We have faith in so many things in this world long since lost, and such a loss makes crumbly and sometimes even bitter. But then, suddenly, a 70 year old hobgoblin in a narrow cage over the people hovered in a football stadium, increases with tree frog green socks in slippers on the stage, gets a colorful republic and built the same precaution rather own two and a half hours and everything is again good. Is it!
Udo Lindenberg is our phoenix, ashes still glued him to his heels, but he flies back and rotates unswervingly his rounds dizzyingly high above the people, who so loves him and whom he so likes to talk to his mouth, although he binding is limited to his his own distinctive language.
the stage spans gigantically over the front of the sold-out to the last seat Volkspark stadium, there roar waves and storms and havariert a proud ship, to give Captain Udo approaching and directed things. He sings of the “Odyssey” in laconic words, it can only laconically, and then he tells us what he titled “My Way”: “And then you remained always faithful to you, and Room Service is written with U and H” <. / p>
some of his verses seem like nocturnal delirium distilled, others are almost childishly simple, some of his words translate merely just his last, cheeky hip movement. As I said: It has recently become 70 years old. “But only for earthly chronology,” Udo remarks. So according to his.
Udoismen and Stefan Raab
To understand why his songs and lyrics so work well, you have to peck details of his work. To “My Way” stretches Udo the finger at the cameras, his commentary on the political turmoil these days may suggest the panic-party for the next government, “if necessary in coalition with Olaf. Olaf Hi!”. Nobody knows if Hamburg’s mayor is present.
And when he “What are Wars” intones, he names the same not as questionable or objectionable, but simply as batty. It is his choice of words, it is the Udoismen, save the Lindenberg from the consternation poetry of many colleagues. And it is his desire for unconditional show now refined his concerts to solitary pearl.
The crane beside his stage raises first a UFO on stage , the louder aliens emerge and can subsequently then a huge disco ball hovering over everyone’s head. For him, Helge Schneider blows times simply the saxophone, sings Otto Waalkes old songs from the days of Uncle Pö’s Carnegie Hall and AC / DC’s “Highway To Hell” as “only on the way home will’s light” and sitting Stefan Raab for two songs behind percussion and thus to Udo’s old work, as he drummed yet for Klaus Doldinger passport rhythms for “Tatort” melody.
who could do such a thing apart from him? No ass!
As it goes further beyond the horizon, Udo faces an almost real looking projection of the Brandenburg Gate, now cavort on stage sometimes to the 50 musicians, singers, dancers and extras, Udo haunts like Zampano by the lively scenes. With Jean-Jacques Kravetz and his son Pascal, with bassist Steffi Stephan, keyboardist Hendrik Schaper and guitarist Hannes Bauer him standing here colleagues aside, already accompany Lindenberg decades.
Udo breaks the hearts of the proudest women, sings Gerhard Gösebrecht, dancing on the Honky Tonky Show, slips into the roles of Bodo Ballermann and those Johnny Controllettis and announced sometime, everything was clear on the Andrea Doria.
It is a fantastic world of fables and fairy tales, the absurdities and derailments, the daydreams and night phobias that he chosen to the humus his inimitable art first and then has straightened out. Until as this fictional character was created, this snapshot Udo, the total schmo type and sympathetic underdog, Udo indicate the the real Udo must now welcome in the front manifold copies front of the stage. Who but he could do such a thing? Exactly: no ass. To put it halfway so to say straight out, like Udo that likes to do.
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