Public pretty big - 4000 people. Atmosphere fantastic. Music nice, maybe too loud
sometimes.
(Kony Konecny; Prague 20.5.93)
REPORT FROM GERMANY
I was at the concert in Münster on April 27. and I fortunately stood right in front
of the stage. After "the Graduates" had played, Suzanne entered the stage about 9
p.m. She wore the outfit from the 99.9F° cover (suspender pants and the knife
pendant). She started with "Fat man and dancing girl" and during the show she
created a very intimate atmosphere. She seemed to enjoy playing a lot and asked us
whether we would like to travel with her to the next concert for we would be such
a great audience. Although I guess that she said this each night it sounded really
honest to me. In the middle of the set she put the guitar aside to perform a
children's folk song a capella and when she played "Tom's Diner", "Luka" and
"The Queen and the Soldier" the whole audience started to sing with her. It was
really a moving experience. At the end of the show she played two encores before
the lights went on and the stage was pulled down, with us still cheering. After the
show I had the chance to meet Suzanne very briefly at the backstage entrance. She
signed my guitar and looked indescribable beautiful. Unfortunately there was no
more time to tell her all the things I feel for her and her music, but I will never
forget this evening with a great concert and this look into her fascinating eyes. I
guess in a strange way I fell in love with this woman.
(Philipp Hofmann; Münster 27.4.93)
First of all I have to point out that I'm an absolut Bruce Springsteen Maniac. And
you got to know that I bought the 'solitude...' Album just for 'Luka' only. And
'Days...' just because of 'Book of Dreams'. Her first Album I bought just to be
complete. In 1992 came the fourth Album and what did I have to do... of course
bought it to be complete.
So I listen to her music from time to time, learned to love 'Marlene...', 'In the
Eye', 'Tired of Sleeping' and 'Heroes Go Down'.
But the Total Change came in Aschaffenburg 1993. And when I say Total, believe
me, I mean it that way.
A friend asked me if I would join him for the Vega Concert. Well, I thought their
seems no chance to see Springsteen this Year, so I need another, hopefully good
Gig. (For those of you who are interested, or not, Springsteen came)
I can't say how many people joined the Unterfrankenhalle in Aschaffenburg, but it
couldn't be more then 700. So we stood in the first Row with Hands on Stage and
had the Time of our Life.
That Girl who came on Stage was the most powerful woman I have ever seen. Even
in the slow Songs. And I can't say if the Band gave the best, but what I heard was
the best. Okay, 'The Graduates' played a little bit too long, but everything was
forgotten when Suzanne Vega appeared.
And even 30.000 People on a Springsteen Concert can not gave you such a
harmonic and enjoyable Atmosphere than these 700 in Aschaffenburg did. I don't
have to talk about the Concert itself, all of you will know it pretty good by own
Experience.
Just let me point out how incredible short it was, I could have listen to her for
much more Hours and beyond.
By the way, my friend and me had a little bet just for fun, because I suggested that
Suzanne Vega will not be red anymore, because she changed so often her Hair. I
lost a glass of beer.
Now I'm not interested in just a few songs anymore, I hear all Albums over and
over again. Well, Springsteen and Vega is a real strange Combination, but I love it
and will not stop to do.
Let me say a big 'Thank you' to Suzanne Vega on this page for the Inspiration and
the Experience she gave me. I can't wait for the next Album. Let me please end
with the words of Springsteen: 'Well Brunettes are fine, man - and Blondes are fun
- but when it comes to get a good job done, - I'll take a red Headed woman.'
(Uwe Kraus; Aschaffenburg 28.4.93).
The concert was in Huxley's Neue Welt, a rather small venue, I haven't been in
before. But I was quite satisfied with it then, because to me it was exactly the size
I would wish to have for a show like Suzanne's. It was also no bigger problem to
get to the front and so I casually laid my arms in the stage's edge and desperately
waited for the show to begin. The support act was a musician from Australia who
obviously has been living in Berlin for a couple of years. He was a bit weird,
ha,ha, not only that he played his right-hand-Strat lefthanded without relocating the
strings; he also had a girl filming him for a private video for proving to his parents
in Australia that he no longer plays in subways..funny he was indeed. I don't know
how it came about to get him as the support act.. but he was o.k. anyway.
