Peter Gabriel – So25: Live In Athens – 2CD review

The concert film PoV (Point Of View) was only released three years after the end of the So tour. Fans had been waiting a long time for a re-release on DVD/Blu-ray. It had been announced several times – but never appeared. Finally, for the 25th anniversary of So, the film was included as a DVD in the So25 Deluxe Edition. And to everyone’s surprise, it also came as a double audio CD (which is also available in a 3 CD Special Edition from So – unfortunately, the recording is not available separately).

Gabriel has already released a live album to accompany a concert film on two occasions: Secret World Live (1994) and New Blood Live in London (2012). The meaningfulness and quality were different. Let’s see what happens with Live In Athens.

The new mix

Since the film was originally released on an analog medium – 22 years ago – it was necessary to rework it from a modern point of view for re-release.

Ben Findlay was responsible for the new sound mix. It is immediately noticeable that it is much clearer in detail than the PoV mix. Many musical details stand out much more clearly: the guitars or the various drum sounds. There have often been shifts between the old and the new version, especially in terms of which instrument is in focus. Surprisingly, Tony Levin’s bass playing has moved further into the background. Overall, however, the mix has an enormous amount of pressure, it rocks and is powerful. Occasionally, however, it does seem a little fumbled. In addition, it doesn’t get by without the usual Gabriele-esque reworking and additions. You can’t speak of a pure live sound. On the one hand, this creates consistently dense arrangements, but it also takes away some of the directness. Gabriel’s voice is also often mixed without reverb – and the audience ambience has also been reduced. All in all, this makes for less warmth compared to PoV, a little aseptic. At least Gabriel’s vocals still seem to be the same as in the original film – but they may have been reworked.

Band

For the So Tour (at times also known as the “This Way Up Tour”), Gabriel performed with perhaps the most virtuoso live band he has ever had. Old acquaintances David Rhodes (guitar) and Tony Levin (bass) played with unmistakable intensity. Manu Katché on drums was a new addition and with his percussive style brings a relaxed yet driving note to the basic structure. And David Sancious, also new on keyboards, is granted a lot of independence, which he uses for small, elegant playfulness that always expands the pieces. No wonder Gabriel wanted to reunite this band for the So anniversary. He himself sings on Live In Athens with a voice that is at the zenith of what he has ever been able to achieve in terms of expression and power.

Album and Tracks

First of all, it is clear that the album is a spin-off of the movie. In contrast to PoV, Live in Athens follows the original concert setlist again in the track order (with the exception of the beginning). In addition, four songs are included that were not on PoV. Both are very pleasing and now convey much more the impression of a continuous concert event.

The comparisons in the following always refer to the original VHS edition of PoV. However, other official releases are also referred to (e.g. Mercy Street could already be heard on a live EP in 1994) as well as some unofficial (soundboard) recordings. Last but not least, the reviewer still has memories of his own concert experience.

This Is The Picture (Excellent Birds)

It is pleasing that we can finally hear this piece in its entirety here (at PoV it was only used as an intro in a shortened form). It remains astonishing that it is still at the beginning (in the concert it was rather in the middle). The movie doesn’t shed any light on why. Incidentally, This Is The Picture makes it particularly clear how many new musical details can be heard on this album: Lots of different instrumental banter can be heard. In general, the song rattles and grooves quite entertainingly.

San Jacinto

The mix here is more accessible than in the PoV original – also because the bass is more present. Otherwise, no new sound additions have been made. Only the echoes in Gabriel’s final vocals are very reminiscent of the current practices of New Blood. Incidentally, the basic sample loop has been modified compared to the original stage sequence and adapted to the studio version. But it was already the same on PoV.

Shock The Monkey

Here, the rhythm track has been noticeably refreshed – fortunately in a reasonably gentle and tasteful way. What’s more, this recording offers perhaps the most powerful live version of this song. It fights and pushes relentlessly forward. And the intermittent keyboard fill-ins by David Sancious are simply brilliant and give the piece a jazzy touch.

Family Snapshot

This is the first of the four previously unheard songs. Even the intro sounds voluminous and spacious. A lot of reverb was used and Gabriel’s electric piano was expanded to include an underlying synth sphere, which was not present in the original stage performance. The piece also seems to be played a little slower than we are used to. Everything together gives it a solemnity that suits it well. It’s a shame that we’re only hearing it now.

Intruder

And the next new song straight away. But what is it? Intruder has great power and seems to be played a little faster than usual – but the drum sound is actually taken from the studio version – or at least sounds like it! In addition, in the middle, during the instrumental part, there seems to be a cut from one recording to another: the tempo fluctuates very slightly, but noticeably. Later, the audience claps into the quiet final section in an almost ignorant manner. People want to party. In fact, despite its high tension, the piece takes some of the momentum out of the overall dramaturgy. There were certainly reasons why Gabriel only played it occasionally on tour as an extra treat when there were several concerts in one place – as a reward, so to speak, for repeat visitors. Here in this recording, however, it is only very limited fun.

Games Without Frontiers

Thanks to the new interlude, which is presumably the work of David Sancious, this song still peps up brilliantly in the new mix. The synthetic chatter of the studio version has been transformed into a full-blown rock pop number. And you can feel the energetic concern that Gabriel associates with this song and also proclaims in his announcement. The final “No more war” passage is still a haunting climax in this context. The new album mix essentially doesn’t change anything – and that’s a good thing.

No Self Control

This piece also sounds very different from the studio version and is more reminiscent of the version known from Plays Live. However, David Sancious cleverly grooves the main musical theme and Manu Katché lays intricate rhythms over it – the result is magnificent in its intelligence and yet also anxiety. Here, too, the mix or arrangement have essentially not been changed and so the climactic middle section remains intact in all its power.

