“It’s a new song. Finally, he was new in 2020…” “We were supposed to come and play in 2020, and it was postponed to 2021. In 2021, it was postponed to 2022.” Jan-Henrik Ohme looks kind of calm and, on stage, the singer of Gazpacho has indeed nothing of a fury. But several times, during the concert given by the Norwegian group this Saturday evening at the Petit Bain, he reveals his frustration, and above all his pleasure, to finally be able to present his music in front of a Parisian public. A crowd that completely fills the small room, already warmed up by the performance of the British Pure Reason Revolution. The show, which we unfortunately only saw halfway through, is clearly divided into two parts, one very progressive rock, the other more trip-hop, but with a very pleasing result.
At 8:35 p.m., the Scandinavians take the stage, dressed all in black. And they are quick to install their atmosphere, both soothing and melancholic, halfway between Marillion and Muse, thanks to the novelty (of 2020, therefore), “Fireworker”. On “Emperor Bespoke”, which follows, guitarist Mikael Kromer takes up the violin, which he will repeat, for short sequences, several times during the concert, which is embellished with psychedelic images projected on a screen behind the stage. Most of Gazpacho’s titles are built with the same ingredients, contrasts, often soft intros, followed by long build-ups, but also occasionally a percussion attack, like during “Golem”.
Songs cut into pieces
Ohme also explains that, as the group mainly composes concept albums, the choice of the repertoire played in concert constitutes a real headache, and that it is therefore necessary to offer only excerpts from songs, which otherwise easily last more than a year. fifteen minutes. This is the case for example of “I’ve Been Walking”, of which only part II is played this evening, introduced by a few piano notes by Thomas Andersen. Or sweet “Hell Freezes Over”, where there, it is the part I which is proposed. Finally, for “Tick tock”, it is its third segment which is retained.
Gazpacho, on the other hand, respects the recipe and the integrity of “Sapien”, one of the tours de force of the latest studio album to date, “Fireworker”, and that’s good. It’s one thing to be able to appreciate the title on the live that the group has just released (“Fireworking At St. Croix”, on KScope), it’s another thing to appreciate live the ethereal vocals, the riffs of sharp guitar, or the keyboard parts, which dot this long piece, which concludes the concert after an hour and 20 minutes. Before a consistent encore of about ten minutes, composed of “Vera” and “Winter Is Never”, with haunting piano notes. Gazpacho, next time in a bigger room?
Note that progressive rock fans will also benefit from the return of concerts: the Neal Morse Band will be in Paris (Trianon) on June 4, Yes on June 13 (Pleyel), and Transatlantic on July 28 (Olympia).
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