About ten p.m. the band came onto the stage and started playing the rhythm for
'Fat Man And Dancing Girl'. A moment later Suzanne came on, wearing a white
shirt and the suspender trousers. The song finally sequed directly into 'Rock In
This Pocket'. After this one she said some things in German and introduced the
next song 'Marlene'. I was a bit surprised that she comes up with this big song so
early but I soon had to realize that she really don't need any particular song being a
climax of the show. No, the songs are all of a common quality so that none is
really topping another one. Of course there's always a more enthusiastic welcome
in the audience for 'Luka' than f.i. for a song like 'Blood Sings' but only because
'Luka' had the bigger airplay over the years and not because it is the better song.
What is topping the show is only Suzanne herself. She used to "dance" across the
stage, hammering the chords for the more rhythmic things and also delivered a
brilliantly clean finger picking for the quiet songs. I think the most impressive is
just her alone on the stage, playing things like 'Queen & Soldier'. But she also
managed to convince with her performances of the rockier songs. And that is
certainly some kind of musical development - being able to reproduce the new
sounds of the album in a way that impresses. Personally I sometime like the live-
versions better than the album tracks, so f.i. 'Fat Man' which seemed not that
much "technical" as it is on the album. I shouldn't forget mentioning tha band who
did a great performance too. Especially bassist Mike Visceglia left a brilliant
impression on me. He had a fine sound which was always clearly present but never
too dominant. I liked that. Sometimes you have bass players you can't even hear
out of the whole mix or they play that loud that it's disturbing. Mike dit it great
somehow, and he also didn't lose control during a technical problem with his
amplifier.
But back to Suze. I haven't seen other shows yet so that I', not able to do any
comparison. Anyway, it seemed she enjoyed it. Of course, she also was very
concentrated while playing particular passages but then she was immediately the
bright-eyed, friendly smiling nice girl again - the way we know her. The set she
played covered most of the last album (I was actually only missing 'Bad Wisdom').
Inbetween she played all the great songs from the former albums and only 'Gypsy'
would have been another fine addition to the set. The song which was most
differently played in comparison to the original was possibly 'As Girls Go'. This
song finished with real hard guitar sounds which you can't hear in a better way in a
Lou Reed-Concert (reguards to Marc Shulman)...
After 16 songs Suzanne returned to the stage to do 'Tom's Diner' The crowd joined
for the chorus and Suze seemed to enjoy it. She came back with the band once
more for 'As Girls Go' and 'Room Off The Street'. Finally the last encore she
gave alone, with her black Yamaha-Guitar, singing the beautiful 'Queen &
Soldier'. I think, a song worth the finale. To summerize it: Suzanne wouldn't even
need a band 'cause she's so good on her own. But such a brilliant band she also
shouldn't withold from us. They go well together, I think. There's nothing I could
really criticize in the show. She did her very best, regardless of the extreme heat in
the hall. She is just absolutely great! Thanks Suzanne. -End of speech-.
(Steffen Maier; Berlin 21.5.93)
Veränderung...
...die "neue" Suzanne Vega auf Tour. Ich war gespannt wie Suzanne und Band die
Songs vom 99.9F° live interpretieren würden. Als es dann entlich so weit war Sie
und Band live in Hannover, Düsseldorf, Hamburg und Münster live zu sehen war
ich sehr überrascht. Eine Veränderung war zu erkennen die aus Suzanne eine neue
Miss Vega machte. Sie war musikalisch wie persönlich "gereift"; erwachsen
geworden. Alleine ihr Outfit und Auftreten war ein krasser Gegensatz zu allen
vorhergegangenen Touren. So wie sie nun auf der Bühne auftrat, so direkt und
"frei" wurden auch die Songs interpretiert. Ich war wirklich positiv erstaunt über
die neue Miss Vega, denn mit Alles hatte ich gerechnet.. nur damit nicht. Auch die
Versionen der alten Songs im neuen "Musikgewand" waren hauptsächlich gelungen,
wobei mich persönlich (besonders in Deutschland) die zeitweise ausgedehnten
Keyboardsolos etwas störten. Da ich von den Konzerten in Deutschland, besonders
dem Auftritt in Münster, angetan war beschloss ich spontan Suzanne auch in
Antwerpen und in Paris live zu sehen. Diesen Entschluss sollte ich nicht bereuen.
