September 30th, GM Place, Vancouver, British Columbia, Canada
Loreena McKennitt, one of Canada’s and all of music’s most gifted
performers took to the stage at
GM Place in Vancouver, British Columbia, Canada on September 30th and she not only lived up to the hype that preceded her but judging by the reaction of the audience, exceeded the expectations of most of her fans. Dressed in a floor length brown skirt with matching brown jacket, and with her red hair cascading over her shoulders, McKennitt and the nine other superb musicians that accompanied her on stage made this a night to remember. Her fans not only enjoyed an incredible musical experience but received almost two and one half hours of quality time with their heroine.
On the expansive stage bathed in very soft floodlights, with several candlelit lanterns suspended from the ceiling and an archway as a backdrop, McKennitt enchanted her audience with some of the most beautiful sonnets set to music in the past century. Sitting at her harp, gently plucking the strings, McKennitt opened her first set with “She Moved Through The Fair,” from her first CD Elemental. She gently sang original lyrics for a traditional piece of Celtic music for which she had written new arrangements, “My love said to me: / ‘My mother won’t mind / And me father won’t slight you / For your lack of kind.’ / Then she stepped away from me / And this she did say: / ‘It will not be long, love, / Till our wedding day.’/” Throughout the song it was though a spell had been cast over the audience as though they had somehow been hypnotized as Stratis Psardellis drew the bow across his lyra.
Two songs later you could feel the electricity pass through the crowd as they recognized the opening bars of McKennitt’s familiar and highly popular “ The Mummers’ Dance,” from her CD The Book of Secrets. Playing an accordion McKennitt led her ensemble through the passionate song, and her fans came to appreciate the amazing playing of cellist Caroline Lavelle. The string section was completed by the superbly talented violinist Hugh Marsh and Tim Landers playing the acoustic upright bass.
Periodically throughout the concert McKennitt would talk to her audience and she is as elegant as her music. On one occasion she noted that her harp rested against her right shoulder, blocking some of the audience from her view, but she assured them that she was thinking of them and that they were not forgotten. On other occasions she took time to educate her fans concerning the origins of Celtic music. Humorously she explained that it was in 1991 while attending a conference in Venice that concerned the Celtic culture and history, that, “I realized that they were much more than a bunch of anarchists.”
Singing and playing her harp she moved into “Bonny Portmore,” a song with origins Northern Ireland. Those familiar with the music of Irish group Clannad would favor this tune.
It seemed throughout much of the concert that it would be only a matter of time before one of her musicians would unveil skills with yet another instrument. Of the ten musicians on stage, counting McKennitt, only two played just one instrument, and I have my suspicions that they are just holding out on us until future concerts. Tal Bergman played more kinds of percussion instruments than I am familiar with, and fellow percussionist Donald Quan played the tabla (beautiful East Indian drums), accordion, viola and keyboards. Of the eclectic collection of instruments that were showcased on this evening, definitely the most intriguing belonged to Ben Grossman, who played an ancient European folk instrument known as a hurdy gurdy. At least from a distance the musician resembles an old-fashioned organ grinder, as he cranks a rosined wheel which in turn strikes the strings, producing the music. Much like a piano the hurdy gurdy possesses a soundboard which enables the vibrating strings to be heard.
During her first set McKennitt also performed the riveting ballad, “The Highway Man,” based on Alfred Noyes’ words, set to McKennitt’s music. Her emotive vocals heightened the drama and as the music reached a crescendo you could felt he passion and suspense.
McKennitt concluded her first set with “Caravanserai,” from her current album An Ancient Muse. The first verse, taken from a Buddhist prayer, was played with McKennitt seated at her harp. Later she took her place at the piano keys.
After a brief intermission McKennitt returned to the stage this time dressed in a floor length black skirt, and a black lace blouse. Highlights of her second set included the ballad “The Lady Of Shallot,” (The Visit), based on the Arthurian writings of nineteenth century poet Lord Alfred Tennyson.
Other highlights of the evening included “Never-Ending Road,” again featuring a splendid string section and her final song of the evening, her encore, “Penelope’s Song”. The Honorary Colonel of the 435 Transport and Rescue Squadron of the Canadian Air Force dedicated “Penelope’s Song,” to those who have perished in the service of others. It was a fitting end to a concert that there are not enough words beauteous enough to describe.
Reviewed By Joe Montague
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Reviewed September 30th, 2007
Riveting Riffs thanks Live Nation for making our review possible
