Breakfast In Spain - Roger Hodgson and Supertramp website

All Photos by Miguel Angel Candela

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El Dia REVIEW

"ROGER HODGSON, NOSTALGIA Y CALIDAD"
Por JAVIER GANIVET
Publicado en 'DIARIO DE AVISOS'
14 de Octubre de 2007

Cerca de 4.500 personas disfrutaron "en la intimidad" de los viejos éxitos del líder de la legendaria banda Supertramp

Diario de Avisos
La Laguna

Es cierto que estamos escasos de héroes y que Roger Hodgson responde perfectamente al perfil de héroe de leyenda.
Anoche lo demostró una vez más ante más de 4.500 personas, que llenaron el pabellón Santiago Martín, para seguirle incondicionalmente.
Durante más de dos horas hizo un recorrido por los clásicos de su etapa con Supertramp, y de su carrera posterior en solitario.

Se inició poco después de las 22.00 horas, presentado por el profesor y músico tinerfeño, Manolo Fernaud, que entrevistó a Hodgson para DIARIO DE AVISOS.
El músico inglés salió a un escenario muy sobrio, sin grandes alardes de efectos de iluminación, y un sonido impecable, con su guitarra de doce cuerdas, un teclado, un gran piano de cola, y acompañado por "un solo músico". Nos habían llegado noticias de virtuosismos del saxofonista canadiense Aaron Macdonald, pero la extraordinaria lección de estilo que dió anoche fue verdaderamente increíble.
Es sorprendente pensar que un músico pueda hacer olvidar a la original banda de Hodgson, y sobre todo a Rick Davies.

El publico se entregó desde los primeros acordes, aunque el lugar no invitaba el movimiento, puesto que como viene siendo costumbre la organización montó un patio de butacas en la cancha, con más de 700 sillas, con la que los espectadores estaban inevitablemente obligados a escuchar este concierto de rock sentados.

Poco a poco se fueron desgranando los grandes clásicos School (Crime of the century, 1974), Easy does it (Crisis? What crisis?, 1975), Sister moonshine (Crisis? What crisis?, 1975), Dreamer (Crime of the century, 1974), Even in the quitest moments (Even in the quitest moments, 1977), Breakfast in America (Breakfast in America, 1979), Logical song (Breakfast in America, 1979) o It´s raining again (Famous last words?, 1982).
El concierto se dividió en dos periodos separados por 15 minutos de descanso. El rock progresivo, psicodélico, de los inicios de su carrera, que evolucionó hacia un pop de letras introspectivas y ritmos melódicos y accesibles para todos, siguen siendo sus señas de identidad hoy en día, acompañados por una potente voz que se mantiene tan brillante como en sus mejores tiempos y una puesta en escena recogida e intimista.

Mientras Hodgson tocaba la guitarra acústica y cantaba sus canciones, el público ponía las palmas, hacía los coros, cantaba las segundas voces, y poco a poco se convertía en una fiesta colectiva en la que los espectadores vibraron, saltaron, y se emocionaron.
Su larga trayectoria profesional, calidez como artista, sencillez y poder de convicción hizo que rápidamente se comunicara con el público y ofreciera generosamente lo que ellos esperaban.

Era el primero de una serie de conciertos que le llevará por nuestro país durante este mes de octubre, en una nueva reaparición del excelente músico.
Le sigue el de hoy en Las Palmas, y continuará el día 16 en Almería y 19 en Madrid. 

"ROGER HODGSON: NOSTALGIA AND HIGH QUALITY"
By JAVIER GANIVET
Published by Spanish newspaper 'DIARIO DE AVISOS'
October 14th, 2007

It¹s true that we are short of heroes and Roger Hodgson fits in the profile of legend hero.
Last night he proved it once more before 4.500 staunch admirers who covered the Santiago Martin pavilion.
For over two hours he reviewed all the classics from his Supertramp era and his solo career.