Bei diesen 2 Konzerten war die Bandbesetzung verändert, so natürlich neue Song-
variationene möglich, wie ich persönlich fand zum Positiven. Das schönste Ereignis
erlebte ich nach dem Antwerpen-gig. Mit einem Brieffreund wollte ich Backstage
auf einen Brieffreund aus Belgien warten, so hatte ich die überraschende
Möglichkeit Suzanne Vega kurz persönlich zu treffen. Es ist wirklich ein
"Erlebnis" Sie "kennen zu lernen". So aufgeschlossen, interessiert, natürlich und
ohne jedes "Stargehabe" kam Suzanne auf die wartende "Fans" zu, das man
vergessen durfte eine bekannte Persönlichkeit vor Augen zu haben.
Suzanne und Tour waren wiedereinmal ein Erlebnis, auch wenn in Deutschland bei
manchen Konzerten die Publikumsresonanz zu wünschen übrig liess, das mir
persönlich immer in Erinnerung bleiben wird... ich freue mich jetzt schon auf die
nächste Tour bei der ich bestimmt wieder dabeisein werde...
(Ellen Limbach; Hannover 22.4.93; Düsseldorf 23.4.93; Hamburg 24.4.93;
Münster 27.4.93; Antwerp 24.5.93; Paris 25.5.93)
REPORT FROM GREAT BRITAIN
Suzanne gave a rousing war cry to the audience and employed megaphone
splendidly for 'Blood Makes Noise'. Though not a person crazy about clapping this
song deserves a rhythmic blood-thirsty response which I alone gave at the concert.
As usual Suzanne tells a funny story or two and as usual she gets narky with the
people if they don't laugh which I always find twice as amusing.
(Declan Cooley; Wolverhampton 8.4.93)
REPORT FROM ITALY
A beautiful concert in front of 1200 enthusiastic listeners. Suzanne sang 21 songs
with a surprising vigour and a great certainty. In the middle of the evening she told
us: "You're a beautiful audience, tomorrow we'll be in France and you should all
come with us in our bus". Probably her best show in Italy.
(Maurizio Molé; Milano 9.5.93)
REPORT FROM HOLLAND
Suzanne Vega in concert: 1986 and 1993.
The concert of Suzanne Vega on May 23rd was my second aquaintance with her
live-performance. The first was in 1986, april 25th in Maastricht. Then she was
just starting, and I guess it was her first tour (in Europe). Now she has found her
place in the scene. Between those two concerts (7 years apart) there are some
striking resemblances and differences.
Different was her way of presentation. In 1986 she was a bit shy, not experienced
to perform for a rather big audience. It was all new to her. You could see it, feel
it. Now there was a big selfconfidence, just knowing how to perform. She has
found the brittle balance between the way of acting on stage and bringing the
(hidden) messages of her songs.
Still the same was the perfect live performance of the band as a whole, with every
instrument just in place. Still the same were also the songs and the messages in
them.
And that is what it all is about, at least for me.
The lyrics are the key-items. They are poems on their own.
The compositions and arrangements are not exceptional, no rather 'normal' and
straightforward. There are a lot of singer/songwriters who perform in the same
kind of style, like e.g. Michelle Shocked, Jill Sobule, Lyle Lovett and of course
"grand lady" Joni Mitchell.
Listening through Suzanne's 4 albums there is a evolution in musical style, but it is
more as a result of arrangements than of composition. this was clearly showed at
the concert. Playing old and new songs in a mix-up (some with a renewed arran-
gement like 'Neighborhood Girls') it was remarkable for me how those songs all fit
quite good together, and how they show a nice analogy in compositional built-up.
For me that's no problem. The 'simplest' compositions are quite often the strongest
ones...and they lead the attention to where it belongs...The lyrics.
They are almost uncomparable. The mystic way of writing about (autobiographic,
often negative) experiences is beautiful. She is painting images which leave enough
room for the listener to colour that with his/her own interpretation. She leaves
questions unanswered, not because she won't give them, no because she also don't
know them too and/or everyone has to answer them for their own. And that's a part
of her life, I understood, and how she's dealing with the past of it. Even Leonard
Cohen couldn't break through that wall of mysticism in a beautiful interview.
