Said ladies were much in evidence in the
seated area of the Odyssey Arena last night, whether beguiled by Journey’s Don’t
Stop Believing played on the children’s programme Glee, or simply trying to
remember what it was like before they settled into the boredom of domestic hell.
This made it all the more the pity that
more of them were not present when Thunder opened proceedings... Despite not
having the full sound system, and at times a dodgy mix, Thunder reminded those
who made the early start time just what blues-based hard rock should really
sound like.
Those who made it in revelled in older tracks
like Back Street Symphony and Low Life in High Places, and Danny Bowes, Luke
Morley and co have been round the block long enough to carry (relatively) newer
tracks off with aplomb.
And, it was a nice touch to catch out the
crowd at the end of Low Life in High Places, by delaying the final word for
just long enough to tease all.
With the cavernous Odyssey Arena, filling
up nicely for Whitesnake promoters MCD deserve a commendable mention for daring
to bring this line-up to Belfast just days after – despite the obvious appeal
for those ladies of a certain age only there for Journey.
And it was those ladies who were mightily
impressed by the trim shape of Doug Aldrich, while envious axe slingers could
only nod appreciatively at his playing.
One of the great secrets of Dave Coverdale
has been his ability to surround himself with musicians who complement and
enhance the canon of Whitesnake songs with musical ability and stage moves.
Pushing 62 Mr Coversdale still cuts a
healthy presence on the stage, his banter and trademark introductions (“Here’s
A Song for Ya!) not so much clichés but a reminder that this is band not yet in
its halcyon, fading days.
Those not familiar with Whitesnake of old might
have suspected the guitar solos and Tommy Aldridge’s (impressive) drum solo
were a chance for Mr Coverdale to catch his breath, but it has always been
Coverdale’s aim to give just exposure to what the more cynical might say is his
backing band, but in reality are his onstage compatriots.
Drawing on songs from 80s classics through
to an impressive rendition of their latest release’s title track Forevermore
Whitesnake presented a cohesive force onstage, and making the empty spaces of
the ice rink’s towering roof seem a little less foreboding.
Doug Aldrich’s solo was nicely rounded off
when joined by Reb Beach to trade licks and shapes – and Mr Beach coming out
with a harmonica was ‘interesting’ but a sure nod to the blues’ roots of the
band.
When the ladies overcame their admiration
for Mr Aldrich’s body shape and swooning ever so slightly at the thought of a
61-year-old singer still in great shape they were waiting for the ‘hits’; which
Whitesnake duly delivered in the form of Fool for Your Loving and Here I Go
Again.
But it was a nod to those who remember 1982
that the set concluded with Still of the Night. As always the band left the strains
of ‘We Wish You Well’ as images of departed band colleagues were played on the
backdrop – Mel Galley, Cozy Powell and Jon Lord.
And when it comes to backdrops, where
Whitesnake combined simplicity, branding and capturing on stage images on a
larger scale, Journey’s backdrop veered between existentialism through to just
plain weird.
A low screen along where any rock act
should just have a row of Marshall speakers was at times made almost invisible
by track spots through to a backdrop of squares that at times were nauseating
just to watch. No doubt this was planned by someone as a statement, but it
would have perhaps been better utilised by the likes of Tool or for a field
filled with people on acid trips.
It smacked of ‘trying too hard’.
There is little doubt that Arnel Pineda is
a fine front man, his vocals capturing many nuances of Steve Perry in the ‘so-called’
classic line-up, (despite occasional mic problems) but herein lies the problem.
It is all too close.
Whereas each iteration of the Whitesnake
line-up as enhanced and altered the dynamic, Pineda was seemingly brought in to help Neal Schon, Ross
Valory, and keyboardist/rhythm guitarist Jonathan Cain re-capture from their
breakthrough area.
There is a whiff of sanitised rock about
Journey, lost in the stadia they can perform in, but perhaps better captured in
smaller settings.
And, for many of the crowd they voted with
their feet as the crowd noticeably thinned out during their set.
Of course, ‘classic’ FM radio tracks were
aired- saving Don’t Stop Believing until the end -but at times it felt like a
run through of the Greatest Hits album, which frankly sounds better on the car
studio. Only real stand-out track was Wheel in the Sky, which was ruined by an
overly complicated ending.
While enjoyable enough Journey have not
managed to capture the sheer joy of helping the audience throw away cares in the
exuberance of the night.
Unless they are able to produce some new,
sellable material that crowds can warm to, they will fall far short of the
balance Thunder and Whitesnake achieve and many similar acts manage without
straining the patience of fans new and old alike.
Glee may have done a disservice to Journey,
but it may be a fatal blow for the band as their star wanes when others of a
similar vintage keep on playing.
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