The show started after 22:00 h. and it was introduced by teacher and musician Manolo Fernaud, of Tenerife, who interviewed Hodgson for 'Diario de Avisos'. The British musician played on a very plain stage, without great lighting effects, and he offered a perfect sound with his 12 string guitar, a keyboard, a grand piano and just another musician.

We had been told that Canadian saxophonist Aaron MacDonald was a virtuoso, but last night he taught an amazing style lesson.
It's surprising that just one musician can replace the former band of Hodgson, especially the contribution of Rick Davies.

The audience surrendered to Hodgson from the first chords. Little by little he was playing all his greatest hits: 'School' ('Crime of the century', 1974), 'Easy does it' ('Crisis? What crisis?', 1975), 'Sister moonshine' ('Crisis? What crisis?', 1975), 'Dreamer¹ ('Crime of the century', 1974), 'Even in the quietest moments' ('Even in the quietest moments', 1977), 'Breakfast in America' ('Breakfast in America', 1979), 'The logical song' ('Breakfast in America', 1979), 'It´s raining again'  ('Famous last words', 1982)...

The show had two parts separated by a 15 minutes break. Progressive psychedelic rock from the beginnings of his career, which developed to a pop composed by introspective lyrics and melodic rhythms, is still his identity sign.
And his powerful voice is as brilliant as it was in the golden years.

While Hodgson played his acoustic guitar and sang his songs, the audience clapped and sang the choruses and the backing vocals. The concert became a collective party where everyone vibrated, jumped and was moved.
His long career as a musician, his warmth as an artist and his naturalness as a person made that Hodgson connected quickly with the audience and gave to them all they asked for.

It was the first of four concerts that this excellent musician will play in October during his return to our country. Tonight he'll perform in Las Palmas, next 16th in Almeria and next 19th in Madrid.

Tenerife News
By Karl McLaughlin

Supertramp legend Roger Hodgson fulfilled, in his words, a lifetime ambition to travel down to Tenerife and he did not disappoint the 5000 fans who turned up to see him perform.

Despite the language bagier separating him from the vast majority (virtually all except for a small but noisy British contingent) Hodgsonendeared himself to the audience -made up largely of people in their late-40s and 50s, although the occasional fresh-faced new recruit to his music was spotted - and gave the lie to the oft-repeated criticism that singers who still cling on to their past, particularly if from 30 years ago or more, are to be avoided like the plague.

Nobody would argüe that the fans who packed the impressive indoor Santiago Martín stadium between Santa Cruz and La Laguna were delving into their ' memories for the night and were prepared to pay 30 euros for the privilege.
But Hodgson demonstrated from the wocd go that he is not a man of the past in terms of voice or stage 'savoir faire'.
The highest compliment he can be (and was) paid is that he probably sounds better live today than in the recording studio more than a generation ago. While others (Paul Young springs to mind) have lost a considerable chunk of their touch and voice range, the man behind the bulk of the lyrics of Supertramp and writer of his own solo albums in recent years has retained each and every note. He was even honest enough to confess to his apprehension about singing the title track to his Open the Door álbum due to the prolonged high notes, but he carried it off with style.

The two hours plus of music, a carefully-orchestrated blend of racy Supertramp hits and slower (at times haunting) ballads, went down a treat with the audience, who became more involved as the night progressed, even though the lay-out of the hall (the 700 seats at floor level prevented dancing of any sort, while the tier configuraron of the basketball stadium was somewhat distant) was not the most appropriate for letting one's hair down.
The sober stage was adorned-with four mini palm trees and three plush rugs, the bnly Ítems apart from Hodgson's 12-string guitars, shiny black grand piano and keyboard. The lighting and sombre ambience were more in keeping with a relaxing couch in a psychiatrist's office, which was probably intentlonal given that most psychoanalysts try and put you at ease and take you back to your early days to explain your presentself!