I read the 'Cohen interview' just a few weeks ago, and I felt quite 'happy' that
Suzanne's explanation of some songs fit quite well with mine. Although you can
interpret the lyrics in many directions without 'mis-using' them. I think that's one
of the strong parts of them. But you have to listen carefully, because the lyrics are
absolutely not easy to understand. As told, this is in contrast to the music. This
unbalance between music and lyrics emphasize the mystic character of the lyrics
and her performance. Absolutely unique, as far as I know. Bob Dylan is the only
one I can think of who gives me the same kind of feeling.
In that Suzanne differs a lot from singer/songwriters who also make emotional
(often autobiographic) songs like Neil Young, John Hiatt, Sinead O'Connor,
Richard Thompson, Joni Mitchell etc. In their performance music and lyrics are
much more (sometimes perfectly, Neil Young) in balance.
But not for Suzanne Vega.
She feels the need to 'bring out' her message in a unique poetric way as a
fundamental part of dealing with the (her) past.
She uses a straight forward 'simple' musical style to embed them for the audience.
It is up to us to understand 'her' message and try to learn from it. In that way her
concert is more than just one evening listening to a perfect live performance...Far
more.
(Jeff Simmelink; Rotterdam 23.5.93)
Even though I immediately loved Suzanne Vega's latest CD 99.9 F°, and had
listened to it constantly, I was not prepared for the concert in Rotterdam on May
23rd. At first I couldn't really get into it. Now was she that plainly dressed, rather
calm singer-songwriter I remembered from three years ago in The Hague? Or was
she a boggy, wild, dancing, and new Suzanne? She was both! How fascinating to
hear and watch her exploit those two extremes! And well she did it! I just loved
every bit of it, and it's definitely one of the best concerts I've ever heard!
(Chris Haak; Rotterdam 23.5.93)
Well, Vega did it again. The first time I visited a concert, I knew her records so I
could imagine what the gig would be like. But this time, I knew the album but
didn't have the slightest idea how she would ever perform this 'techno-like' songs
on stage. I must admit, this woman looked like a complete other person than the
singer in 1990. Using a megaphone and singing with her back towards the crowd
like Michael Stipe, dazing on stage... But I liked it, I liked it very much.
One thing though made me sigh, because it looked like it marked the end of an era
(patheticly spoken): Marlene On The Wall, performed as the third song of the set,
without any further announcements but with heavy guitarsolos. It shouldn't be, the
classical version is better by far, and it still belongs in the encores rather than
'hidden' at the beginning. For me, this made clear that Vega has radically changed.
(Huub Ritzema; Rotterdam 23.5.93)
In Rotterdam we had a real international Suzanne Vega Party. With fans from
Italy, Sweden, England, Brasil, and even the Netherlands! But there could have
been more people, the concert was quite far from sold out...
The support act was a pleasant surprise, I really liked Ian McNabb, even though it
was very loud.
Suzanne was loud too...Her concert had good and some bad moments, it was very
varied in many ways. What surprised me a bit was that the songs I like least from
the CD were among the best performed live, like 'When Heroes Go Down' and
'Blood Makes Noise' (complete with a megaphone). I'm not too sure about some of
the new arrangements ('Marlene On The Wall' as a rock song?), especially when
she tried to combine an acoustic beginning with a rock end in one song, as in 'Rock
In This Pocket'. But I liked the acoustic version of 'Neighborhood Girls'. My
favourite song remains 'Small Blue Thing', probably for always and ever. Anyway,
mixed feelings about a mixed concert, but I wouldn't have missed it!
(Marion Kippers; Rotterdam 23.5.93)
REPORT FROM SPAIN
De 'artista invitado' turned out to be pretty boring. Playing the guitar in a folky
way can better be done by the lady herself. And she didn't disappoint. The band
was great, the light was beautiful and I liked for sure the changes between the soft
and the more rocky songs. And the way she tried to speak Spanish was cute. The
audience loved her for that. Compared to the concert of 1986 she has become much
more of a performer. Fore sure more enjoyable, but I am glad she hasn't forgot
how to perform 'Small Blue Thing'. In a soft almost silent way. Muchas gracias!
(Harriët Smeding; Barcelona 14.5.93)
REPORT FROM SWEDEN
Writing a country report sounds fun. But alas! There was no concert to write
about in Sweden or in any of the other Scandinavian countries. Why? I guess we'll
have to buy more singles next time...
