![]() ![]() PG's concerts back then (and in some tours that followed, though I can't speak to the last few ones he's had) created a pulse entirely of their own, a perfectly executed ballet of music and movement and light and energy, all adding up to a sensual contact with the audience that few performers are ever able to achieve.Īt different times during those shows, PG stood stationary at the piano bathed in blues and greens ("Family Snapshot," "Here Comes the Flood"), was pretty much attacked by crane lights as he sang about visceral disconnection from his faculties ("No Self Control"), careened across the stage with athleticism that would have made his Amnesty tour pal Springsteen proud ("Shock the Monkey," "Sledgehammer"), literally lay on the stage, bathed in a womb-like red glow while he sang ("Mercy Street"), dived into the audience and allowed himself to be swallowed up in complete surrender ("Lay Your Hands On Me") or simply stood center stage holding court with anthems of human destruction and perserverance ("San Jacinto," which opened many of those shows, and "Biko," which always closed them). ![]() Bruce's are longer, have more diverse setlists and (brilliantly) evoke the spirit of a rock-n-roll revival. ![]() Maybe he's not Bruce Springsteen live, but that's only because they offer such different performances. I thought then as I think now-the sheer enjoyment and theatrical wonder that Peter Gabriel put into those concerts was a sight to behold. Once at Great Woods in Massachusetts in the Summer of 1987 (Scott was there as well, as was a large merry band of pals), and then again a year later in Montreal as part of the star-studded Human Rights Now! tour that Amnesty International put together. I saw Peter Gabriel in concert twice following his So album hitting the world in 1986. ![]()
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