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Concert
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G3 - Robert
Fripp, Steve Vai, Joe Satriani
KB Hallen, Copenhagen, Denmark
June 14, 2004
Theatrics
and acrobatics
by Rasmus Heide
The current
line-up of G3 shows is quite frankly a bit weird.
American hot shots Steve Vai and Joe Satriani are joined
by the enigmatically introverted Robert Fripp. Well, joined is
perhaps too strong a word. The man never ventures beyond the backline,
has demanded to be bathed in as little spotlight as possible and generally
comes off as a bit of a genius librarian weirdo.
Good for him.
My friend Svante Pettersson and I caught the G3 tour in Copenhagen. The old KB Hallen was about two thirds full. Last December Deep Purple filled it to the rafters.
Robert
Fripp's opening set consisted of Soundscapes - elongated atmospheric
pieces of imaginatively weaved loops and echoes of wide guitar chords
over which he solo'd in his particularly slow motion fashion. I'd never
seen or heard him play before and it was quite stunning - and obviously
a test for the die hard, beer swigging heavy rockers who had come to let
their hair down in repeated rhythmical motions.
Fripp didn't budge an inch. Extremely cool, determined and focused, he
sat on his stool behind large monitors, alternately stroking his Les Paul
and twiddling knobs on the racks around him. I guess he sat there for
half an hour or so.
After a brief
change over, made memorable by the cheer that went up when the sheets
were pulled off the drum kit centre stage ('finally, rock!'), a sleek
Steve Vai strolled casually onto the stage, almost catching the
crowd by surprise.
Almost dwarfed by the tripple necked guitar, he sat on a low stool and
set his fingers to 'stun'. A few minutes later he stood up, the stool
was removed and the band kicked in. Stage left a similarly skinny and
well trained Billy Sheehan took position and the real party could begin.
Steve Vai is one of the most expressive, entertaining, infectious, colourful,
charismatic, captivating and downright funny artists I have ever come
across. His face is an endless study in contorted masks, mimicking whatever
note he tweaks out of his guitar that instant. And unlike most of his
(substandard) peers, he doesn't appear to take any of it too seriously.
Billy Sheehan is all energy, possibly a tad tired in his ways, but never
short of enthusiastic in his playing. Sadly the sound at KB left some
clearity to be desired. Much of Sheehan's seemingly excellent work on
the bass went unintelligible.
Vai
danced and swayed, weaved and pouted, posed and smiled. I kept thinking
what a loss it is that I never got to witness Vai and Sheehan onstage
together with David Lee Roth. How did those three ever fit onto the same
stage?!
About
an hour later I still hadn't had enough. And this from someone who prefer
instrumental guitar albums to come on vinyl, coz it gives you that natural
break where you can sort of put them back on the shelf with a clear conscience.
Joe Satriani's
set was a different kettle of boredom altogether. Bending over backwards
to project nothing whatsoever visually entertaining, his guitar playing
was impressive if a tad repetitive. Coming after the Maestro of All Things
Flash, old Satch seemed terribly mediocre.
On many of his songs the rhythm section slips right into autopilot and
never veers from the given pattern, leaving Joe as the only musician offering
anything remotely unpredictable onstage. This seems to be his favoured
way of writing.
One song circa mid-set seemed to break this rule as it had the drummer
(with the Italian name) work himself all over the kit in a most inspired
and improvised way, which even seemed to light a fire under Satriani's
soloing. This was a great track. But it couldn't keep the eager glances
at the watch at bay.
Steve Vai had left the stage with a spoken promise to return later with
Robert. Fripp was the first to reappear as he sat in with Satriani's band.
Actually, at first it looked like he was just tuning his guitar back there
in the shadowy corner of the stage.
But suddenly Satriani gestured for him to take the lead and we got the
first hint at an actual pulse in the man. He produced a short solo that
was fast, imaginative and rather fascinating. Then he slid back into dark
anonymity.
Vai returned
for the final set of 'encores', which turned into a giant free-for-all
jam, which saw Fripp take another loud solo, a longer one, a better one.
Svante was smiling and throwing thumb-ups at the stage.
Next
to one another, the impossibly skinny Vai towered over stubby little Satch.
But they jammed out some great solos, rich on tremolo arm feedback antics.
The
evening had been a technical joy to watch, but one thought remained as
we left the venue; Fripp and Vai should have split the time between them
- Fripp opening on his own for 45 minutes, followed by 90 minutes of flashy
Vai.
Now
that would have been really something.
Robert
Fripp writes about the show:
"The Soundscapes set was met by booing & slow handclapping,
for the second evening in a row. I find that if my playing is right, I
have no concern for the reception."
Read the full tour diary at Robert
Fripp's website