For me, personally, it wasn't all that bad. I saw Suzanne both in England
and Holland, where I also met some other members of the Info Center. It's very
comforting to know there are people who share your frame of reference, who share
your passion. Besides, it's always nice to meet interesting people!
What about the concerts? Well, those danceable new songs are simply
irresistible! Especially when Suzanne sings through the megaphone...The whole
show was very strong, as I hope you've had the chance to experience yourself, and
Suzanne seemed happier and more comfortable with performing. I only wish she
would tell more stories!
There was also a notable difference between the English gigs, with Mitchell
Froom on keyboards, and the Dutch one, where Suzanne's old band, minus Anton
Sanko, was back. Although Froom was definitely more successful in reproducing
the punchy, happy side of 99.9F°, I liked the Rotterdam show the most - Suzanne
was so intense and focused. Just like the first time I saw her live, I really felt that
the songs were profoundly truthful.
Karien was a bit disappointed with the Dutch audience, but, coming from the
cold north, I was quite pleased with the reception Suzanne got - the success was
indisputable.
Surprisingly few people stayed to meet Suzanne back-stage. It was late, and
when she had signed our respective items, she left us to our memories, dreams and
reflections.
When will we see her, and each other, again?
(Hugo Westerlund; London 5.4.93.; Corby 6.4.93.; Rotterdam 23.5.93.)
SUZANNE IN AUSTRALIA, NEW ZEALAND AND JAPAN
The Australian/New Zealand/Japan tour went very well. The shows were well
attended, and the reviews excellent. Marc Shulman broke a bone in his foot while
jogging during the two weeks off between the European leg and leaving for New
Zealand. He did the whole tour on crutches, and had to sit down during the shows.
At the Auckland show, Neil Finn of Crowded House came on stage for the encore.
He and Suzanne sang a brilliant duet of his song, 'Weather With You' (from the
Crowded House album 'Woodface'). The audience went nuts.
some annotations from the reviews:
A Suzanne Vega concert is a little like the artist herself - simple, unadorned and a little kooky (...) the consensus was that despite her low-key, melancholic style, the titian-haired performer was anything but ordinary (...) Suzanne Vega is not for the mainstream but for those a little left of centre, with an appreciation for evocative lyrics and a taste for reality. (The Australian 5.7.93)
With an arresting maturity, the songs use their disparate elements - the soothing qualities of her voice, her angular lyrics and a harsh, rhythmic electronic babble - to create real musical drama. This change of format allows much greater experimentation and Vega even occasionally shelves her melodic skills to go after a good groove. (...) Centre stage, the easygoing and intimate Vega stops every so often to chat with an adoring audience. Her stories, like her songs, are quirky, surprising and usually layered with meanings that take a few minutes to sink in. Folksy, fun, fabulous. Occasionally even frenetic. But not folk. (Sydney Morning Herald 5.7.93)
It was just great. Let's hope it's not another seven years before we get to share an evening with her. (Drum Media 6.7.93)
Suzanne Vega returned to Auckland last night to a strange new phenomenon.
"People never used to dance at my shows," the New York singer-songwriter deadpanned early in her first concert since 1987.
"Not at the front anyway. Some would dance down the back and twirl around. Some would just come to read."
Dancing certainly made more sense last night at this reasonably full and seated show.
Vega, who first made her name with relatively gentle folk/soft rock memorable tunes, which were pretty good reading in themselves, based her set mostly around material from her quirky, rhythmic, most recent album, 99.9F.
A kaleidoscopic record that blends strange textures with Vega's increasingly ambitious pop sensibilities, it's also proved a cool way for a survivor of the mid '80s folk uprising to enter the noisy '90s.
Although Vega obligingly peppered the set with old favourites like Small Blue Thing, Luka, Marlene on the Wall, and Solitude Standing, those still thinking of Vega as the folk-singing girl next door were in for some surprises.
Some slightly loud-ish, some unfamiliar, many both, but all mostly fun.
Especially with Vega's sense of humour between the songs -- "I invited you to dance. I didn't say it was going to be easy," she quipped while introducing an old slow acoustic number -- as well as her quietly captivating voice during them.
And aspecially too, with the kick of her band on songs like Fat Man and Dancing Girl, Rocket In This Pocket and Costelloish When Heroes Go Down early up.
A fine, often-enchanting show. I lost my page after the first song.
--Russel Baillie
(New Zealand Herald, June 30, 1993)