In the shadow of criticism for "selling" his personal tragedy, Eran Tzur gave a constant, vulnerable and powerful performance in the Hall of Culture, as his old songs added new meaning. • Shared performance with Aviv Gadge brought chills in the audience.

• Eran Tzur at the concert

  Photo:

  Coco

At the end of the performance - after Eran Tzur thanked the audience for a special evening, and answered with excited applause; After the Spring Gadge hugs ("He is over and above," Tzur complimented him, probably the only person in the world who could use the above pair of words in rock performance and still maintain Pason); after a wild, inhibitory line of performance that threatens to collapse the ceiling in Zucker Hall In the cultural hall or at least the invisible divide between the artist and the audience - after all, the question arises: How come they never thought of it before, how is it now, when Tzur celebrates 30 years of musical career and GGD not far behind, they have been able to connect with them on a joint show?

Those who follow Tire know that the separation between personal and artistic is almost non-existent. From the beginning, he specializes in bold emotional exposure, rather than cooking realities he tries to promote in the present case, but a silent discourse on depression and the struggle against it.

After all, the resemblance of Tire and Gadge, the soloist of the Algerian mythological band, can be seen at first glance. They are both opal princes of Israeli rock who, even in the most anthemic and catchy songs, make no assumptions to the listener but storm him, armed with poignant words and distorted fists. Both are sung in spirit, paying attention to each comma in the text and savoring it; And the songs of them both grow on a bed of scars that other artists would hesitate to pry into. Gadge's biography includes, among other things, attempted suicide and hospitalization in Abarbanel, and Tire also has a close acquaintance with the power of torment: a few months ago his wife Avital put an end to her life, leaving him with their sons Liam and Tommy and an impossible space to fill.

The tragedy has found its way to the final pages of "The Beast in the Belly," Tire's new and autobiographical book about a provocative singer whose character is facing half the criticism. The interviews he gave on the occasion of the publication of the book, as well as on the new project he co-created with Ofer Meiri, earned Tzur with quite a few such arrows; He claimed to be emotionally haunting, "selling" his wife's suicide to sell more copies. So they argued. Those who follow Tire know that the separation between personal and artistic is almost non-existent. From the beginning, he specializes in bold emotional exposure, and not the reality of cooking he tries to promote in the present case, but rather a silenced discourse on depression and the struggle against it.

The tragedy that befell Tire hovers over the performance (as part of the Cultural Hall's Winter 3 festival) throughout, casting chilling meaning in the old songs. The anemone's refrain, the opening song, is immediately interpreted as a statement of intent: "Show must go on" - the show has to go on, life is stronger than anything, the terrible pain and especially the critics chatter in their tongue. "Kislev Evening," in which the speaker throws himself into the lake with stones in his pockets, is suddenly framed as a comforting outreach to the "predators of their lives" whose changed day is their day of disaster. "Chocolate Longing" - a new, delicate and beautiful song - relates directly to the jolt, and more specifically to the beloved curls that Tire finds in the drawer after the disaster.

Toward the middle of the show, Tzur (plus an apology for the spoiler) announces that Spring Gadge will soon be on stage, greeting him with the gloomy "green cover", a song that Alger could certainly write for himself and take pride in. Then, as the distinguished guest joins, the burners open with a roar and the real celebration begins. Gadge's boyish voice fits as a glove on the deliberately naive "anthem for indifference," and in "Mouth Butterflies," he cries out the cry "Now you'll hear how I'll yell / I or-or-you" in wonderful desperation.

Tzur, for his part, takes possession of Algier's monumental "Blood on the Sea", and when he declares "the whole world is a very narrow bridge / and it is impossible not to fall / crash into an abyss and lose everything," he clearly means every syllable. The co-rendition of "Insult" enthralls the speakers, as does the surprising version of the late "New House" by Gabriel Balhassan, in which the tacit silence is shifting toward the end with a guitar storm. , Which also causes adults in the audience to get up from their chairs and hurry like teenagers on the side of the hall, or in other words - on the way to Roxanne stopping at the Culture Hall.

The encore didn't disappoint either, while Gadge's "growing pains" became a constant nuisance in Tire's mouth and the lines "say there is no cure for pain / don't teach us how to tame longings," a painful vibration in viewers conveyed. In "Black Flower" the seal, Tire's voice rose to another count, echoing and curving and cracking, illuminating the stage with crazy light. The crowd shuddered, bowing. The play will continue.

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