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| re: Meat Review from Manchester | |
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pidunk 05:45 pm UTC 05/11/07 |
| In reply to: | Meat Review from Manchester - daveake 01:24 pm UTC 05/11/07 |
It seems like this particular reviewer is paying his editor back by making the most of the languages at his disposal, for having made him attend the show! "He wants a review? I'll write him a review he'll regret!" And then they go and publish it because it is the review. > This is worth posting, if only because the phrase > "grandiloquent opera-rock oeuvre" is worth repeating! > > You have to credit Meat Loaf with one thing – and > that’s dogged resilience. > > During his career, man known to his parents as “Marvin” > has survived events that would topple mere mortals, > including bankruptcy, legal wrangles with Bat Out Of Hell > svegali Jim Steinman, collapsing onstage (“Tiiiiimber!”) > and – perhaps most remarkably of all – appearing as the > bus driver in the Spice Girls movie. > > Yet here he is, in front of the teeming hanger-like Arena, > giving a brilliantly idiosyncratic and er, sweaty > performance. Indeed, just one Meat Loaf gig could supply a > Third World village with fresh water for a week – such is > the amount of perspiration gushing off him. > > Arriving onstage at the supernaturally early time of > 8.15pm belting out All Revved Up and Paradise By The > Dashboard Light, the slimmed-down Loaf – looking a good 30 > per cent less Meaty than before – ploughs through his > wailing, grandiloquent opera-rock oeuvre that mercilessly > hurls everything bar the kitchen sink at a track to an > audience that reassuring includes a smattering of burly, > hirsute HGV drivers, each with whom have parted with £40 > (kerrching!) per ticket and presumably, sold their > first-born to purchase the expensive merchandise. > > Fiddling with his trademark red hanky tied to his mic > stand, you can tell that he was once in the both the stage > and film version of the Rocky Horror Show, as during > numbers like newbie (prepare to call the pun police!) > Blind as a Bat, he entertainingly connotes emotion by > wildly gesticulating like that the drunken tramp you’d > avoid at the bus stop. > > He’s joined onstage for various songs by partner-in-rhyme > Marion Raven, with whom The Loaf dueted with on a cover of > It’s All Coming Back To Me Now, on latest album Bat III, > supposedly the final chapter of the highly-lucrative ‘Bat’ > trilogy. > > Visually, the show’s enlivened by pyrotechnics and – at > one surreal point – a ten-foot inflatable band who play > away looking like a Sex Toy version of Razorlight (though, > admittedly, are probably full of less hot air). > > He perches on a stool to deliver a powerful rendition of > Objects In The Rear View Mirror May Appear Closer Than > They Are (a title so long-winded, it’s worthy of Fall Out > Boy), but it’s the big one – his musical money shot – that > finally gets the crowd out of their seats. > > As the final moment before the encore, the timeless Bat > Out Of Hell – performed in full-on safety-limits-off > “Histrionics” mode – which sends out the message that > while he’s never topped his 30-year-old original magnum > opus, the world would nonetheless be a less enjoyable > place without the waistcoat-wearing bellower. | |
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