a screen behind the stage. Most Gazpacho surnames are built from the same components, variations, and often soft prepositions, followed by long buildups, but also sometimes with a percussion attack, such as during “Golem.”

The songs are cut into pieces

Ohme explique aussi que, le groupe composant majoritairement des concept-albums, le choix du répertoire joué en concert constitue un vrai casse-tête, et qu’il faut donc ne proposer que des extraits de chansons, qui durent sinon facilement plus d’un fifteen minutes. This is the case for example “I’ve Been Walking”, the second part of which was played only this evening, and made by some piano notes by Thomas Andersen. Or the cute “Hell Freezes Over”, where it is, the first part that has been suggested. Finally, for “Tick tock”, its third part is preserved.

On the other hand, Gazpacho respects the recipe and integrity of “Sapien,” one of the rounds of strength for their latest studio album to date, “Fireworker,” and that’s a good thing. Appreciating the live title the group just released (“Fireworking At St. Croix”, on KScope) is another thing, to appreciate live ethereal vocals, sharp guitar tones, or bits of keyboard, dotted on this long piece, which concludes the concert after 1 hour and 20 minutes. Before a consistent appearance of about ten minutes, composed of “Vera” and “Winter Is Never”, with poignant piano tones. Gazpacho, next time in a bigger room?

Note that fans of Progressive rock will also benefit from the return of concerts: Neil Morse will be in Paris (Trianon) on June 4, yes on June 13 (Bleil), and across the Atlantic on July 28 (Olympia).

Leave a Comment