Recensie: Alison Moyet**1/2

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Recensie: Alison Moyet**1/2 Recensie: Alison Moyet**1/2 De Roma Borgerhout donderdag 7 december 2017 foto © Alison Moyet Recensie: De 56-jarige Britse Alison Moyet stelde in de Roma haar nieuwste album 'Other' voor. Dat deed ze eerst en vooral al met een standaardset onder de arm. Het hoeft dan ook niet te verbazen dat routine links en rechts wel vaker om de hoek kwam sluipen. Moyet had slechts twee muzikanten bij wat maakte dat er enorm veel meeliep tijdens het optreden, niet in het minst de drumtracks. Bij 'Beautiful gun' zagen we haar twee muzikanten bas- en elektrische gitaar spelen terwijl al de rest gewoon meeliep … Had OMD de dag ervoor nog wél een echte drummer bij in de Borgerhoutse zaal, dan verzaakte deze vijftiger daaraan. Het luidruchtige publiek was kennelijk toch vooral gekomen om de songs van het Britse synthpopduo Yazoo uit de periode 1981-1983 waar ze naast Vince Clarke lid van was opnieuw te horen. De meeste hits uit haar 35-jarige muziekcatalogus spaarde ze echter op voor het einde zodat ze genoodzaakt was om het publiek tot de orde te roepen bij 'Ski' door 'subtiel' te stellen dat die conversaties ook op een ander moment zouden gevoerd kunnen worden. Eerlijk, weinig toeschouwers hadden een boodschap aan het nieuwe materiaal van Moyet. We kunnen hen overigens geen ongelijk geven. Dat is dan ook meteen ons grootste punt van kritiek. Eigenlijk was het optreden van Moyet een uur goed voor een zittend publiek. Daarin zong de vrouw met karakteristieke hese korrelige stem onder andere over haar jeugdjaren. Vertelde ze dat ze zich destijds als een freak voelde, anders dan de rest, leek ze een andere taal dan anderen te spreken, en had ze het gevoel nergens bij te horen terwijl ze verlangde naar haar donkere hoekje. Dat werd het thema dan ook van de titeltrack uit haar jongste album ‘Other' dat ook haaks stond op de rest van het optreden. Een ballade was het begeleid door piano. ‘Nothing is touching me' klonk het daar ook in. Het moet gezegd dat dit wat ons betreft ook opging voor meer dan de helft van het optreden. Moyets sound klonk immers niet zelden behoorlijk belegen. Bij ‘The rarest birds' stond ze dan weer stil bij het feit dat ze zich wist op te werken uit de working class. ‘Als je dan geld hebt, is het eerste wat je wil een eigen stekje'. Die kocht ze ook om in 2013 te verhuizen naar Brighton. Een plek vol freaks, vol ‘others', excentriekelingen, enz. In Brighton voelt ze dat ze echt deel uitmaakt van een community. ‘Oud worden is ook iets goeds', liet ze optekenen in de Roma maar het toont ook meteen aan dat de angel, het anders zijn dan anderen, uit haar zijn en schrijven is gehaald. Als je je laat omringen door mensen die net als jij anders zijn, wordt het anders zijn normaal, gewoon. En dan dreigt gewenning, routine, voorspelbaarheid, … Dreigt de creativiteit ook weg te ebben omdat je niets of nauwelijks nog iets hebt om je tegen af te zetten. Je wordt mainstream dan. Moyet was behoorlijk goed bij stem in de Roma. Bij ‘Wishing you were here', begeleid door elektrische gitaar, nam ze haar bridge weliswaar op kousenvoeten. Maar ze nam ‘m wel. Het was echter wachten tot die allereerste hit ‘Only you', het zesde nummer van de avond, voor het publiek goed en wel in het concert zat en begon te ontdooien. Net als bij OMD werd de smartphone massaal bovengehaald om dit nummer, net als ‘Situation' en ‘Don't go' dat ze opspaarde als laatste toegift, te registreren. Opmerkelijk is dat omdat bezoekers uitdrukkelijk gevraagd wordt op de e-tickets om gsm's en smartphones tijdens het optreden uit te zetten en er duidelijk vermeld wordt dat foto-, film-, video- of geluidsopnames verboden zijn. Ook Dit artikel en zijn foto zijn auteursrechtelijk beschermd - kopij enkel bestemd voor persoonlijk gebruik Herdistributie in eender welke vorm zonder voorafgaand schriftelijk akkoord van de auteur is verboden This article and its picture is copyrighted - copy for personal use only No (re)distribution in any way allowed without written permission of the author Pagina 1/2 opvallend: het publiek zong het ‘padadada' gedeelte in ‘Only you'. Toegegeven, wij vinden de a capellaversie van The Flying Pickets waar dit uit komt beter dan het origineel. En kennelijk is het ook gewoon aanstekelijker. Soms komt Alison Moyet live ook wat belegen en theatraal over. Tijdens ‘All cried out' bijvoorbeeld waarbij ze haar microstatief links van haar wat van haar wegduwt zodat het schuin helt. ‘Alive' kreeg niet meer dan een beleefdheidsapplaus. Het was dan ook wachten tot ‘Situation' en afsluiter ‘Love ressurection' om ein-de-lijk een ongedwongen losse sfeer te voelen in de Roma. Met een 90's (Whispering your name) en een 80's nummer (Don't go) nam Alison Moyet afscheid van het Belgische publiek. Wij bleven achter met mixed feelings. Tussen een ‘too little too late'-gevoel en een ‘saved by the bell'-gevoel. Kortom: een live optreden zien van Alison Moyet was goed voor één keer. Maar om nu te zeggen dat we zitten te hunkeren om haar per se hierna nog eens live aan het werk te zien. Neen bedankt. < Bert Hertogs > De setlist: I Germinate When I Was Your Girl Nobody‘s Diary (Yazoo) Wishing You Were Here Ski Only You (Yazoo) Beautiful Gun Changeling The Sharpest Corner (Hollow) All Cried Out Lover, Go Other The Rarest Birds Alive Right As Rain Situation (Yazoo) Love Resurrection Bis: Whispering Your Name (Jules Shear) Don‘t Go (Yazoo) Dit artikel en zijn foto zijn auteursrechtelijk beschermd - kopij enkel bestemd voor persoonlijk gebruik Herdistributie in eender welke vorm zonder voorafgaand schriftelijk akkoord van de auteur is verboden This article and its picture is copyrighted - copy for personal use only No (re)distribution in any way allowed without written permission of the author Pagina 2/2.
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