Wednesday, September 19, 2007

2002 - Alison Moyet




30.10.2002, Olympia Theatre / Dublin
ALISON MOYET
Support: Duncan Nighthood


Alison Moyet is back – she has had her last hit back in 1985 with “Invisible” and was invisible indeed for almost 20 years.

She hasn’t lost any weight nor her fantastic voice.

At the Frank Skinner Show on TV Alison talked about the power of the record industry and how they end ones career.

After her fulminate debut together with EX – Depeche Mode mastermind Vince Clarke in the early 1980s and their smash hits: “Don’t go” and “Nobody’s Diary” they ranked among the established heroes of the New Wave era and she was definitely one of my heroes because of her voice and she could describe herself lucky because she was able to be famous in a time when voice was more important than looks.

As the tour begins Alison’s new album already sold more than 60.000 copies (Silver status) and this clearly is only the beginning.

The evening at the Olympia marks Moyet´s 10th and last show and the heavy singer interacts perfectly with her 5-piece band.

The first 30 minutes weren’t exactly great. Although she deserves every credit for her excellent voice the new material lacks depth and the minimalist sound of some of the tracks is too reminiscent of early New Wave stuff and sounds retro and outdated.

The Diva herself notices that on time and asks the audience the bare with her for a bit until her voice is in full steam. And truly she picks up speed and turns the night into a happening.

One cracker after another and when she finally sings “All cried out” the audience eats out of her hands.

The Yazoo hits: “Don’t go” and “Situation” make the crowd go crazy and with “The old devil called love” Alison calls it a day and ends the tour and the show.

Alison Moyet **

Her one man support act Duncan Nighthood who has produced his current CD in Temple Bar just around the corner of the Olympia Theatre plays not always easy to listen to tunes and 45 minutes pure acoustic music is hard to bare at times. Never the less it seems to be important to him to convey his music to the audience even though his charm doesn’t feel real. His voice is full and towards the end of his set one finally wants to hear more.

Duncan Nighthood **

See also: Erasure 2005

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