As he continues to prepare his book of photos from Kate’s 1979 Lionheart tour, photographer Max Browne has again generously shared some never-before-seen shots. Max says: “I’m just having a drink after finishing going through and scanning all my original ’79 Tour reject shots – and there are some real winners amongst the ones I’ve rescued over the last few weeks so I thought I’d share a few with you. Bear in mind these have never been seen by anyone before…” Thanks Max! We’ll keep everyone posted on book news. More from Max at his site here: http://rockshots.co/
Category: Live Page 1 of 2
Inevitably, Kate has arranged for her new live show Before the Dawn, to be filmed with the intention of producing a DVD of the production. This will be done at the performances on 16th and 17th September. Some ticket holders for those shows have been notified by the venue that their seats have been moved in order to accommodate the cameras and other equipment.
Meanwhile the explosion of publicity around the live shows, which we already knew had propelled all of Kate’s albums back into the charts, has produced a sales surge on Amazon averaging 2,813%. This however conceals an 8,000% increase in sales of The Red Shoes, and a 5,000% increase in sales of Hounds of Love.
We’ll gather the reviews of Kate’s live show here.
Rod McKie’s definitive review.
The Guardian (Alex Patridis and Nick Grimshaw) … Daily Telegraph (Bernadette McNulty) and also on audio and more and more … The Irish Times (Sinead Gleeson) … Mirror (Gavin Martin and Katy Forrester) … BBC (Gemma Arterton and Anna Calvi) … BBC (Tim Masters) … Daily Express (Simon Gage) … Daily Star (James Cabooter) … ITV (Neil Connery) … Daily Mail (Jan Moir) … The Independent (Andy Gill) … The Times (Will Hodgkinson) and Times Saturday Magazine (Caitlin Moran) … NME okay – we forgive you for 1979! (Lucy Jones) and also Emily McKay … New York Times (Ben Ratliff) … London Standard (John Aizlewood) … Spectator (James Walton) and comment from John-Paul Marney … Uncut (Anon and then John Mulvey) … Time Out (Andrzej Lukowski) … Mojo (staff) and second night (Jenny Bully) …. Gay Times (Mikey Walsh) … Channel 4 (Anon) … Billboard (Richard Smirke) … Rolling Stone (Mark Sutherland) … Drowned in Sound (Alan Pedder) … Pitchfork (Jude Rogers) … The Quietus (Simon Price) … Financial Times (Ludovic Hunter-Tilney) … Digital Spy (Kate Goodacre) … Louder than War (Dave Jennings and Martin Unsworth) … Hot Press (Hannah Hamilton) … Irish Independent (Bernadette McNulty) … Metro (Anon) … Magnet (Cory du Browa) … The Arts Desk (Russ Coffey) … Prog (Chris Roberts) … Back Seat Mafia (Nickety) … Sunday Express (Charlotte Heathcote) … The Observer (Kitty Empire) … Get to the Front (David Dunn) … PanCakePictures (Fiona Smith) … Huffington Post (Karen Ruimy) and then Victoria Sadler … Hidden Tracks (Pete Paphides) … The Trio of Oz (Rachel Z) … National Post (Mike Doherty) … GScene (Criag Hanlon-Smith) … Specs (Adrian) … Beige (Collin Kelley) … Clash (Anna Wilson) … Even the Stars (Deborah Walker) … Chris Rogers … So So Gay (Jon B) … Gloucestershire Echo (Giulia Crouch) … Plastic Bag (Owen and again) … Coffee-Table Notes (Neil Cooper) … The Woman’s Room (Jane) … The Plashing Vole (Anon) … Candy Pop (Natasha) … The Age (Bernard Zuel) … Lilly in the Labyrinth (Lilly) … Chris n that (Chrisv) … Pedlar’s World (Charlie) … The Monitors (Eamon Murtagh) … Toronto Star (John Sakomoto) … Disorder (Kate Allen) … Melodee Writes (Melanie Hayden-Williams) … Daily Star (Nicole Morley) … Echoes and Dust (Dave Cooper) … The 405 (Robert Whitfield) … Rick Wakeman’s Cape (Wizard of Ooze) … PJ Media (Clay Waters) … John Guy Collick … Liverpool Sound and Vision (Donna Lesley Price) … Freq (David Solomons) … News.com.au (Nick Bond) … GigSlutz (Rosie James) … Mr. Haircare (ditto) … Martin Beam … ChoirBoyMotel (John Forde) … The Examiner (Gillian Gaar) … Gigwise (Andrew Trendell) … The Skinny (Dave Kerr) … Retrocosm (Charles Heady) … Rants of a Bitter Northerner (Helen Richards and again and again and again ) … Put the Kettle on (Mark) … Moving Brands (Phillip Browning) … Minibreak Mummy (Ruth Jenkins) … The Art of Jane Tomlinson (the same) … NotAllWomenAreTheSame (Sue Sherman) … The Morning after the Deluge (Sasha Loske) … Tunnels of Green (Maree) … The Music Chronicles (Stratos Bacalis) … Louder than War (Youth) … All That’s Left (George East) … North Devon Journal (Anita Butler) … Lesley Anne Jones … EQView (Roy Ward) … Bloggertropolis (Steve) … Diary Von Davidly … Yahoo Music (Lyndsey Parker) … My Bloggywog (Lealoo) … Greenwich Catholic (Tamas) … Strange Times (Dave West) … Waking Life has Blurred the Lines (Casey Stratton) … Liisa Ladouceur … From Beer to Eternity (Paul) …
Through the Wire (Justin Holford) … Dyverse Music (Mike Butler) … The Figure Ground (Alex Dale) … You Tube (Hitler) …. Spiked (Alex Dale) … The Big Issue (original version by Rachel Johnson and reply by Suzanne Barbieri and incomplete “apology” by Johnson) … Brussels Bronte Blog (Marina Saegerman) … The Afterword (Poppy Suceeds) … A West End Whinger (Phil) … London Live (Alistair Foster) … Tiny Camels (Jonathan Gibbs) …
“It’s quite stunning, undoubtedly the most ambitious, and genuinely moving, piece of theatrical pop ever seen on a British stage. Which is just what everyone here tonight was hoping for.“ Andy Gill
“Everyone’s calling it a triumph. Everyone’s right. The unconscionably influential Kate Bush could have blown her mystique by returning to the spotlight in such a no-prisoners manner, but from the first minute she is in her element. The prog event of the year. The musical event of the year. The event of the year. Just don’t expect three chords and the mundane truth. Or Wuthering Heights. I put this moment here“ Chris Roberts
“In A Sea of Honey’s long day, nothing particularly remarkable happens, just as nothing really remarkable happens in Ulysses. The sun comes up, and “the sky is filled with birds”, and the Moon rises, and the protagonists swim in the sea, at night. But some people are just more alive than others, all eyes and mouth, and overloading senses – and that’s what Joyce was, and that’s what Kate Bush is. They appear in your life to remind you that to watch a sunrise is to watch a burning star, and that pollen is sperm, and summer is fleeting, and everything on Earth is so unlikely – so improbable – that we might as well live somewhere where Kate Bush can end a concert by turning into a one-winged bird and flying out into the auditorium …” Caitlin Moran
This may have passed some of you by in the Before the Dawn madness of the last couple of weeks, but our immensely talented designer friend, Brian Cloughley, has put together a beautiful infographic celebrating the Tour of Life in 1979 (which is 35 years ago now). Thanks Brian!
Check out more of Brian’s work, including other fantastic visuals he has created for katebushnews.com at his page here.
Quite lovely! Read more about ‘Cloudbusting’, the Kate Bush tribute band currently getting raves in the Kate Bush fan community at their Facebook page, here.
