Here is a repost of my Glasgow review as it has quite a bit about each song I saw that may fit this thread. Fits the band thread too but I won't post if for a third time - promise.
This was only the second show I have seen at the SSE Hydro - the other was Mark's concert at the same venue in 2015. This was far superior in every respect. I preferred our seats, even those these were further from the stage (on the first riser of tiered seats off to the Jim Cox side of the stage - last time we were a few rows back from the front - to the other side). The sound was much better - last time there was a horrible echo slapback that came at you from behind a second or so after what you had heard from the front - this time the sound was perfect. The audience annoyed me less than usual (as I get older I have far less tolerance for the chatting and phones and photos and getting up and down all the time for drinks/toilet). The staging was the best I have seen from Mark - the lighting was very atmospheric and the way they stage some of the songs (Bonepart, Money for Nothing, Speedway ect) was very dramatic and was the biggest nod to arranged dramatic performance that I have seen from Mark. And, most importantly, I enjoyed the performance more. I thought this was the finest Mark show I have seen over the last decade or more.
The Hyro was packed and Mark came on promptly. Everything looked and sounded terrific from the start - I could hear every instrument and the vocals - and that stayed the whole night. Why Aye Man in this arrangement is a great opener - I was so pleased that Nobody Does That, one of my least favourite songs from the recent album, has been dropped. Everything in this arrangement and performance told you about Mark, about the band, and about the show that was to come. It packs a hell of a punch with - everyone really playing thier heart out - reminding me of the likes of Border Reiver and What It Is as other recent(ish) openers -and yet it has that beautiful code - reminicent of Tunnel of Love's Spanish City breakdown - where everything goes so quiet, so tender, and the notes and lines he palys on the guitar hang round the song - whisps of memories - and as the fiddle comes in and out, and the horns weave in and out, and Mark turns to each - playing to them as much as to us - one those great musical moments emerges - it must last about ten minutes (the song) but I could happily let that interplay go on for twice as long and not get bored. It is a brilliant opening number. From there into Corned Beef City - another song I love live - and this version and plenty of zip and vim - sounded great and well down very well - maintaining that pace and egery of the opening song. Jim Cox really shone on this and was banging those keys like Jerry Lee. I knew, two songs in, that this was going to be a very special night and I wanted to drink it all up.
Sailing to Philadelphia was gorgeous - wonderful guitar work from Mark, and, as I found with many songs on this emotional night, his older, more broken, more weary voice, suited the melody perfectly. Gorgeous stuff. Once Upon a Time in the West was very special of course - I never saw Dire Straits live - I became a fan in the mid 80's, when I was ten or so -and when they packed up touring in 1991 I was still only 15/16 and never made it. I never thought I would see this one, but it was played magnificently and the crowd loved it. It means I have seen a batch of Dire Striats songs now played by Mark - at least one off of every studio album they made, which is great. I never got to see my favourite Straits song ever - Tunnel of Love - but I have seen plenty to make me feel lucky.
From there into easily the best Romeo and Juliet I have seen him play (live...) - another where the broken tired voice fits so well, and it was played wonderfully, and the outro with the sax is brilliant. What a treat - and again the audience loved it. The middle part of the show followed, Mark moving to the stool, but the pace and flow of the show didn't break at all. My Bacon Roll was great, and the singalong at the end is an unexpected highlight. The speech before it gave me more hope too - no goodbyes at all - in fact he said he was thinking of retiring but is now thinking he will play on until he drops. Matchstick Man was goosebump time again - fabulous arrangement - beautifully sung - the story beforehand really adding to the song that follows. The band again are just breathtaking on this. What a group of players. Bonepart and Heart Full of Holes were both superb - the latter one of the best of the night. Bonepart and that great ramshackle feel, with everyone down and in a huddle and group, with Mark admitting that they have been searching for the right tempo for the song for 18 years. Heart Full of Holes was heartbreaking - the voice, almost alone, filling the Hydro, the band so subtle. What a setlist and show they have put together for this tour. Again I thought how lucky we were to be able to see this.
She's Gone acts as a great intro into Your Latest Trick, which, vocally, was the weakest song of the night (the verse barely audible) but musically stood up well. I knew I would get On Every Street or Silvertown next - and was excited for either as I have never seen them before. We got On Every Street and it turned into another real highlight of the night. The vocal on this, in contrast to Trick, was perfect - much better than the album version - the strength in that gorgeous melody really came across and the coda/outtro was superb. One of the many things I love about Mark's music is the space he gives the music and the lyrics - and the number of his songs which have magnificant musical endings, outtros, codas etc to them - so so many, and unusual. Lou Reed did that lot. Jackson Browne a little. Not that many in that way - where the music ending is as important as the lyrical part of the song, and adds to the song often, taking the story on in the music. We got that in spades tonight...Why Aye, Speedway Street etc etc. Great stuff.
Paraguay was another standout - I love the song but this version was so much better than the 2015 tour version. The horns really make it superb - crashing out that melody and making it infenctious. This again was a huge hit in the hall and the song seemed to get everyone moving - the intros are well done and then the song just soars.
And before we knew what was happening, somehow in the blink of an eye we were at Speedway. My all time favourite live Mark song (bar Tunnel which I never got to see). And tonight's was a doozer - the sound was huge, the horns adding again, Mark playing his socks off at the end - and the staging superb, with Richard retreating into the shadows until emerging near the end to play those power chords which alwasy sound like the springboard to me for Mark to leap up (metaphorically of course...) and reach the heights of the end of the solo. LIke musical gymnasts! It was dizzying, electrifying stuff - I was up off my seat cheering and whooping. Absolutely magical stuff.
The waving, the kisses, and they were gone......but only for the build up to Money for Nothing to start. And what a showstopper this is on this tour. Sounding better than ever - stage so brilliantly (Guy on vocals, picked out in blue light, then the drums slamming in - brutal - brilliant white lighting - staccato - no-one else to be seen - and as it builds and builds to the climax, MArk slowly emerges form the back and walks very slowly to the front of the stage, hitting his mark just in time for everything to cut out apart from the buzzsaw of that fat guitar to churn out that riff. It was utterly spinetingling - the Hydro went wild and they played it like thier lives depended on it. Wow.
The double shot at the end couldn't have been better - I didn;t miss or long for either Telegraph or Brothers - the combination of Piper and Going Home was so emotional for everyone - almost too much emotion - the chills going round the hall were palpable. Both sounded great - most in the crowd on thier feet - my eyes wellingup with tears - and not for the first time during the evening (always in my mind - is this it? Is this the last time? As I feel with so many of my all time favourites who I have seen recently - who are retiring or on farewell tours. Hardly any of them under 70.....several pushing 80.....several now dead.
As thef final notes of Going Home rang out I knew I couldn't have seen a better show, a better band, had a better night. I was elated and sad and knew I would never forget it. A wonderful night. Thanks Mark, and all the band, for everything. I hope that someday we will meet again.
