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Continuous love: The connection with the audience is at the center of Yishai Ribo's exciting live album

The invested package presents - with the help of Sivan Rahav Meir, Shlomo Artzi and Omar Adam - an artist who hardly pushes his limits, whose songs are always beautiful but not at all surprising, and who refrains from engaging in anything that is not a religious experience.

Still, the secret of his magic lies in the singing of the many he documents, with live performances looking like a distant dream

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• Yishai Ribu

Nadav Menuhin

Thursday, 01 October 2020, 09:39

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Already when "Love is Continuous" is played, the first song in fact on Yishai Ribu's triple performance album, you can hear the audience for moments more than the singer.

It's a somewhat painful, initial reminder of the power of the encounter between an artist and his listeners, of the power that status has as a live performance, while something of this kind is not really possible under the current Corona limitations, and the horizon is far.

Throughout the recordings, Ribo engages his audience effectively, as a sort of singing facilitator in a charismatic public.

With his other huge hit, "My Heart", the audience already becomes a real partner in the performance, and the song seems to be copied from the musical arena and becomes a kind of folk prayer.

The key to Ribeau's work, and to what has made him one of the most successful musicians of recent years, lies precisely in the tension between these two extremes.

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It would not be an exaggeration to say that Ribo is one of the defining figures of the last half decade in Israeli music, someone who is a phenomenon no less than a lone musician.

It did not happen immediately: "A Continuous Love" came out in the summer of 2012, but only more than two years later he began to receive the recognition he deserved, and landed in 19th place in the annual Walla and Galgalatz parade for the year 2009 (!). C. He has already reached the fourth place, and with us he finished in 16th place in the ranking of the songs that made the decade.This song paved the way for an endless series of hits, and Ribo became a regular figure in this year's summaries.

It's not just a matter of parades, it's a matter of presence: Ribo Religious-ultra-Orthodox, from a sectoral area that rarely reaches the mainstream of Israeli music, as part of the renaissance of the ultra-Orthodox presence in Israeli culture in other mediums, it has become a bridge over which people meet throughout the Jewish continuum.

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And like the superstar he is, Ribo chose to release a rather unusual project for the Tishrei holidays: a triple performance album, "Stage Audience and Love", consisting of live versions of his best hits, with the third album dedicated to collaborations and live performances by characters like Shlomo Artzi, Omer Adam, Ehud Banai, Amir Benyon and Natan Goshen.

This is an invested package, designed to be relevant in an age where a physical album has long since ceased to be.

In a special step, it also includes a collection of chords for songs, for the amateur musicians at home, and even - in a truly extraordinary act - a booklet that includes about a dozen short Torah verses attached to Ribo's great hits, by media and Judaism anchor Sivan Rahav Meir and Rabbi Yonatan Zacks, presented in Hebrew, English and French - The mother tongue of the singer.

Maybe I'm not the target audience, and we are not dealing here in the field of Torah content criticism, but as someone who writes songs, and with all due respect - what could have enriched the listening experience seems pale compared to the expressive ability of the songs themselves.

A long road in the same place

The main characteristic of Ribo's work, first of all, is his clear voice, which sometimes rises to heights.

The cleanliness of the voice seems to have more than technical significance.

Song after song, it seems that Ribo tries every time to reach a purer and more refined expression of musical prayer, like a craftsman trying every time to make a more perfect shoe.

Being entirely geared towards one goal, Ribo suffers greatly from monotony, and many of his songs are similar to identical to each other, to the point that as a musician he seems to be standing in the exact same place from the day he appeared in our lives, already four albums.

Immersed in the formula of soft rock ballads, he rarely experiences other stylistic adventures.

Over the years, his voice also became more and more his own, and in this area too he avoided challenges: the outcry in the chorus of "Inside Continuous Love" remained quite unusual in his career, and the live album features an artist who almost never pushes his limits.

Everything is beautiful, but never surprising.

At the same time, there is a certain radicalism in the reproductive experience: there is almost nothing in it but the connection with God - it is rare to find in his repertoire a love song (not to sit the queen) or a social reference (not to the public's need back in repentance).

When he hosts Omar Adam in the song "Quiet", this phenomenon takes on an almost comic dimension, with the closing pessimistic line of the hymn changing to "there is one thing that will comfort - Friday and may heaven and earth and all their army" etc. on the melody of the song.

In fact, in relation to the artist behind whom he already has a serious mileage, we know very little about his human rival according to the songs he writes and performs, apart from his longing for his God.

In ancient generations of Hebrew song, they wrote in the language of "we" songs of longing for the land and its landscapes;

Then write in a single language about a personal experience.

As a singer who is in the mainstream, Ribeau's artistic position, in which there is no environment and also very little I but mostly a spiritual experience, is very unusual for secular ears.

The solution is to create alternative meanings: a line like "Only you know how to turn eulogies into dance" would not have become an Israeli anthem, if not every listener would have found their own recipient.

The power of many served

I have seen Ribo in the past hosted by others, and he knows how to give the audience exactly what he wants, compliment him and his partners on stage. The recordings of "Stage Audience and Love" present this wonderful presence to the general public, in the solo songs, as well as in the variety of hospitality and hospitality.

The outstanding performance in the third part is a joint version of "You Won with Everything" with Amir Dadon and Amir Benyon, which comes right towards the end, and sums up the entire album as a victory parade for a singer who captured the Israeli audience. Immediately after that, in the really last song, comes his latest single so far, "Royal Crown", which also, as expected, turns to God, and also includes the line after which the album is named.

This song by Ribo, released last April, is exceptional in his repertoire, referring directly to the happenings around the age of the plague, with lines like "The world stops crowding" and "No one in the city and the field", whose context is clear. "What do you want us to learn from this, and how will we know to unite in this separation," he shouts in the chorus.

In this sense, Ribeau's decision to release a live album now is an exciting statement - an artist's attempt to re-present an experience of being together in a world of isolation. If there is a force that can win in the current bleak collective mood, it is only a song of many, like the one that fills this album with full force.

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