culture
A bottle of beer fell to the floor.
Assaf Amdursky stopped playing and smiled.
It was a perfect musical moment
In many ways, Amdursky is the Israeli Lou Reed.
The breakthrough in the supergroup.
The drug references.
The transition between genres.
And yes, also the gap between the magic in the studio and what comes to the stage.
It seems that returning from the Knesset found the musician more relaxed than ever, and the great emotion that accompanies his music passed perfectly to the audience last night.
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Assaf Amdursky
Corona
Living Room Fellow
Wednesday, 10 March 2021, 08:59 Updated: 09:00
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Wrong to classify the world of culture and entertainment as some hedonistic decoration for life.
Assaf Amdursky performing (Photo: Reuven Castro, Reuven Castro)
You could say I'm addicted to live shows.
I'm not ashamed of it, on the contrary.
I'm proud.
I have no problem detailing to anyone, and at length, about the hundreds of shows I have been to in Israel and abroad. Yes, I have won. Live shows are life itself. There is a reason there is the word "live" within the concept. In December 2019 I flew to Las Vegas In one week Beck, Anderson Puck, Casey Masgrave, Flying Lotus and even the Hanson band. The swan song of that journey to Sin City ended with a great performance by Poo Fighters. I stood in front, as always. I screamed with a hoarse throat. For a year and three months. 458 days, for those of us who counted. And I counted.
It was a rehab I did not want, from a habit I did not suffer from, on the contrary. It is clear that in the multitude of atrocities that have befallen mankind in the last year, the separation forced on me And relatives of the disease, some lost their jobs or were forced to close their businesses. People collapsed economically and socially. Compared to such things, what is it no longer to go a year and something to an entertainment show?
But it is a mistake to classify the world of culture and entertainment as some hedonistic decoration for life. To tell about Winston Churchill a fictional but beautiful story - when asked during World War II why he
Not cutting into Britain's culture budget, he replied: "If there is no culture, then what are we fighting for?".
Art is not just a side hobby, it is an island of sanity in a crazy world.
Music, humor, aesthetics and other miracles that we get to experience as passive spectators by talented people help us cope with life.
There are pictures and paintings that are worth much more than a thousand words, there are books and movies that have changed the world, there are songs that have saved people's lives.
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An island of sanity in a crazy world.
Assaf Amdursky performing (Photo: Reuven Castro, Reuven Castro)
The expected but late opening of the world of culture was done in a careful, slow and almost underground way.
It seems that the singer or entertainer on stage does not really matter to Israelis who really missed this experience.
Whether it's Shalom Hanoch in front of a few hundred people against the backdrop of the desolate Bloomfield, or Lior Schlein's funny the already small hall of Tzavta, which left empty chairs in it to remind us what a strange time we live in.
Last night was the first show I saw since Dave Grohl performed obscene acts on my eardrums, and it was the complete opposite.
Assaf Amdursky.
Just a guitar.
Just a piano.
Just sound.
Quiet, smiling, humble.
Unusual inside his intimate zappa.
Well, here and there a loud drum machine, but on an evening like this, the Roland 606 also blends into the balances and brakes of the little music in the face of the great emotion behind it.
The hall in Herzliya was sold out.
The Israelis, excited to get back to routine, played the game well, presented the green card certificates to the ushers.
Nice hosts led each group to its place.
As darkness took over the hall, and we all exchanged masks for beer bottles, it was already really starting to get exciting.
Most attendees will probably always remember this moment, the moment when the music came back after a year of silence.
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Missed the rolling bottle.
Assaf Amdursky performing (Photo: Reuven Castro, Reuven Castro)
Amdursky took the stage armed with an acoustic guitar, a Mona Lisa smile and a respectable arsenal of songs, which seemed to have been worked out just for the time being.
It took a few moments to get used to this alone.
Without the band around.
No costumes.
Costumes.
Video Art.
Only creator and creation.
When it came to "Softness and Difficulty," the third song on the show, something was released in both Amdursky and the audience.
"Whatever you think, a new spirit will blow," Amdursky wrote 22 years ago but the words feel so topical.
Abstract from all the tools, Amdursky lets us get used to the moment, and fall in love again, with the beauty of simplicity.
In many ways, Assaf Amdursky is the Israeli Lou Reed.
The breakthrough in the band that in retrospect is impossible not to call it "super-group".
The songs that turned out to be biographical in retrospect.
The drug references.
