Berlin - Lou Reed Live Review @ Apollo (Manchester) - 29 Jun 2007

Lou Reed

Live Review

Lou Reed took a walk on the dark side for his UK premier of his masterpiece, Berlin. Enigmatic Reed marshaled his troupes - a children's choir, small wind -string ensemble and band (including Berlin's original guitarist Steve Hunter) through a mesmerizing 90 minute set. There was a peculiar air of formality and great sense of occasion for his highly anticipated and long overdue return to these shores. It was a truly rare appearance for the iconic ex-Velvet Underground frontman, and one well worth waiting for. Flanked by tasteful set and projected images, the cult icon astonished his loyal fans with one of the greatest gigs ever. Yes, ever. Twenty minutes late, clad in jeans and red t-shirt, he casually graced the stage to a wall of cheers and whistles as he silently took centre stage. Not a word spoken until the end of the main set, the star looked somewhat hesitant. People could hardly believe their eyes that he was actually here. I certainly couldn't.

The mean and moody Berlin, a dramatic story about a drug fuelled couple falling apart, was given new life as it ran in non-chronological order beginning with the kids dressed in blue gowns singing the Sad Song chorus, that stylistically set the scene . From the off, there was a gripping atmosphere, which contrasted sharply with the tension under which the album was recorded in London back in the early 70s. Next, the spotlight fell on Reed as he opened with "In Berlin, by the wall......" This pseudo-classical song was segued by a thumping intro to Lady Day followed by sumptuous choral back-up and blistering solos by Hunter. As the military footage rolled behind to introduce Men Of Good Fortune, Reed changed guitar, one of several on the night.

The complex Oh, Jim saw a flourish of band excitement bringing shouts of " Come on Steve" and " Come Kate" ( back-up singer ) as he egged on their dazzling individual talents into the crescendo. A classically rooted Interlude allowed Reed to do, for the first time, a sublime and understated solo. Reprising Caroline, 2, it became the most breathtaking piece of the night, with Reed accentuating each painful lyric well beyond the original version. Berlin's most harrowing and powerful sequence came by way of The Kids with images rolling behind the band as it led to the screaming wails of the frantic child. In sharp contrast, The Bed proved to be the most disturbing of all, as the tragic suicide of Caroline unfolded. The bed is where their children were conceived, and it's also where she slashed her wrists. Sad Song, again, was the stirring finale of a truly memorable Berlin live.