So sorry we’re late with this one! From the organiser’s Facebook event page: “In honor of the release of Kate Bush’s first wholly new full-length album since 2005, “50 Words For Snow,” we are paying tribute to the legendary songstress extraordinaire once again. Parlour on Clark will play host to a coalition of Bush-phile DJs — DJ Joshua, DJ Belazauberin and DJ Josie Bush — spinning a selection of music and videos by Bush herself and the many other artists, new and old, who have been influenced by the innovating musician’s sprawling catalog. The event will serve as a fundraiser for TGIF (Trans, Genderqueer, Intersex Freedom) Pride. Attendees are invited to offer up a $5 suggested donation to help make the first-ever event happen and Bush-themed treats will also be available for purchase. All proceeds from both the door charge and the “50 Words” bake sale will benefit TGIF. Finally, we heard a rumor that several copies — both CDs and on vinyl — of “50 Words” will be up for grabs at the event. Don’t miss this!” (many thanks to Joe Erbentraut and again sorry we missed this before now!) This event may come just in time for some snow in Chicago!
Irish singer Carol Keogh, of Plague Monkeys, Tycho Brahe and Autamata, will be performing a solo set at the evening part of The Sensual Walk in the Odessa Club, Dublin on June 18th. She joins Captain A, Mike Stevens of Groom, Richer Than Astronauts, Jeroen Saegeman of Walpurgis Family and the Prairie Dawgs for a great evening of music and Kate Bush type things, with the promise of some Kate Bush covers along the way! More here.
[youtube width=”640″ height=”510″]http://www.youtube.com/watch?v=U65bkyAglLc[/youtube]
As there is no sign that there is ever likely to be an official DVD of Kate’s 1979 Tour, here is a You Tube recreation of the typical full length live show, put together by A Rose Growing Old using available video from contemporary TV broadcasts, audio recordings and stills:
You can find the other 24 parts of this wonderful reconstruction here:
Originally from HomeGround issue 64, a description of the shows:
Kate’s live show, song by song by Peter Fitzgerald-Morris
Twenty years on, many Kate fans only know Kate’s live show from the Hammersmith videotape, and from discussions we’ve had, it appears some fans think that the songs on the tape constitute the whole performance. In fact, the original shows were more than twice as long, and sadly most of the theatrical effects were lost in the video taping. This, therefore, for those who didn’t see it, is is a brief explanation of what actually took place in one of Kate’s shows.
The whale song begins, and projected onto a stage wide gauze curtain is a huge shadow of Kate moving gently to the rhythm of the music as she descends the ramp from the back of the stage. The curtain parts as Kate, dressed in an electric blue leotard snaked with silver sequin trails, begins to sing Moving. Kate dances alone to the song, and in the closing notes strides over to the piano to sing Saxophone Song whilst on the back of the stage appears a shadow projection of the saxophone player. As the final notes die away, the sound of a thundering heartbeat takes over, reflected in a pulsing red light. In the otherwise darkness, the piano is removed, and Gary and Stuart bring on stage the large oval box lined with red silk, from inside which Kate, now wearing a sequinned top over the blue leotard, begins Room for the Life. As Kate sings, Gary and Stuart roll the box, and Simon Drake appears, dressed up as Carmen Miranda, complete with fruit headdress. For the final chorus Kate emerges from the “womb” and joins in the dancing. As the song fades, Kate disappears behind the “womb”, and emerges in the old mac and trilby. Gary and Stuart roll the “womb” offstage. Kate begins Them Heavy People and sings and dances alone until the first chorus when she is joined from the wings by Gary and Stuart, similarly attired. At the end of the song, the band play a linking sequence. Whilst Kate dances with Gary and Stuart, she removes the mac, takes a glass of water, and dances over to the piano, and the music mutates into the intro for The Man With the Child in his Eyes. At the end of the song, the stage is blacked out, the piano removed, and when the band begin the intro, this first, funky version of Egypt. Gary and Stuart dressed in Egyptian costume start an animated dance, until Kate emerges down the ramp from the back of the stage, wearing an Arabic headdress and a red and gold wrap around skirt over the leotard. On the way down she dances in and out of the band and the lights find Paddy also decked out in Arabian clobber. At the end of the song the stage is blacked out, and the band begin the long intro into L’Amour Looks Something Like You. The lights return to reveal Kate in a black leotard and a red wrap around skirt, centre stage with a long pivoted mirror. As she sings the mirror pivots and Simon appears through it with his magical floating cane. Whilst Kate sings, Simon moves around the stage with the mysterious cane, and finally disappears back through the mirror. The stage darkens and the band start the long (it got longer through the Tour!) intro to Violin. The lights find Kate wrapped in the gauze curtain stage left, (still in the black leotard with the red skirt) from where she sings the first verse. When she emerges to centre stage we see now that she has the bat wings. She’s then menaced by the full size dancing violins, until they all end up in a heap centre stage. The stage darkens. For the first time the voice of John Carder Bush is heard in a spoken introduction which begins “Let the wasp rest for a moment on the down of your arm”, and ends in an eerie spoken duet with Kate “don’t let me see – two in one coffin!”. Meanwhile, the spot picks out Kate, still in black leotard and red wrap around, making her way cautiously from obstacle to obstacle across the stage to the piano where she begins The Kick Inside. At the final words of the final chorus a black figure drapes a veil over her head, the stage darkens, and the curtains close.
