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PJ Harvey conquered their Berlin fans by storm

PJ Harvey offered on Monday evening in the Spandau Citadel is a wonderful, but not simple concert. The audience was her feet.

For invasion of Harvey and her nine-piece band roaring thunder drums, the strict march of the band chapel indicates the direction of the evening before: The concert will be wonderful - but is by no means a walk.

PJ Harvey shakes her black plumage on stage. When she turns her head, rocking springs to blink the neck of the singer this beauty - a golden saxophone. Immediately it is used: "Chain Of Keys" is the opening track, a dark history to despair. What may sound superficially carefree, not belies the serious issues of the current song.

Despair and hopelessness sings collected to find Polly Jean, on "The Hope Six Demolition Project" - its ninth studio album. In sociocritical "The Community of Hope" she sings as Washington ausgeträumten American dream, wonderfully accompanied the band of nine her images of chaos and war. Swampy blues rock, country bonds, marching Indie, ballads and a little punk. All this can be heard today.

Polly Jean Harvey sings laments, loves, hates, emaciated and commanded. It is sometimes childlike carefree, sometimes serious as the great Patti Smith. The Citadel audience you is at your feet, worshiped and hailed the lovely bird lady. It does not matter if she plays her new or older homes (eg "The Words That Maketh Murder"). Because so far was all brought the woman to the stage, great. One can PJ Harvey either love or you hate, nothing in between.

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CONCERT REVIEW ALL EYES ON POLLY JEAN HARVEY

In the Berlin Spandau Citadel play PJ Harvey and her nine-piece band an impressive concert - just might have someone to darken the sky.

Everything is bright and blue and smells of June when Polly Jean Harvey with her nine-piece band feeds with marching drums and timpani. Nothing against daylight, the eighties also are long gone. And the courtyard of the distant fortress in western Berlin can be quite a well secluded as apt place for rock and medieval rock couples in particular, which today are the majority here. But if there is nothing else there at this as imposing event something to complain about, then the place.

In PJs band legends and luminaries play like Mick Harvey (ex-The Bad Seeds), long-term Kooperateur John Parish, the omnipresent baritone saxophonist Terry Edwards, Alain Johannes (Queens Of The Stone Age, etc.) and James Johnston (Gallon Drunk). The gentlemen in dark suit take on their big instruments with which probably also Brian Wilson SMILE could perform faithfully, Polly in their midst. The artist contributes to ankle leather mini, about a shimmering spring cocoon. Everything raven black bird to the mighty eye make-up.

Your presence. It is something from there. All eyes on Polly. No moment without body tension. She has mastered the art behind the microphone stand to stand around without a second stand around. And she dances also still, tripping, stalking, sneaking in itself, is a snake, crouching in the undergrowth, painted with free hand and whole arm additional notes and underlining in the air, turns his head from here to there with a sudden jerk and big eyes. The too much theatricality highlights the fictional character. And as she sings. It applies not just any sound, but also each of their roles she has assumed in the last 25 years and internalized.

Your great musicians round there is no need for the force, but rather for the finely differentiated sounds, the polyphonic interplay which in its native Sessions character counterpoint is to last so very conceptual become consciously lifted work Harveys. And at the end, just the second title with the older titles - three pieces of TO BRING YOU MY LOVE treated, the rest is but neglected - but then also for the force.

Men who sing so, have long been bent toward the abyss.

Particularly impressive, although not always blended punchy enough for the whole farm: the three saxophones. And the sonorous male voice choirs, where pride and fatalism celebrate a desperate marriage. Men who sing so, have long been bent toward the abyss. How is ever encountered again and again in this concert that PJ Harvey is not only one of the major contemporary forces of the Blues, when it comes to fill this vessel with new content. But it lands in search of the urgency expressed again and again during the gospel without actually want to "black" sound. But just the technique of amplification by polyphonic repetition we know thence - and she makes a call-and-response chorus such as "What is the glorious fruit of our land? It's fruit is deformed children "from" The Glorious Land "also a highlight of the concert. The bitterness.

Only if again someone asks why the songwriters would not occur to the current situation in the world: The pieces of PJ Harvey's latest albums THE HOPE SIX DEMOLITION PROJECT and LET ENGLAND SHAKE are perfect protest song material . Just not from the Pete Seeger school. They instead offer plenty of space for your own interpretation. But who does not ascribes the listeners the corresponding maturity, can make 2016 even ridiculous. And who the impotence not with maps that inevitably sets in view of Polly's look at the world in continuous state of war and injustice, too. That Polly Jean such political song just like a dipped in ink Waldwesen from the "Midsummer Night's Dream" points out, makes things even more exciting: fractures burn on. However, one should be able turn reflect the light in such a performance.

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Singer are at Berlin concert politically, sexy, cool
PJ Harvey goes to the Citadel at bay
In its single large concert in Germany in the Spandau Citadel PJ Harvey goes full distance. No announcements, barely a smile - for songs that describe the misery of the world. Who pays attention to voice and text, is impressed by the powerful indie icon. And of what they can from a bad rauszuholen se instrument - the saxophone.

PJ Harvey at her concert in the Spandau Citadel.

Source: POP EYE PJ Harvey bei ihrem Konzert in der Zitadelle Spandau.

Berlin. Saxophones are as national coach - everyone has an opinion about them. Some love the instrument because it represents the perfect choreographed stadium concerts of mainstream heroes of the 90s. Others hate it for the same reason. The notoriously conformist indie icon PJ Harvey has just picked the saxophone as a formative tool for their latest album "The Hope Six Demolition Project". When single large concert in Germany at the Citadel in Berlin-Spandau she plays it on Monday night even himself, or rather - once she weighs it as an infant in her arms, sometimes they maltreated there.

So yelping wrong, it fits perfectly with the rugged sound of a musician whose art is as comfortable as the nap on a bed of nails. For the new plant PJ Harvey traveled to where it really hurts. She ran a war photographer, among other things by Kosovo, in the ghettos of American cities and to Afghanistan.

Stage show without fireworks and high-tech video

The Berlin concert is as dark as it directly therefore. Almost exactly one year Björk played on the same stage. One more exposed, impressive woman who stands out from the rest of the pop world any. The stage show of PJ Harvey is still a counter-proposal to the Icelandic art figure. No fireworks, no high-tech videos. Instead of flickering screens a gray background is ascended, resembling a ventilation shaft. The music of the British comes rough and therefore unelektronisch. The messages of the songs, such as "The Community of Hope", a settlement with the American Drug and Social Policy, are relentlessly. "And the school looks like a shit hole from", says the text describing a neighborhood in Washington as one inhabited by zombies drug nest.

It logs the global misery

With insistent voice, accompanied by long-time companions, like Mick Harvey and John Parish, the singer revealed irreconcilable Wundenkratzerin. It logs the global misery and packed it in times sad, sometimes evocative melodies. A beautiful evening on an ugly world. It PJ Harvey tries not even pretend reconciliation. It saves the welcome, although it presents its ten musicians, further announcements but stay out. PJ Harvey's worldview seems too gloomy for the daylight. And as the after more than one and a half hour concert dusk, a great artist disappears, to great applause from about 7,000 fans.

From Maurice Wojach


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