It all started earlier this year, when my friend Chris managed to get four tickets for the first Leonard Cohen concerts at the O2.
It all started earlier this year, when my friend Chris managed to get four tickets for the first Leonard Cohen concerts at the O2. ‘There’s one for you if you want it,’ he said. Well, obviously I wanted it, but cash was a little short at the time — in fact, not so much short as entirely absent, avoiding me as though I’d said the wrong thing. And I do have an ongoing tinnitus problem, the result of reviewing too many awful Tin Machine gigs for a certain crazed mass-market newspaper in the early 1990s. Earlier this year I went to a friend’s book launch held in a seedy West End dive where they played chart tunes at ear-splitting volume, and for a week afterwards I thought my head was going to explode. So I said no to Chris, with the greatest reluctance, and slight relief in the knowledge that the £67 I didn’t have, I still didn’t have, rather than having £67 less than that.
But the Leonard Cohen concerts, as everyone will tell you, were life-changing events, not least for Leonard himself, whose money problems outclass my own in every way. A few weeks later Chris rang up again. ‘I’ve got four more tickets for 13 November. There’s one for you if you want it. And it really wasn’t that loud. The sound quality is so good it doesn’t have to be loud. Go on, you’ll regret it if you don’t.’
So, obviously, several months later I find myself on the Thames Clipper, surrounded by slightly worn-looking middle-aged people all buzzing with anticipation, or coffee. As we shall see at the O2, Laughing Len attracts a pangenerational audience — young people accompanying aged parents, with the occasional grandparent hobbling along behind, who bought Len’s first album in 1967, or might have slept with him. There’s also a glorious preponderance of attractive young Jewish women milling about but, overall, this is the crumbliest and most bourgeois audience for a gig I have ever seen.
More articles from: Marcus Berkmann | this section
Post this entry to: del.icio.us | Digg | Newsvine | NowPublic | Reddit
Advertisement
The Cordelia Dream
Wilton’s Music Hall
Sunset Boulevard
Comedy
Bruegel to Rubens: Masters of Flemish Painting
The Queen’s Gallery, Buckingham Palace, until 26 April
William Cook talks to the creators of some of TV’s funniest and best-loved comedy programmes
The Diary of Anne Frank (BBC1, Monday to Friday); Oz and James Drink to Britain (BBC2, Tuesday)
Kate Chisholm reviews recents radio broadcasts
Martin Vander Weyer says that the collapse in the markets reflects a loss of confidence that is out of proportion to all reason: a trip to Mamma Mia! is the answer to this hysteria
The Archers Omnibus (BBC Radio 4); Sunday Worship (BBC Radio 4); The Reunion (BBC Radio 4)
Fraser Nelson reviews the week in politics
In the week of the Spectator Summer Party, Steven Berkoff recalls another of our celebrations at which he sought out the Tory leader and forgave his confusion of Brando and Dean
Lloyd Evans takes in Mike Leigh's account of Mike Leigh
Build your own Sky package online. Sky TV, Broadband & Talk only £17.
PORTA METRONIA, ROME Standing high on the top of one of the seven hills of Rome- the Coelian- this unique
ROME and PARIS: over 350 holiday rentals apartments listed: visit www.romanreference.com and www.parisreference.com or call +39 0648 903612.
Goldsmiths by Design Welcome to Ruffs! You have found a company of Goldsmiths that specialises in the manufacture, amongst other
Spectator Business | Apollo Magazine
Corporate | Advertising | Privacy | Terms
Spectator, 22 Old Queen Street, London, SW1H 9HP
All Articles and Content Copyright ©2008 by The Spectator | All Rights Reserved