The curtains open to reveal Kate dressed in a long black dress with a lace top, and a long dark red wrap around skirt, sitting on the piano centre stage from where she sings In the Warm Room alone, simply picked out by the spot. For the British Tour and most of the European Tour, (but not at any of the Hammersmith dates where for some reason the song was omitted), Kate then moved down to sit at the piano for Fullhouse. At the end of the song the stage darkens, and the band begin the long intro (big costume change!) to Strange Phenomena. Finally the ramp lifts, and Gary and Stuart emerge dressed as space cadets, followed by Kate dressed as the magician in tailed jacket and crumpled top hat. They dance the routine as Kate does her prestidigitation stuff. With the end of the song proper, the ramp opens again and Gary and Stuart disappear back into the darkness. Simon emerges, with that cane again, for a long play out with tricks and illusion, and strobe light effects that batter the eye. Kate disappears whilst Simon is doing his stuff. He finally retreats up the ramp until he disappears behind a black cloth he holds up, it drops, and it is Kate standing there, in the long black dress and veiled hat. She runs terrified down the ramp to begin the mime to Hammer Horror. This was the only song in the performance Kate did not sing live, so that she could concentrate fully on the complicated dance routine, with the veiled black figure who haunts her. At the end the stage is plunged into darkness, and the band begin a strange oriental chant which dies away with the first notes of Kashka from Baghdad. Kate has reappeared now with a dark blue top wrapped around the black dress. She sings at the piano, and at the end the stage darkens. The roar of traffic noise is heard. The spots pick out Gary and Stuart, dressed in leather jackets, picking their way with torches around the street scene, complete with mesh iron fences. Another spot finds Kate stage centre, similarly dressed, behind one of the mesh fences. The band begin the intro to Don’t Push Your Foot on the Heartbrake. Kate and the dancers do a West Side Story type street dance. The stage darkens and the curtain drops.
