Instead of touring with an opening act, the English rock legend presented the concert in two generous parts, essentially opening for himself.
Author of the article: Published Sep 10, 2023 • Last updated Sep 11, 2023 • 3 minute read Join the conversationYou can save this article by registering for free here. Or sign-in if you have an account.
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Peter Gabriel
We apologize, but this video has failed to load. Try refreshing your browser, orCanadian Tire Centre, Ottawa Reviewed Saturday Peter Gabriel elevated the rock-concert experience in Ottawa on Saturday with a mind-blowing show at the Canadian Tire Centre that included stunning visuals, a world-class band and a showcase of carefully orchestrated new material along with the hits. Instead of touring with an opening act, the English rock legend presented the concert in two generous parts, essentially opening for himself. There’s a new album due this year and a handful of singles have already been released, but to hear them in concert, complete with multi-layered arrangements and specifically designed visual images, allowed for a fascinating journey into the mind of a pop-music maestro.
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Article contentIn what was just the second show of the North American leg of the tour, Gabriel was the mastermind of a well-paced, theatrical rock ‘n’ roll spectacle that moved between thoughtful new material and old hits that sent the crowd over the moon. After all, it had been almost four decades since he last performed in Ottawa.
The show started with a pair of tracks from the early ’90s album, Us, before shifting into new fare from the forthcoming I/O album that not only demonstrated Gabriel’s concern for the planet and its inhabitants, but also served as a reminder that we’re all part of an interconnected universe.
“We’re still at the stage where we think humanity is at the centre of everything and it all goes around us,” he said at one point, “whereas actually, we’re just a part of everything.”
Each song was illustrated with its own unique lighting-and-video design that Gabriel said was created by new-media artists, the dazzling colours and images unfolding on an array of shapeshifting screens that seemed to dance around a circle that hovered over the stage. The attention to detail was incredible.
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Article content Advertisement 3 Story continues below This advertisement has not loaded yet, but your article continues below. Article contentAs for the man himself, Gabriel’s distinctive voice was remarkably strong and clear, and he looked to be in great shape at 73, with plenty of energy for dashing across the stage, pummelling the piano or showing off some neat choreography with his band members. One visual highlight was the sight of Gabriel “painting” with a wand that created swaths of coloured light around him.
Naturally, the band assembled for Gabriel’s world tour was outstanding, anchored by his longtime mates, master bassist Tony Levin, guitarist David Rhodes, drummer Manu Katche and studio guru Richard Evans. But they were brought to new heights by the contributions of a contingent of younger players, including the wonderful singing and cello-playing of Ayanna Witter-Johnson, ethereal violin and vocals by Marina Moore, a blast of brass from Josh Shpak and a smattering of other sounds from Don ‘Don-E’ McLean.
The first half closed out with an exhilarating version of his 1986 monster hit, Sledgehammer, while second-half highlights included a blissful home stretch that balanced old faves like Red Rain, Big Time and Solsbury Hill with new tunes And Still and Live and Let Live before reaching an emotional peak with a double encore of In Your Eyes and, ultimately, Biko.
Advertisement 4 Story continues below This advertisement has not loaded yet, but your article continues below. Article contentBeneath an image of anti-apartheid activist Steve Biko, that 1980 anthem struck a particularly resonant chord, leaving the audience chanting as Gabriel departed the stage, his farewell words reminding us that now is the time to make the world a better place.
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