Hodgson adopted a similar approach: he talked gently to his 'patients' and added in the occasional witicism for good measure (as he played the opening chords of Take The Long Way Home, he quipped that he had certainly "taken the long way to Tenerife"). His clear and precise díction to ensure the local fans could understand his "conversation soon had the audience eating out of his hand, not least when he disclosed that his "one wish was to speak Spanish" to be able to
communicate in a country he absolutely adores. He even joked with his own picture on the giant video screen behind him ("that's me by the way") and baited the photographers playfully:
"these paparrazis have been hiding in my hotel room all day trying to get a good shot of me!".

Hodgson also took the trouble to explain how he signed up the other star of the night, versatile Canadian Aaron McDonald, who gave one of the most brilliant performances ever seen on stage here as he did his stuff on the saxophone, tin whistle, piano, keyboards and even as backing vocals for his boss. He was so astounded by McDonald's saxo contribution to a rendering of Logical Song during an orchestra-accompanied performance in Ontario that he offered him a Job and the two have been together ever since, sharing over 80 concerts, including the tribute to Princess Diana at Wembley in the summer.

But the boss is still the boss and when the crowd went ecstatic at Aaron's opening words to them in reasonable Spanish, Hodgson jokingly called a halt to things and pleaded with them "not to encourage him".
The 57-year-old was jeered only once on the night, understandably so: after 10 songs and just as the audience '" had plunged head-first into the swing of things during the Logical Song (which was preceded by the revelation that it was Hodgson's time at an English boarding school - "do you have those things here in Spain? that propmpted him to write the lyrics) he left the stage for 15 minutes for a break. But all wasforgiven when he resumed with a sequence that included Breakfast in America, during which he allowed the audience to do the singing in places ("you Spaniards are crazy but by God you can singl"). Aaron McDonald took centre stage for a mind-boggling solo on Don't Leave Me Now before giving way to Hodgson for a marvellous rendering of dreamer which he dedicated "to all those dreamers out there"

By now, 18 songs into the wonderful show, staged by LM Producciones, and sensing the end was nigh, the fans were not prepared to give up the last chance for a dreamy close-up of their Jiero and they broke with protocol to descend
in droves from the highest tiers of the stadium to the floor-level área, where the dancing began in arnest.

Hodgson responded in kind and gave his own Full Monty over the microphone, belting out the legendary Supertramp number as if it were his last ever preformance. The prolongue standing ovation received incluided a typical Spanish OH-eh-oh.oh-eh fottball chant which echoed around the hall for ages, prompting Hodgson to mimic the 'words' and playfully consult McDonald on whether the song 'might just have some potential' for a future álbum.
It was at this point that he confessed that "growing up, all my friends come to Tenerife on holiday but I never did... I am here now though".

The comment brought the house down and he capitalised on the adulation by moving swiftly into the highligt of the night, the racy it's Raining Againg which was a credit to someone still oh his feet at half past midnight.

It must have been the only concert ever seen in Tenerife where a surging crowd did not bother the security staff in the slightest. Come to think of it, were there any bouncers on hand? Hodgson (who obviously realised that the term 'speechless' may have been beyond the grasp of the non-Brits) announced sincerelythat he was "without words", Together with his trusty sidekick McDonald, he touched hands with scores of adoring fans and left the stage momentarily, before returning for an encoré in the form of School. If any criticism were to be made, it was the choice of this heavily--instrumental piece for an encore. Like a few of the other slower numbers played, it dampened the spirits of the hundreds of fans gathered within touching distance in frontof the stage, who appeared at a loss as to what to do.
But they needn't have worried: the Supertramp legend was only toying with them. Promising to "come back again soon", he launched once more into his signature tune, Give a Little Bit, the song charities worldwide ask for permission to use in their fundaising compaigns and which he had performed almost two hours earlier.
Hodgson gave more than a little bit.

He gave it his all and the effort was much appreciated. Seasoned concert-goers, including the Cabildo's Karen Blanchard, who "had never seen a crowd here get into the swing of things like tonight", thought he was absolutely brilliant and some wished they could pop over to Las Palmas for the gig the following night also.

