Review: Van Morrison, Colston Hall

“Going to see Van Morrison then? He’s a right grumpy git”…“Van Morrison? Didn’t even speak to us, what a miserable bugger” Right, let’s shoo that elephant out of the room straight away. Van Morrison and his band played an exemplary one and a half hour set during which he was neither a right grumpy git nor a miserable bugger; he addressed the crowd more than a few times and appeared to enjoy the whole experience. Sure he didn’t orchestrate any sing-alongs, tell rambling tales or share heart-warming anecdotes but then no need, the music spoke for itself. In terms of grumpiness Gary Moore played the same venue back in 2009 and, irritated by the demeanour of someone in the stalls, told them they were a cunt. If that’s the bench mark for miserable and grumpy then Van Morrison was nowhere near.

Joined by his unnamed six piece touring band Morrison played a technically superb yet emotionally engaging set encompassing covers and originals both old and new(ish), using medleys to extend tunes and leaving the band plenty of room for solos. Himself was inscrutable, suited & booted beneath a trilby and under shades, but on superior vocal form – gruff, powerful and soulful, meaning every word and inhabiting the songs. The band barely stopped, most songs seguing from one to the next with a few mumbled comments from Morrison that were barely audible, but were loud and clear when he asked the crowd to put their hands together for the band, and when announcing a tune from the newest album Versatile, unbelievably his 38th (Broken Record, a cheeky strolling number).

The set had opened with Morrison on saxophone and he spent plenty of time blowing fabulously, in synch with the fella on trumpet (alas, no namechecks for the band), complimentary playing mostly but with a courteous swapping of leads that verged on duelling at times. He took up the guitar too and played some frankly more than decent licks, chugging rhythms and fluid lead. Naturally the harp came out – blues wailing harp echoing round the hall and reminding all of Morrison’s roots, and indeed of his oeuvre’s origins too. And if that wasn’t enough he took to the keys after a particularly rambunctious Ride on Josephine (a highlight of last release Roll with the Punches).

The band were a well-honed machine, powerful and locked in, accelerating up and down the gearbox smoothly and powerfully (Vorsprung Durch Technik but with soul rather than ABS) as Morrison called the changes. He was the epitome of an old school band leader throughout, orchestrating the tempo and vibe, reacting to both the crowd and his muse. The trumpet fella was constantly busy, swapping from organ to keys to trumpet, occasionally within the same tune, never less than note perfect but his playing full of feeling. But then he was in good company – the guy on bass swapping from electric to stand-up bass, rock solid yet burbling and locked in the pocket with his oppo on guitar, both facing Morrison and following his lead the whole set: not slavishly, simply improvising when released and locked back in as the song demanded. The drums were the band’s motive force – powerful yet never ponderous, swinging with ease and with the percussionist’s tom-toms adding flavour.

Not content to simply supply decoration, said percussionist’s xylophone added melody and her leads brought the jazz: the whole set delightfully blending the blues with the jazz, the roughness of the former blending with the smoothness of the latter for a warm, pleasing concoction.  A single backing singer lifted the songs, counterpointing Morrison’s gruffness, taking the lead on more than one occasion and blending in with the percussion section for some exquisite harmonies.

It would be churlish to single out tunes but Have I Told You Lately was reinvented as a delightfully up-tempo swinging number, the equal of the recorded version; Sitting Pretty was marvellously extended with uplifting vocal jousting and Why Must I Always Explain strident and bullish. Moondance came early in the set, another variation, and another delicious reinvention. Custard Pie was just this side of lascivious complimented by a tender Someone Like You.  But then we also got, Did Ye Get Healed and St James Infirmary and a stunning Vanlose Stairway. It was that kind of night, that kind of set, the kind of set that makes you forget Warm Love was played too.

The set closed all too soon with Brown Eyed Girl, not quite as jaunty as the recorded version but a swinging finale and a delightfully reinvented favourite, Morrison singing away as he left the stage and the sold out crowd roaring for more. He returned to the stage as the band struck up the familiar opening chords to Gloria, the much loved tune bringing the crowd to their feet for some less than frenzied but joyful frugging and jiving, with the chorus echoing round the auditorium. Requesting we put our hands together one more time for the band, Morrison left the stage, still singing to resounding applause and cheers from the audience. The band took the song to its crescendo via a series of solos, each band member expertly playful, enjoying their final moment in the spotlight.

Morrison and his band delivered a masterclass, songs skilfully executed by a superbly proficient band that managed to display their chops in service of the songs without showboating and left the audience satisfied and uplifted. Grumpy git my arse – everyone left the venue uplifted and grinning.

Van Morrison: Colston Hall, 21st November 2017