{"id":48232,"date":"2016-05-15T23:28:46","date_gmt":"2016-05-15T21:28:46","guid":{"rendered":"http:\/\/www.jensunmack.dk\/wordpress-3\/?p=48232"},"modified":"2016-05-15T23:28:48","modified_gmt":"2016-05-15T21:28:48","slug":"that-felt-personal","status":"publish","type":"post","link":"http:\/\/www.jensunmack.dk\/wordpress-3\/that-felt-personal\/","title":{"rendered":"That felt personal…"},"content":{"rendered":"

\"97885080_Iggy1-xlarge_trans++ylQo53CMkkQWSXjd0ZrufHoun4ke7mHO1u_0j2B0_IE\"<\/a>
\nFoto & \u00a9: Christie Goodwin\/Redferns<\/em><\/span><\/p>\n

Ordene i overskriften var Iggy Pop’s, da han ved 23-tiden l\u00f8rdag aften skulle tage afsked med sit publikum i Royal Albert Hall i London. Og noget kunne tyde p\u00e5 han igen – ligesom i K\u00f8benhavn og Berlin – ramte noget helt specielt velg\u00f8rende denne aften, den n\u00e6stsidste p\u00e5 touren med hans\u00a0velfortjente verdensklasseband. Ialfald hvis man l\u00e6ser The Telegraph’s musikkritiker Neil McCormick’s femstjernede anmeldelse<\/a> af showet, der er s\u00e5 passioneret\u00a0henf\u00f8rt, den fortjener at blive viderebragt direkte her i sin helhed:<\/p>\n

T<\/span>his one-off appearance from the 69-year-old star at the august South Kensington venue is one of the best\u00a0gigs Neil McCormick has ever seen<\/em><\/strong><\/p>\n

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Iggy Pop\u00a0all but ripped the roof off the\u00a0Royal Albert Hall\u00a0on Friday night. Showing none of the usual showbusiness deference to this august venue, he attacked the stage with a fierce, rude energy. \u201cTurn up the lights in this f***ing dump!\u201d he called out, exulting at the sight of 5,000 fans on their feet, some standing on seats, roaring in delight, reflecting back his own uninhibited glee.<\/em><\/p>\n

From the moment the curtain went up, Pop bounced and contorted like\u00a0Mick Jagger\u00a0after a session of electroconvulsive therapy, writhing and twisting while a swaggering five-piece band in matching red-brocade smoking jackets stirred up his 1977 anthem ‘Lust For Life’. The sentiment of the song was the theme of the evening.<\/em><\/p>\n

Pop\u2019s own jacket didn\u2019t last long. He was stripped to his waist by the third song, crowd-surfing by the fourth and bleeding from the head by the sixth (presumably from some collision caused by his reckless stage diving). A woman many decades Iggy\u2019s junior scrambled on stage to kiss his lips while a streak of blood ran down his cheek. The security staff all but gave up on trying to police the crowd, who were clambering over seat rows to get closer to their hero.<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n

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\u201cLet go of my pants, baby!\u201d he yelped as someone pulled him off the stage by his trousers. He waded among the audience, circumnavigating the entire arena floor in a crush of bodies as his fantastic band stretched out dark rock grooves with formidable elasticity. \u201cFree the mother***ing people! Free the mother***ing hall!\u201d Iggy exhorted.<\/em><\/p>\n

At 69, Iggy exudes a physical bravura that seems almost an affront to the process of aging. His body is battered from a lifetime of reckless performance. He strutted about with a limping gait, loose, wrinkly flesh hanging from the once taut sinews of his bare torso. He is small, just 5ft 7in, with a big head full of grinning teeth and the demeanour of a demented geek from Todd Browning\u2019s cult cinema classic Freaks, one of humanity\u2019s rejects who confronts us with the very essence of humanity. That is the role James Osterberg has always played as Iggy Pop, and he\u2019s damned good at it.<\/em><\/p>\n

With the Stooges and solo, Iggy has been on the rock frontline for over 40 years without ever having a hit, coursing through his career on charisma and commitment. But together with versatile\u00a0Queens of the Stone Age\u00a0guitarist Josh Homme and\u00a0Arctic Monkeysdrummer Matt Helder, he has recently made a fantastic album,\u00a0Post Pop Depression, which links back sonically and emotionally to two great solo albums Iggy made with\u00a0David Bowie\u00a0in 1977, The Idiot and Lust For Life. The set was drawn from those three albums that represent Iggy\u2019s finest work, fired up by a band visibly inspired by their frontman. They were incredible, stirring up a vortex of ripping guitars, wonky keyboards and thundering drums, while Iggy held the centre with his gritty baritone, carrying tunes from defiant proclamation to surprising vulnerability.<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n

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T<\/span>here is something about the naked exuberance with which Iggy confronts audiences that facilitates their own exuberance. This veteran showman understands the rock ritual of catharsis, how to use sound and performance to transform strangers into a community, transmuting the daily agonies of ordinary lives into a brief shared expression of liberation and joy.<\/em><\/p>\n

But, even by his standards, something special seemed to happen with this rock imp in this venerable building. \u201cThat felt personal,\u201d he declared in the dying echo of encores, waving a triumphant fist.<\/em><\/p>\n

Indeed it did. I have been going to gigs for a very long time and that was one of the best I have ever seen.<\/em><\/p>\n

\u00a9 Neil McCormick\/The Telegraph<\/strong><\/em><\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/article>\n

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Foto & \u00a9: Christie Goodwin\/Redferns Ordene i overskriften var Iggy Pop’s, da han ved 23-tiden l\u00f8rdag aften skulle tage afsked med sit publikum i Royal Albert Hall i London. Og noget kunne tyde p\u00e5 han igen – ligesom i K\u00f8benhavn og Berlin – ramte noget helt specielt velg\u00f8rende denne aften, den n\u00e6stsidste p\u00e5 touren med … L\u00e6s videre That felt personal…<\/span> →<\/span><\/a><\/p>\n

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