The frequent zigzagging between genres, and the specialization in each of them.
Curiosity for electronic music.
Inspired by poets.
Inspiration for others.
And yes, also the gap between the magic that takes place in the studio and what happens at the end on stage.
In this sense, the situation that forced Amdursky to perform small and intimate shows did him only good.
He seemed looser than ever, and the great emotion that accompanies his music went perfectly to the audience.
He did not need gimmicks or special guests.
In general, I have not long ago been privileged to see an artist who so much enjoys the very presence of an audience.
When a nice woman in the third row accidentally dropped her beer bottle, which rolled with a metallic noise onto the zappa slopes, Amdursky stopped playing and responded happily: "How I missed that noise of beer bottles falling to the floor!".
It was a perfect musical moment.
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Fall in love again.
Assaf Amdursky performing (Photo: Reuven Castro, Reuven Castro)
Amdursky tells the audience that he took advantage of the Corona's "period" to record three new albums. "Full Moon", his next album, was written in one week in Sinai and recorded in one week in Florence. "It was recorded, moxed and vinyl records have already arrived in the country.
He will leave when I decide, "he tells the audience before taking the time to perform the theme song, which is full of financial influences, in the best sense possible. Amdursky is confused by the lyrics, still a new song, but manages to skip the situation gracefully breaking some more barriers that almost no longer exist At this point. "Assaf, we missed you!", Someone from the audience shouts, and the singer responds wholeheartedly: "It's so mutual!".
As in his career, Amdursky does not let the audience get used to one sound. His huge talent is deceptive, it takes time to remember before It's all about a brilliant guitarist, one who can impress without riffs and without power-cords. Just before it becomes obvious, Amdorski puts the guitar aside and sits down at the piano. He tells an album of poets' songs he wants to record, and presents "Nothing," a song he recorded To the words of Nathan Zach, who passed away before he could hear the composed version.Zach's beautiful song takes us into an electronic string, which goes on almost non-stop to arrange breathing (or returns) into "Star", "Yellow Fields", "15 Minutes" and “Dark Dream.” This is the show's Tour de Force musically, but it also finds Amdursky so passionate and focused on the task of singing, playing the piano, and fishing.
And himself, to sample into the electronic instrumentation and then to create all this beauty together - that the connection built between him and the audience is a bit lost.
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His huge talent is deceptive.
Assaf Amdursky performing (Photo: Reuven Castro)
Amdursky returns to the guitar and with it the feeling of closeness to the audience.
He performs "Bereishit", "Dear" and "Train to the North" (or in its original name: "Poop on the Sea of Galilee") and generously tells before each song the story behind each of these classics.
He opens the encore with his latest single, the beautiful "You and I Travel Slowly", which at first hearing can be mistaken for a hidden song by Shalom Hanoch from "A Man Within Himself".
At this point comes the third and final part of the show: Amdursky pulls out his electric guitar and reminds us all just how old we are, when he tells us that the only album of "Ascot Mix" is celebrating the year 30. He performs the band's big hit, "My Intimate Room", and the audience joins him Happiness mixed with nostalgia.
For one brief moment it feels like a historic reunion of that band, and lo and behold, another moment Jeremy and Django will take the stage and give head.
The sweet illusion shatters when Amdursky does not hold back, and in the middle of the song he honestly adds: "What a goofy song."
The show ended with "New Love", the hit that paved the way for his solo career, and may forever remain the most identified with him.
Amdursky took advantage of the loneliness on stage to perform illicit acts on his guitar, and the energies in Zappa peaked, at just the right moment.
All in all, this was probably not Amdurski's best performance, but it was at least the best performance his audience has seen in the past year, and he delivered the goods both musically, and especially emotionally.
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The energies peaked at just the right moment.
Assaf Amdursky performing (Photo: Reuven Castro)
In small
It is possible to evaluate the depth of an artist's work according to the songs he chooses not to perform in a performance.
Amdursky chose not to do "Many Days", "Heart Attack", "Towers" yesterday and completely ignored the album "Side A" (in my opinion, the pinnacle of his work).
In addition, the rage that characterized Amdursky in the social protest against Prime Minister Netanyahu was absent, and is found in quite a few of his songs. It is not impossible that the partial opening of the cultural world managed to calm even one of the most familiar faces in demonstrations. , In the midst of a painful crisis, and just before (another) fateful election, Amdursky would sing about the transparent people among us walking, and through us pass.
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