Mercy Street

The mix has been tinkered with a little more here. The spherical synth waves of the intro flicker in the stereo sound, which is particularly noticeable on headphones and at least irritating there. The reverb on the vocals has been largely scaled back and now seems to be strangely in the foreground, which makes the overall effect far less magical. Everything sounds somehow cleanly polished. In the long improvisation section at the end, the guitar is much more present than before, but the bass is also much less so, which means that the gloominess is lost. The basic rhythm loop also continues to play here – apparently the courage to be empty no longer exists. This final section – always Tony Levin’s great moment and overwhelming in its oppressive gloom – has unfortunately been lost.

The Family And The Fishing Net

The third new piece. It convinces right from the start with great bite and is very gripping. Desolation is palpably conveyed. However, here too the vocals in the mix are rather dry and sound like they come from the studio. Reverb is only used occasionally for special effect. Some new effect sounds have also been incorporated that were not present in the live version. Nevertheless, the overall realization is successful. It’s really nice to finally be able to hear this recording.

Don’t Give Up

The most remarkable thing about this live version is that Gabriel sings all the parts himself. There is no one to act as a counterpart. Only in the final section are some female samples added, but this time they remain more in the background than before. The version of this tour has never been particularly outstanding – but it doesn’t lose out in the new mix, perhaps it even wins. At least you can hear a nice, restrained solo from David Rhodes. He’s not allowed to do anything like that anymore.

Solsbury Hill

The 1987 version of Gabriel’s old classic was also never a high-flyer in terms of originality and drifts along somewhat routinely. In the new mix, however, it has become a little more solid and at the same time more bouncy – partly because you can hear more of Manu Katché’s drums. Overall, the track now has more groove and it picks up again towards the finale.

Lay Your Hands On Me

Here, too, the horizontal intro area has this stereo wobble and the vocals are again quite dry in the mix. Again, this takes away from the atmosphere. The drums are also a little less present. The long final phase, in which Gabriel lets himself fall onto the hands of his audience, is 2 minutes shorter than on PoV (this is not the case in the new film cut). Otherwise, however, this realization of the song is just as convincing today as it was in the past.

Sledgehammer

Why the groovy instrumental intro was cut from this song on PoV remains a mystery. An “outrage” that PG repeated on the Secret World Live double album. And just like there, it is also included in the movie Live in Athens. The reasons remain hidden. It is also astonishing that the rather unusual brass sample has not been replaced in the new mix. It still seems rather thin, but gives the whole thing an unusual charm. This first live version of Gabriel’s biggest hit single has certainly become quite lively in the new mix and also swings in the final section.

Here Comes The Flood

The fourth and last of the previously unheard songs. However, it is a little disappointing. Already on the tour, Gabriel only played the first two verses and the chorus, i.e. a short form of the song. This is also how it was immortalized here and is somehow not really fish, not really meat. In addition, the electric piano is underlaid with a spherical sound that takes some getting used to, which didn’t exist in the live version. As a result, an unnecessarily melodramatic moment creeps in. The simplicity and the “empty space” disappear, the silence can no longer breathe and the next track is ruthlessly slapped on right away.

In Your Eyes

Here we hear the original live version of In Your Eyes once again, which Gabriel has only reproduced stubbornly ever since. It is powerful, fresh – and also enriched by the incredible voice of Youssou N’Dour. But here, too, the mix has been significantly altered. The famous guitar lick was underlaid with a reverb effect and now seems slightly delayed, no longer so direct. The keyboard sound of David Sancious’s wonderful short solo has also been brought closer to the stage original, but has also been obscured. The fact that this version was one minute shorter than PoV is rather insignificant. Only repetitive or musically unimpressive parts were cut, such as the passage of the exuberant dance section by all the band members, which only works in the film.

Biko

In 1987, the song was still very topical – South Africa only became free of apartheid in 1994. This means that the broad audience participation in the final part of the song is still enjoyable. The drums, which play such a central role in this piece, are powerful and strong here, but are also clearly processed. The African drums of the two members of Youssou’s band are somewhat subdued. The end, however, is strangely awkwardly mixed together: the music stops completely unexpectedly. It’s the same in the film. And this is followed by a full minute of frenetic applause. In the film, this works together with the images – here, this ending is somewhat confusing.

Incidentally, it’s worth mentioning at this point that the strange word Gabriel says several times between pieces during the concert is ‘efcharistó’, which is Greek and means – who would have thought it – ‘thank you’.

All in all

The sound of the album is convincing. However, the atmosphere sometimes suffers from some gimmicks. The track list is largely successful. The musical quality of the recording is impressive, especially thanks to the outstanding band. And because this is the case, it makes perfect sense to offer the show as an audio album. Especially as it is also available without a DVD in the So25 Special Edition 3CD set, which is a real blessing for all those who cannot decide to buy the So25 Deluxe Edition. This concert recording deserves distribution.

Author: Thomas Schrage

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CD1: Live In Athens

01 This Is The Picture (Excellent Birds) 5:57
02 San Jacinto 7:26
03 Shock The Monkey 6:44
04 Family Snapshot 4:36
05 Intruder 5:26
06 Games Without Frontiers 5:29
07 No Self Control 6:15
08 Mercy Street 9:15
09 The Family And The Fishing Net 7:08

CD2: Live In Athens

01 Don’t Give Up 8:16
02 Solsbury Hill 5:10
03 Lay Your Hands On Me 6:14
04 Sledgehammer 5:06
05 Here Comes The Flood 2:48
06 In Your Eyes 10:38
07 Biko 9:38