The curtains part to find Kate in that purple dress, standing on the raised end of the ramp now doubling up as a pier. Gary and Stuart are below in the dry ice dressed from waist down as whirling dervishes. Kate sings Wow usually with the head mike so that she can use both hands, though there were sometimes technical problems, and Kate was stuck with the hand mike! The lights fade, and as the band play the intro to Coffee Homeground. Gary, Stuart and others mime demented stage hands setting up the poisoner’s cellar. As the music gets more raucous, Simon appears as the poisoner punctuating the musical phrases with thunderflashes. Gary and Stuart bring on two chairs, and then escort Kate (now dressed in a tweed jacket over the blue leotard) to centre stage. She sings from the chair as Simon mimes around her. In the chorus she gets up to examine the cellar, and dead bodies fall out of walls. The lights fade and the band begins a long intro into In Search of Peter Pan. John Carder Bush recites another spoken introduction. The spot picks out Kate, in leather jacket with silver and blue scarf over the blue leotard. She sings and dances alone until Simon appears with a dancing globe. The globe moves around Kate as the outro mutates into Trios Gynopodies, the intro to Symphony in Blue. Whilst others bring on the piano, Gary and Stuart dance with Kate, removing the scarf, giving her a glass of water. For the first time, but staying in time with the music, Kate waves to the crowd and blows a kiss, making her way to the piano. During the song blue skies with white clouds, or red hearts are alternately projected onto the piano lid and stage. At the outro the stage is invaded by party types who throw streamers over Kate and remove her leather jacket. Simon is now a party goer in formal dress, offering Kate a glass of champagne whilst his own glass floats in mid air. He moves in for the pickup, but Kate refuses and retreats to the piano, streamers still in her hair for Feel It. The stage darkens, someone whistles, then the sound of thunder. A strange character in a flying jacket walks across the stage, head buried in a glossy magazine. The wind picks up, and the band strike up the intro to Kite. The stage is projected with clouds, Gary and Stuart appear down the ramp, and then Kate in her blue leotard with wings. At the end of the dance Kate is blown off stage first, followed by Gary and Stuart. The band continue the outro as the character in the flying suit reprises his walk, now against a harsh wind, and loses the pages of his magazine over the stage. He disappears and the band begin the intro to James and the Cold Gun. Kate comes on from the wing, dressed in Wild West gear, and stows her shotgun backstage. That’ll be needed later! She dances alone, and with her six gun. In the extended play out, Gary and Stuart come on from the wings, dressed as gunslingers to challenge her, and are shot down; Paddy appears from the back of the stage and is shot too. Kate revels in the violence, retreating up the ramp, waving the shotgun as the play out ends and the curtain drops.
The curtain opens to Kate centre stage, wearing a flying jacket, with Gary and Stuart sitting nearby in flying suits. A parachute is draped across the stage. John Carder Bush recites an introduction with images of a Romantic England, and without moving from where she sits, Kate sings Oh England My Lionheart. The curtain drops again and after a decent interval opens to the intro to Wuthering Heights. The stage is covered in dry ice and draped in a purple haze. Trees and woods are projected on the back of the stage. At the second line of the intro Kate appears from out of the mist, dressed in purple leotard and ragged skirt; she is the ghost of Catherine Earnshaw. In the play out, as she retreats back up the ramp, she switches from the slow wave of the lost ghost, to the enthusiastic wave of the artist to the crowd, at last breaking character as the curtain drops and the music ends.
After a few moments, the hall is filled with a reprise of the Wuthering Heights outro, the curtain opens, and the band come running down the ramp in pairs to take a bow, the musicians, the backing singers, finally Gary and Stuart, and then Kate comes to take her bow, and throws the contents of a large bouquet of flowers over the audience, then takes the microphone to express her heartfelt appreciation.
“Then Kate, her son Bertie, and who I have to assume was his nanny, got out of a black cab and came in. I was speechless, so THRILLED to see Kate up close! She passed by, politely declining requests for autographs or pictures (and I refrained from taking any, out of respect for her), and went inside…I actually got to see and hear Kate Bush perform live, which I never believed would ever really happen!”
(Thanks to Michael – who improved the quality of the pics for us.)
Review of David Gilmour – Friday 18th January 2002 at the Royal Festival Hall, London. By John (A5JCE@aol.com)
To give some background – last year Robert Wyatt was asked by the Royal Festival Hall, London to run that years Meltdown. He asked David Gilmour, Pink Floyd’s guitarist to come and perform a set, which he did on 22 June 2001. That set was basically an acoustic set and featured a number of Floyd songs together with a Syd Barrett song, a song from a Bizet opera, a new song and a lullabye from Chitty Chitty Bang Bang – I kid you not.At that show Dave got an outstanding reception and the show was hailed by many as one of the most amazing Gilmour performances. It was a stripped down set – no flying pigs, no lasers, no movie screens and all in a small venue. It seems that that performance (his first live show since the 29 October 94 when Floyd finished their last world tour) stirred him into doing some more shows.
