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Y-SA-BEL ...on va avoir besoin de tes talents de traductrice ...
 Kravitz bares his soul for Metro Centre faithful By STEPHEN COOKE Entertainment Reporter Lenny Kravitz, right, plays a lead lick during the opening song of his Halifax concert at the Metro Centre on Sunday night. (Darren Pittman / Staff) Soul rocker Lenny Kravitz found more than 8,000 recruits for the Canadian branch of his Love Revolution at the Halifax Metro Centre on Sunday night. Making his Maritime debut on the first show of this leg of a cross-country trek, Kravitz used his New York-born, California-bred brand of cool to woo the crowd, utilizing the genre-blending brand of music that he’s been perfecting over nearly two decades. Wielding a black Gibson Flying V, Kravitz had his audience on its feet instantly with the thick, churning groove of Bring It On, from his latest album, It Is Time for a Love Revolution. Soon he and his four-piece core band were joined by tenor and alto sax and trumpet, which brought the tune to a fever pitch before the black leather-clad frontman switched gears to the CD’s title track, and the revolution’s battle cry. Ditching the guitar and his sunglasses, Kravitz started to work the crowd, getting people clapping and punching the air with each horn sting before adding a clavinet solo to the song’s mutant Motown beat. Finally it was time to borrow a page from the James Brown playbook, as the singer grabbed the mike stand for one last chorus before plunging to his knees. "I can’t believe we finally made it back to Canada, lawd have mercy," gasped Kravitz after his opening one-two punch. "Thank you for giving us such a beautiful, warm welcome." With this, Kravitz began poring through his catalogue of hits, hitting the crowd hard with Always on the Run and Dig In under a canopy of marquee lights that gave the evening a glitzy, Vegas kind of feel. He got a bit mellower on Fields of Joy, with its quiet intro and mellotron, but soon his longtime afro’d guitarist Craig Ross was letting it rip with one of several of the night’s memorable solos. The show took a turn into ’70s R&B and disco, first with the string-driven falsetto soul of It Ain’t Over ’Til It’s Over getting hips swaying all through the arena, then with a live extended version of Love Revolution’s Dancin’ ’Til Dawn that became a jam of epic proportions. With a groove borrowed from the Rolling Stones’ Miss You, Kravitz stretched the song out to nearly 20 minutes, with a great honking sax solo, the singer climbing onto the edge of the stage to whisper the lyrics like a come on to the front rows, and a side trip through Pink Floyd’s Another Brick in the Wall and Michael Jackson’s Billie Jean. And just when you thought it couldn’t go anywhere else . . . conga solo! The whole excursion was a daring move that paid off; the crowd was with him all the way, even obliging with a hearty singalong to the aforementioned ’80s classics. From channelling the Stones, Kravitz moved on to raising the spirit of John Lennon’s Plastic Ono Band on Be, from his 1989 debut, Let Love Rule. Starting with the stark melody, he delivered a dynamic vocal, climbing to a wail of anguish before sinking to a drained whisper, with a trumpet solo by Michael Hunter giving the song a cool jazz vibe that gave it an entirely different life of its own. The mellow vibe continued with the rock ballad Stillness of Heart and the new tune I’ll Be Waiting, the latter performed at a transparent grand piano, with Ross turning in another intuitive solo. But soon it was time to return to the righteous path of rock, with Kravitz stirring the crowd back into a fist-pumping frenzy with Where Are We Runnin’ and the familiar Can-Con strains of the Guess Who’s American Woman, with Kravitz proving to be as much ambassador as revolutionary, finding a peaceful common ground where arena rock and gut-feeling funk can co-exist in harmony. Sunday’s show also had a bit of hometown flavour thanks to opening act Sloan, especially as band members reminisced about Metro Centre shows they’d seen as teenagers. "Patrick and I saw Rush here, but I bet I was more excited," grinned singer/bassist Chris Murphy. "Me and my friend both smuggled a beer in and we were both going to chug it as soon as Geddy Lee said something," guitarist Patrick Pentland recalled. "He didn’t talk to the audience for an hour-and-a-half." Sloan played a high energy 40-minute set befitting their arena surroundings, sticking to radio hits like The Good in Everyone and the recent single Believe in Me off its latest release, Parallel Play. For the second half of the set, the band was upstaged by Pentland’s young son Marshall, who sneaked on stage with a tambourine and proceeded to out-cute the Canadian alt-rock idols, but also earned his dues getting the crowd to clap along to Money City Maniacs. Seeing Marshall watch his dad end the song with an over-the-top guitar solo, it’s hard to imagine him wanting to do anything else when he grows up. Knit'n'Roll
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en attendant la traduction voici le set list
Bring it On Love Revolution Always on the Run Dig In Fields of Joy (long R&B and jam session with bits of The Wall, Billie Jean, It Ain't Over til it's Over) Dancin til Dawn Be (with trumpet solo) Stillness of Heart Ill be Waiting Where Are We Runnin' American Woman Fly Away Let Love Rule Encore Are You Gonna Go My Way on peut noter qu'il n'y a rien de neuf pour l'instant pour les canadiens à part "love revolution" juste aprés bring it on |
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