Where is the boy (Photo: Assaf Nebo)
"Before we say goodbye," said Hami Rodner to the audience in the hangar, just before the last chorus of "Somebody Hears Me", "remember one word: 'D-mo-kert-ye', 'd-mo-kert-ye', 'd -Mo-Kart-Yah!'", he repeated it seven times, in rhythm, the audience joined in, and after the eighth time he added: "Freedom! Love! Rock'n'Roll!", then kicked the chorus with a mighty Solomon Manor-style volley kick, right into the hands of the 2,500 fans who jumped in the air, as if they were not forty plus years old.
At the end of the song, when the band came down before returning for the encore, part of the crowd kept shouting "d-mo-cart-ya"!.
When they returned to the stage, the audience again shouted "D-mo-kart-ya!"
in rhythm
It was the moment that most defined this show, and the closing of the circle in which, which began 30 years ago, as "Aspiration the Child", one of the greatest rock bands the country has known, released its debut album "Sugar Time", an album that defined that moment in musical time Israel's.
It happened on February 23, 1993, a Tuesday of the week.
After more than three years of performances throughout the country and after tearing themselves apart in the Triton recording studio with producer Yuval Shafrir and technician Eyal Dafna, "Sugar Time" by "Where's the Child" was released in stores.
The day before, "Whispering Words" of the Church of the Mind came out.
Two and a half weeks later, the first of "Dr. Casper's Rabbit Show" was released. Israeli rock flourished, Rabin was in power, peace was on the horizon, Rudner's father-in-law was for a local combination between Mick Jagger and Kurt Cobain. At the beginning of the summer, "Where's the Boy" released The single "Someone hears me" and immediately became the hottest thing in Israel, the cover of the youth newspapers, the article on TV on Friday evening, the soundtrack of the era.
Hami Rodner (photo: Yoram Elosh)
Thirty years passed, and they succeeded, that is, they survived as a band, as musicians, when they celebrated with two full shows in Hangar 11, in front of 5,000 people in total, opening with the eternal "One God", from the great songs of protest and prophecy written here, which will always be relevant, about generals and politicians and the media and the devil and the ultimate war with the bombed cities - and close at the end of the encores with the album's second great protest song, the punkish "America is Close", which opens it with distortions of guitars, a tremendous scream and war drums and lyrics about rampages and street fights and the shout "Kill them all!".
The most Israeli rock that can be, the most from here, the most connected, the most contemporary, the most again the soundtrack of the era.
"Good evening, free Tel Aviv!" Rodner shouts between "One God" and the theme song "Sugar Time", and adds: "Good evening anarchists!".
These are the days when real rockers don't keep quiet, and without making political speeches or getting dirty,
Rodender on bass and vocals, together with Assaf Sharig and Ofir Bar-Ami on guitars and vocals and Assaf Maroz on drums, took the audience on a deep journey into "Sugar Time", including the lesser known songs in it, songs that have not been played in their concerts for years, such as "Bird of Paradise" The mowed, the sentimental "You read your letter", the eternally youthful "Yousef in the Armchair" and "Where is the Spirit" and the mystical "Kenavim", which Sharig sang to the words written by his late father. Those who truly love the band and those who grew up on the album, could not help but Get excited. "God kept us alive all these years so we could play you these songs," Rodner told the crowd in another accurate rock 'n' roll diagnosis.
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Where is the boy (Photo: Yoram Elosh)
Since they returned to regular activity 15 years ago, I have attended more than 15 performances of Where is the Child.
I've seen them fill the barbie time after time, join forces with "Monica Sex" and other artists, change the composition of the songs in the show, play better and less (usually more).
Last night was one of their peak evenings.
They played excellently, the sound was excellent, they were sharp and precise, they controlled the event, they controlled the excitement.
This is not obvious because this is of course not the first time that "Where's the Child" has appeared in the Hangar in its history, but still, with all the seniority and experience, the ability as a rock band to give the maximum in front of such a mass of audience, is an ability that requires preparation and practice.
No band goes from clubs to stadiums in one day.
And when you're in rock 'n' roll and go on stage naked with four instruments - two electrics, a bass and drums - without a computer and keyboards and all kinds of nonsense and gimmicks that will cover your mistakes and drag you when you screw up, you have to answer the cliché,
which says that rock bands improve over the years and in old age play the hits of youth better than before.
Last night "Where's the boy" proved that, as the saying goes, "everyone wants a friend", the cliché is true.
The hospitality of the "Church of the Mind" was cool.
"Where's the child" they sang almost all of "We would make love" almost by themselves.
Yoram Hazan and his friends returned their favor with "White in a Black Dream", a song that can easily be considered part of their repertoire, and the two bands fully connected with "With You to the Sea" with a nod to David Bowie's "ashes to ashes".
Tal Gordon, once our very own Marian Faithful, thrilled with "Anger", the huge anthem she wrote for "Roquefort".
The combination with Yermi Kaplan in "Falling Strong" (indeed, it was written about him and Dana Berger) is already a classic, the choice in "Why didn't you come" turned out to be great and how is it possible without "this knock".
Kaplan and Peter Pan added the dimension of levitation on the stage and all in all the fans were treated to a kind of rock ball, which of course sent back in a time machine to the nineties.
For the encores, they saved their two ultimate ballads, "Just to Get a Hug" and "Bring on the Fall"
Where is the child and the Church of the Mind (Photo: Yoram Elosh)
At the two endings of the show, at the end of "Somebody Hears Me" and at the end of "America is Close", Rodner proudly waved both hands, holding his bass guitar high in the air, looking at the audience with a look of conquest and victory.
Now it is clear who is the real mayor of Tel Aviv.
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Rodner's father-in-law