I got a phone call many months ago early one morning saying that he was going to to another show at the Festival Hall in January so immediately I booked tickets. A few days later and another call – a second show had been added and more tickets were bought. A few days later and another call – a third show and more purchases. Without hesitation I bought tickets to all three at £45 each!!!!! But hey the June show was so good I just had to do it – and what would he come up with this time? Little did I or anyone else know the incredible surprises that awaited all those lucky to buy those tickets.
All three shows sold out very quickly and the only notification of the shows was on the Festival Hall’s website (www.rfh.org.uk) – word of mouth was the key. Then adverts started to appear in the national press for the first two shows but by then they were sold out.
Time passes slowly when you are waiting for such shows – but time did pass and on Wednesday last week I caught the train to London, checked into my hotel and headed to the Festival Hall arriving at about 3pm. There I meet some German friends who had come over for Junes gig and were here again. I first met them at a Roger Waters (Floyd member) show in the US in 99. Also there were many UK friends and a chap who had come from Brisbane for the shows! He deserves a prize for the longest journey to see a show – 23 hours in a plane. But he had waited 15 years to see Gilmour live and wasn’t going to miss the chance now.
As I was chatting it was revealed to me that one of the German guys had spoken to the bass player (Chucho Merchan) when he arrived that day. He had said that each night would be different. There would be a guest each night, and they were to be Robert Wyatt, Bob Geldof and Kate Bush. Later that day Richard Wright, the Floyd’s keyboardist arrived – this was going to be a sublime show – 2/3 of Pink Floyd live in a small arena doing an acoustic set – and my seats were 4th row.
The three nights were essentially the same. Doors open at 8pm for the support act. On Wed and Thur it was Ghostland, the band of Gilmours cellist, Caroline Dale. They did a short set from 8.15 to 8.45. On Friday it was Trashmonk, Nick Laird-Clowes band. He was the guy behind Dream Academy and co-wrote some songs on the last Floyd album, The Division Bell.
There was then a a short break till 9.15 when Dave walked on stage.
He walked on, on his own and picked up his acoustic guitar and started to play Shine on you Crazy Diamond. Two minutes into the song most of the audience recognised it and a loud cheer went up. Then silence and they listened. The show, as with June’s, was great in that whilst he was playing there was silence. In between there were cheers and various shouts from the audience – a number of which he replied to. It was the same on all three nights.
The setlist for all three nights was the same and very similar to the Meltdown show, and included Comfortably Numb. On Wed Robert Wyatt reprised his role from the June show by singing two verses – the first and third, taking the part of the wicked doctor. On Thursday he was the turn of Bob Geldof who played the central character in Pink Floyd The Wall film (although he didn’t actually sing the song in the film whilst he did sing other Floyd tunes).
On Friday at about 3pm Kate arrived, on foot, at the venue. It seems that rehearsals were around 4pm each day. She was recognised by the few people that hung around the artist’s entrance to the Hall, but politely declined requests for autographs and walked straight in.
Tonight, Friday the guest on Comfortably Numb, was to be Kate Bush. After the end of Wish You Were Here, Dave said “Now we’re going to sing Comfortably Numb now, and to play the part of the wicked doctor, I’d like to invite Kate Bush to come and sing with us”. At this point Kate walked on to huge applause that lasted ages – her applause was certainly louder and longer that that received by either Robert Wyatt or Bob Geldof.
At the front of the stage there was a stand with the lyrics that Kate was to sing together with a mike stand just to the right of Dave. A piano intro lead quickly into the first lines which she sang beautifully and with real pain as the original is intended. Her performance was to a stunned silenced crowd. The second verse was taken by Dave to initial cheers, with Kate joining in on harmonies, whereas on previous nights the guest did not.
There is then a piano section that leads into one of Dave’s most famous guitar solos which he did on an electric guitar heralding cheers both before and after the solo.
Verse three was Kate’s turn. Again superbly handled. Verse four was Dave with Kate again taking harmonies. Another guitar solo. Throughout the time Kate was on stage she was watching Dave sing and play moving slowly to the music. She was dressed all in black – a dress I think – very reminiscent of her Wuthering Heights outfit.