It might be worth checking in less than a year's time whether all those romantic glints in the eyes of the departing couples actually come to anything. Or maybe they were following Roger's advice and just dreaming nostalgically.
For some critics, such as the man from the La Opinión daily, Hodgson demonstrated 'the dangers of being simple' and should have omitted the ballads and 'self-indulgent' stints on the keyboards.
Did he even go to the concert?

Roger en Tenerife (por Asylum)

Hola a tod@s:

No defraudó Roger Hodgson en su visita a Tenerife, primera de sus citas españolas de la gira "Take the long way home".
Las dos horas y algo de actuación la noche del pásado sábado en el Pabellón Santiago Martín de La Laguna (La Hamburguesa) pueden calificarse, en mi opinión, con un notable alto.
Sólo el "detalle" de hacer un descanso de 15 minutos, como si de una película en el cine o de un partido de fútbol se tratase, hizo que el concierto no llegase al sobresaliente... Lo que sí es verdad es que se queda uno un poco frío y a cuadros tras viajar y vibrar a ritmo de la bestial interpretación de "la canción lógica" y que, de repente, te corten el concierto. Salvo esa anécdota, que nos permitió por otro lado tomarnos algo y saludar a caras conocidas, la noche fué mágica en el mejor sentido de la palabra.

Si bien el comienzo estaba previsto para las 10 en punto de la noche, no fue hasta más o menos las 10 y media cuando comenzaron a sonar los acordes de "Take the long way home".
Cerca de 5.000 personas con una franja de edad comprendida entre los 30 y pico y los 50 y pico años comenzábamos un viaje al pasado a través de las canciones de Roger. Un piano de cola, un teclado eléctrico y varias guitarras fueron los instrumentos que tocó Hodgson para apoyar su voz, además de, evidentemente, los coros, saxo, flauta y armónica del canadiense Aaron McDonald, el músico que habitualmente acompaña a Roger en los últimos conciertos.

Impecable en la ejecución, Hodgson no puede ni quiere renunciar a su pedigree de ex-líder de Supertramp (junto a Rick Davies), lo que se traduce en primer lugar en una sobria puesta en escena, en segundo lugar en un sobresaliente sonido más cercano (por no decir idéntico) al de las grabaciones originales que al de una actuación en vivo, y por último, en una selección de canciones para tocar en concierto con abrumadora mayoría de temas de su etapa en Supertramp.

Hodgson y el público tinerfeño conectaron de inmediato y, salvo los 15 minutos de intermedio, el concierto no dejó frío a nadie. Largas y sentidas ovaciones a Roger y a su músico Aaron McDonald tras interpretar trozos de nuestra historia como "Give a little bit", "Hide in your shell", "The logical song" o "Breakfast in America".
Emocionantes también especialmente los tres temas del álbum "Crisis? What Crisis?" que tocó anoche:  "Easy does it", "Sister moonshine" y "The meaning".

Apoteósico final con un poker de temas que subieron aún más la temperatura: "Don't leave me now", "Dreamer", "It's raining again" y "School" pusieron en pie a un pabellón totalmente entregado. El bis de "Give a little bit" cerró el concierto cerca de la una menos cuarto de la madrugada.

Como temas que eché de menos he de nombrar la para mí nunca prescindible ópera de la jabonera ("Soapbox opera"), y los dos primeros éxitos en solitario de Roger en 1984, "Had a dream" y "In Jeopardy", aunque en compensación sí que interpretó de aquel primer álbum del 84 la romántica y emotiva "Lovers in the wind" como tercer tema del concierto.

En resumen, un viaje a la nostalgia en un vehículo de lujo: el de la voz y la música de Roger Hodgson.

Ésta fue la scaletta:

1) Take the long way home
2) Give a little bit
3) Lovers in the wind
4) Hide in your shell
5) Oh, brother
6) Easy does it
7) Sister moonshine
8 Open the door
9) Along came Mary
10) The logical song
11) The meaning
12) Breakfast in America
13) The more I think
14) Child of vision
15) Lord is it mine
16) Even in the quietest moments
17) Don't leave me now
18 Dreamer
19) It's raining again
20) School
21) Give a little bit (bis)

Saludos!