Paul Simon @ Birmingham NIA, 30th June 2011

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Edinburgh, July/August 1968. I’m fourteen years old. The Soviets invade Czechoslovakia, Cream’s ‘Wheels of Fire’ Toad drum-solo is proscribed by The Hague Convention for being a crime against Humanity and CBS release the definitive album sampler ‘The Rock Machine Turns You On’. And then, and on pain of death if I leave finger-marks or scratch it, my elder brother allows me to listen Simon & Garfunkle’s ‘Bookends’. It saved the life of a child. So of course the moon-faced muse of mercurial whim and genius doesn’t include one track of said brilliant album in tonight’s 23 song set-list. But it’s bearable given that, alongside contemporaries The Beatles, Brian Wilson and Dylan, Paul Simon is duly regarded as a songwriter of inspired compositional originality and poetic flair. And, naturally he has choice pick of some of the planet’s most sublime musicians to celebrate his impending 70th year up on it. ‘Dazzling Blue’ from the recently released and wholesomely received album, ‘So Beautiful Or What?’ shimmers with its delicious Indian raga references juxtaposed seamlessly with Dobro guitar. It grows to an anthemic majesty with harmonies recalling those of Graceland’s ‘Under African Skies.’

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And if ever Simon’s closet Jazz-cred credentials and sublime mastery of understated wit needed further exposition then ‘50 Ways’ was more than a one trick pony for sure. ‘So Beautiful’ had a Gumbo groove of such sleazy repose it could have been a metronome to a humping whore-house in St. Louis – but the lyrics weave a narrative of sombre imagery. Simon greets Birmingham with a ‘Nice to be back again!’ deprecating irony given it was March 1967 at the Town Hall (yes, my brother has the programme still). He name-checks Ian Campbell and UB40 and covers Jimmy Cliff’s ‘Vietnam’ that segues in to ‘Mother & Child Reunion’ against a screen backdrop of the vinyl single’s label. It closed with a guitar spangling chandelier solo from the kilted, multi-instrumental miestro guitarist, Mark Stewart.

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The changing backdrops complimented, albeit with apposite Paul Simon cryptic references, many of the songs and just every so often there would be a faerie-whisp phrase echoing other songs such as a nuance of ‘America’ in ‘Only Living Boy In New York’. And he still hits the falsetto notes true in harmony to the baritone backing vocals. Now then – boo, boo and shame on you boo NIA security policy for stamping dead any attempt by the younger ones to aisle dance to ‘Diamonds’. At £65 a pop it should have been compulsory. End of part one with gushing thanks shared from one and all. On his return, there’s a hush of palpable nostalgia when Simon, spot-lit on acoustic guitar, sings ‘Sounds Of Silence’. He lends a Flamenco flourish and surely a tickle from the haunting intro guitar from ‘Bookends’. Dystopian it may be but it still has a hymnal beauty and poignancy. Written in 1964, with some reading in to its lyrics an anguish reflecting the aftermath of Kennedy’s assassination.

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Standing ovations set the pattern for the rest of the evening. His economical cover arrangement of ‘Here Comes The Sun’ with two acoustic guitars and sax/keyboardist, Andrew Snitzer, on squeeze-box was exquisite, set against a hippy sunbeam, butterfly and starfish backdrop. In response to ‘Late In The Evening’s’ samba festival jive there was some discreet, very English, contained permitted ‘dancing’. Boo NIA, BOO! End of part 2. ‘Still Crazy’ opened to a Brooklyn night-time skyline and has a distinctly laid-back lounge-jazzy groove. And jumping off the edge of the printed setlist, Gracelands veteran bassist, Bakithi Kumalo, lets fly with some slap you right in the kisser riffs set against the infectious chord-crunching refrain of ‘Call Me Al’. And Mr Paul is giving it some serious hip-sway sashay Salsa abandon as the crowd rise with magnificent ovation. Age Concern? Not likely. Massive thanks to soundtech, Mike for setlist and Louisa for the review pass.

Setlist: Crazy Love, Dazzling Blue, 50 Ways, So Beautiful or What, Vietnam/Mother & Child, Zydeco, Hearts & Bones, Mystery Train/Wheels, Slip Slidin, Rewrite, Peace Like a River, Obvious Child, Only Living Boy, Afterlife, Questions For The Angels, Diamonds, Gumboots, Sound of Silence, Kodacrome/Gone At Last, Here Comes The Sun, Boy In The Bubble, Late In The Evening, Still Crazy, Call Me Al.

Review – John Kennedy
Photos – Andy Whitehouse

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6 thoughts on “Paul Simon @ Birmingham NIA, 30th June 2011

  1. Just wished they’d let us go closer with the camera,is this an American artist thing,not too close,may see the scars. front row tickets and a leica compact is the way to go

  2. Great pix Andy. I’m still seething about the disgraceful ‘Security’ profile. I saw one guy ‘escorted’ out near the end of the show…apparently he was in breech of Health & Safety statutes on account of smiling in a provocative manner. I think the NIA need to issue a statement about this. Paul Cole in the Sunday Merc makes a similar observation. Shame…the sound guys couldn’t have been more helpful, making a special effort to get me the setlist!

    John x

  3. NIA seem to be a bit too a**** with jobsworth attitude to media,I was talking to the Birmingham Post photog and he was saying the same,maybe not going to bother asking for photo pass for that venue,doesn’t seem worth the effort for Steve to ask for a pass and us to go there for 2 songs shot from the furthest point away

  4. Great review John, although Paul’s last gig in Birmingham (if you accept the NEC is Birmingham!) was 14 May 1991. I was there! Agree with your points about NIA’s health and safety policy; farcical. Cyndi Lauper got it right last week at Symphony Hall, she asked security whether her audience could dance and where they were safe to do so! Although she did contravene H&S herself by getting off the stage and dancing in the aisles… maybe all artists should do this: what is the venue going to do, throw them out?

  5. Thanks for response Al, That NEC gig slipped me by! A NIA boycott? There’s a thought…J. x

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