The end of the song produced a huge round of applause at which point Kate went over to Dave and gave him a big hug and a kiss on the cheek. She then walked off towards Michael Kamen, who was on piano, and also gave him a hug and kiss.
I don’t know if she hung around for the after show party, but she wasn’t seen leaving the venue after the party like the rest of the band and guests.
The show was filmed professionally by a 10 camera team. One high in the balcony, one by the sound board, one to the right, two to the left (a long shot and a near shot), three at stage front and two on stage. Only Thursday’s and Friday’s shows were filmed – for some reason they didn’t bother on Wed. Gilmour’s June gig was also filmed so there may be a DVD out – but the Floyd are well know for filming and taping shows then never releasing them. It took them 20 years to release a live CD of the original Wall shows in London. So don’t hold your breath.
Gilmour gig update: First the photos, now the sounds. For now we have a selection of three MP3 excerpts from the track Kate performed at the Royal Festival Hall. I have to hugely thank John (firstname.lastname@example.org) who has so kindly lent these to us. The full track, which no doubt will be circulating out there before long is said to be 8mins 30secs long. Cheers again John!
Click here to download David Gilmour introducing Kate (438k)
Click hereto download Kate singing the first verse (477k)
Click here to download Kate singing the third verse (302k)
Zoltán Tóth has kindly contacted my site with the only two shots he got of Kate on stage with thanks also to Dave Upham who saved me the bother of photo-shopping the images! Nice bunch these Pink Floyd fans…) Also, Charles has emailed to say that there is another review of the show at: http://www.FloydStuff.com (thanks Charles)
Guy Smith has emailed his thoughts on the show:
“The whole show was superb – very relaxed and with a great atmosphere. After performing Wish You Were Here with Rick Wright on piano someone in the audience shouted something along the lines of ‘do something from ’68’. (John clarifies:- what was shouted out was “Play Summer 68″.This is a Floyd song written by Rick from the album Atom Heart Mother. A song that they used to play a lot live in the early 70’s.) Gilmour chuckled to himself before saying ‘no we won’t do that – we’re going to do Comfortably Numb next’. As the crowd began to cheer he added ‘and to sing it please welcome Kate Bush!’ Kate looked happy and relaxed wearing a simple black outfit. She received a standing ovation as she walked on stage and another at the end of Comfortably Numb as she hugged David Gilmour. Also in the audience that night were Storm Thorgeson (not sure of the spelling) who designed many of the Floyd’s album covers. Also of note was Dave’s pianist – Michael Kamen who has worked with Kate before, scoring and conducting orchestras on The Sensual World (and possibly other albums). And as a final footnote…. David Baddiel and family were sitting at the back of the hall. A great night…..” (thanks Guy)
Pink Floyd fan Mark Ogier writes on the alt.music.pinkfloyd newsgroup: “”[…] It was a terrific night for this long-time Floyd fan, and while it was great to see Rick Wright turn up it was even better to see Kate Bush again after all these years. I’m hoping that she’ll be tempted back into a recording studio after the reception she received. She looked terrific and sounded great – just as I remembered her. I’d read she’d become a recluse, so this appearance was even more of a surprise.” Commenting on the choice of Robert Wyatt and Bob Geldof taking Comfortably Numb vocal duties in the previous two nights shows Ogier writes: “While I respect both singers, frankly I am delighted and feel particularly lucky that I was there on the night that Kate was guesting. There were cameras recording the Friday night show, so I hope her appearance makes it into the final recording?”
Michael Leitz (who sent in that review – cheers Michael) also reminds us that the song is one of Kate’s all-time faves: In an interview for a special mini-edition of Q magazine in 1990 “Kate Bush […] is asked once again to contemplate the life of isolation. In other words, to select her desert island discs. Sitting as we are in the legendary Abbey Road studios, her choice of The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band and Magical Mystery Tour could not be more appropriate, followed by [,,,] and Pink Floyd’sComfortably Numb.” (Q/HMV special mag, “Follow That!” by Mat Snow, 1990)
For those unfamiliar with the song Comfortably Numb read more at this Pink Floyd site here.