Kisses To The Singer
Politiken (Dec. 1, 1997)
review by Dorthe Hygum Sørensen
submitted and translated by Thomas Bjerre
|Two cute, naked guys with a loving hold around each other are hanging
on the edge of a swimming pool, smiling as cutely as a German perfume advertisement,
pictured on the huge color backdrop behind the musicians.
In this peculiar way the 38 year-old singer and songwriter Morrissey is exposing his gay-appeal to the audience's undivided enthusiasm from the moment he steps into the spotlight Saturday night in the sold out Vega, and with an ambiguous smile on his sensitive mouth he yells "Hello sexy!" while swinging the microphone flirtatiously in front of his crotch.
After this, bunches of flowers shower the stage from the huge rocking crowd, while the singing idol and his precisely timed rock quartet kick the show into start with extraverted, rocking versions of the songs "Do Your Best And Don't Worry" and "The Boy Racer" from the two year old, fine album Southpaw Grammar.
Already a few songs into the concert it is obvious that the present soloist and former frontman in the weighty Manchester band of the 80's The Smiths has a loyal young and youngish audience in this country who worship him with a clamourous enthusiasm which reminds one of worship of football icons. The euphorically sympathetic crowd are a factor in making the atmosphere during the entire concert unforgettable. But definitely also the music from the stage.
And tonight Morrissey is never even close to the complacent or pathetical during a one hour long, eminently well-played and entertaining rock concert. There is constantly absorbing, sparkling tension in the music which is lifted all the way to the furthest rows of the hall by the well-shaped, melancholy singing voice. And both during and between the songs Morrissey is communicating with his audience in an exemplary way by snapping his hips invitingly, closing his eyes chastely, putting one hand down his gabardine pants, or making the microphone oscillate between his legs.
The entire concert is virtually one unbroken highlight which reaches its climax towards the ending with moving renditions of "Now My Heart Is Full" and "Speedway".
In these songs Morrissey is posing ambiguously flirting on the stage with a physical radiation which understandably enough gets some of the most dedicated fans so much besides themselves that they fight their way onto the stage, fall on their knees in front of him and kiss his hands and knees before being dragged away.
Shortly after this the lights are turned on and the 1500 people shuffle out. Some of them invest in T-shirts with slogans like "I Love Moz".
That night it did not seem like anyone disagreed with that statement.