Morrissey

Hollywood Bowl - June 8, 2007

Live Review by Joe Cortez

Dressed to the nines with his cohorts in tow, Morrissey, that ever dapper elder statesman of angst, entered the stage triumphant and confident. Before the band had even struck a single chord, the crowd was theirs. Such anticipation is not uncommon in the moments leading up to a performer's arrival, but to be confronted by what could only be described as pure adulation is a thing to be treasured. Perhaps no other performer in annals of modern rock history inspires as much devotion as Morrissey; his base rabid and his following devoted. Throughout his storied career, first as front man for The Smiths and later as a solo act, Morrissey has become a transcendent figure for the alienated and aloof alike. Such commentary should come as no surprise to anyone that's ever listened to a tune penned by the Moz, whose lyrics wallow in a kind of Oscar Wilde self-deprecating pity and sorrow over lost love and broken hearts. While his words read like poetry, that music that accompanies such lyrics has been the most raucous and sincere in the last twenty years.

On the eve of Morrissey's return to LA. in the form of an audacious ten night residency at the Palladium before its closing next month, perhaps this is as just a time as any to reflect upon his performance this past summer at the Hollywood Bowl, a night wherein a venue elevated a medium and an artist celebrated a legacy, both his own and the greater epic that he is taking part in. To reflect upon a night when hero worshipped was shared by both audience and entertainer alike and weepy eyes and broken hearts were mirrored in song and mired in power chords.

Beginning his set with the raucous Smiths' tune, "The Queen Is Dead," Morrissey and his band firmly established their arrival onto the scene with the calls to a dead monarch. The rendition was faithful to the classic cut found on the album of the same name, but brought to life with incredible fervor. Reminding us all that we were gathered to see and hear that band's front man perform, Morrissey quickly segued into his own solo material with "The Last Of The International Playboys." The crowd responded, singing along to the chorus, suitably providing a heartfelt back up. It was a rush to hear so many people feel such a connection to a song and singer, a connection that felt honest and real.

Early on, between songs, Morrissey paused to address the audience. Musing on his 15 year absence from the Hollywood Bowl's stage, he reflected upon the fact that an entire generation has grown up in the time since. That Morrissey is able to reach such a wide group through his music and remain so vital after all these years is a testament to his early works' and contemporary compositions' lasting influence. It was clear that he is still seen as an object of affection and even desire by fans who desperately tried to claw their way up the stage, just to get a touch of their idol's flesh.

The set list this evening bounded from Smiths' tunes and solo tracks, with a slight bias towards Morrissey's solo work for obvious reasons. It was comforting to hear such early alternative hits as "Girlfriend In A Coma" and "The Boy With This The Thorn In His Side" performed without any sense of indignation or obligation to the fans that so frequently comes with performers that may be known more for past work with earlier bands. True, Morrissey will be remembered for his fronting one of the most influential bands of the modern era, his legacy is only heightened by latter day performances such as the one had this night.

The evening closed with a stirring performance of "There Is A Light That Never Goes Out" that left the crowd in a euphoric state of bliss and dismay that the program had concluded. It was a night to be remembered brought to us by a musician whose lasting impact and appeal could be measured on the face of everyone in attendance.