Theater of living arts/ Philadelphia

Report by David Hall.
Publishing with kindly permission by Paul Deblond.
Original on www.blackmoresnight.nu

A couple of notes about the Philly show. Small theatre, nice choice for a BN show. There was a pub right next door, serving good beer – they had Chimay on tap!!!! Huzzah! It was my first time in Philly, I enjoyed it very much – good city, lively, good people, and except for all the one way streets (can’t get there from here). The sold out show had people coming from all over, I met folks from Canada, Ohio, Minn., upstate NY, England, and Japan. The stage was wide, allowing for many front row seats. There were enough people dressed in costume that the preferential seating extended many rows back from the stage. The night began with two bagpipe players roaming the theatre, setting the mood and whetting the audience anticipation. The support act, Wyndfall took the stage, a 3 piece group (gtr/vocals, flute, cello) who were obvious fans of Jethro Tull, played through a 30 minute set of fine songs filled with tawdry stories and commendable solos from the flute and cello. The time had come for BN, anticipation ran high. Ritchie came on playing the guitar synth intro to Way To Mandalay as the band assembled on stage, then broke into Cartouche (a great opener) and Candice took the stage with the crowd loudly greeting her presence. Ritchie was in a great mood, interacting with the audience, and played magnificently from start to finish. Candice was in fine form, commanding the front-person role with skill, strength, and confidence.

The band played through several acoustic songs – Cartouche, Play Minstrel Play, Minstrel Hall, Soldier Of Fortune – all the while Ritchie was switching guitars, joking and talking to the fans, handing out beers. The music flowed very well, the band very together, very tight. They played Diamonds And Rust, and Candice sang it with perfection, very strong and confident – all the emotion and passion in her voice coming right through the speakers and into your heart. She is a Class A performer. As we wiped the tears from our eyes, a young lad in the front row presents Candice with her first of many bouquets of flowers. Ritchie threw on the strat, and it was time for 16th Century Greensleeves – much to the crowds delight – there’s no denying that Ritchie is in a class by himself when he plays his strat – there are no peers – no one talks with guitar the way he does. Greensleeves was played strong and true, Candice and the Sisters of the Moon providing great vocals. Ritchie played a great solo, extending it a bit from some of the other shows I’ve seen. He even got down and his knees and wiped the guitar up, giving the fans the exciting show they came for. After Greensleeves, as the crowd settled their heartbeats back down, they played through Under A Violet Moon, the crowd singing along in fine fashion. Mr. Peagram’s Morris and Sword was flawless, then came Village On The Sand with Ritchie starting the song on mandolin – which is a perfect touch for that song, it sounds much better on mandolin. Suddenly, in the middle of the song, Ritchie hands me the mandolin and tells me to keep playing. I stand in the front row – playing mandolin and he picks up his strat and goes through his solo and the rest of the song with his strat. I can’t quite describe how much of a treat it was to play along with them on his mandolin. Somebody pinch me!!!

I give the mandolin back (but not the pick), and the show proceeded. At this point I lose track of which songs were played when (wouldn’t you?), but they played through Renaissance Faire, Past Time, a well received Home Again, The Clock Ticks On – with the bagpipe players joining them halfway through the song. Then they played Ghost Of A Rose, which is such an awesome song done live – so epic and emotional – the drums rise and fall through the changes to bring strength to the song that is not present in the recorded version. The backing vocals are chilling and Candice sings the story so well you become part of the tale.

Through the several encores that night Ritchie treated the crowd to more strat playing, flowing through Rainbow Blues, Difficult To Cure, All For One, Writing On The Wall – piano solo intro. All For One really goes over well live, a great crowd sing-along, clapping and stomping, etc. Rainbow Blues was recognized immediately, the crowd roaring with the first notes. Late into the night Ritchie asks the audience what they want to hear – and he goes into Beyond The Sunset, complete with a great intro. The song is so beautiful, and settles everyone down from all the electric excitement. They end the show with Now And Then, and proceed to shake hands and sign autographs and visit with the audience.

The show was awesome, and went well over two hours. All of the many styles Ritchie does/has done were covered, and this version of Blackmore’s Night – the tightest and best version yet – were victorious! As new shows are added in the near future, you guys/gals have got to find your way there and see this show – you will not be disappointed.

Long Live Blackmore’s Night, and Long Live King Ritchie,

Showtime: over 2 hours

Setlist:
Encore: