It is julkonserternas task to give satisfactory answers to existential questions. The reality is, the audience probably right, worn this time of year, so it's important for musicians to not remind about it so much. Nils landgren's and his seven friends on the main stage at Kulturhuset Stadsteatern, do as the vast majority of the difficult seasonal genre: a little bit of it later – the important igenkänningsfaktorn – and much of the last – basically the same reasons.
approach. The references to the people's lives are dealt with appropriately in the mellansnacken but can also manifest itself in the actual repertoire. An example is a song by Jessica Pilnäs, about a couple trying to find their way back to each other at christmas time. They are also doing, I see it as – so the song relates to the end of the day still to The good.
The evil is, perhaps, basically, ourselves. Our vanity, our greed – all that we are ashamed of but which at the same time large parts of the society we have created. The motas traditionally in the gate with christian songs and like to sing along – which, when Landgren, saxophonist Jonas Knutsson, guitarist Johan Norberg, bassist Eva Kruse, the pianist Ida Sand, and singers Pilnäs, Jeanette Köhn and Sharon Dyall parts ”silent night” with all of us mortals in the tiers.
a standard blues Ida Sand sings rather straight up and down at the piano. Blues as a form has, of course, really all that is required of a christmas carol, from the mundane to the awe and hope in the face of higher powers. Even a piece of Swedish folk music performed by Knutsson and Köhn works if nothing else as a different kind of blues, with both the beauty and the appeal which the load-bearing ingredients.
And so, of course, landgren's beguiling version of John Lennon's already so disarming ”Imagine”. No matter how it turns with the christmas dare, perhaps, you still believe in a Happy new year.
Read more musikrcensioner of John Cornell, for example, how Tanblues unites the Persian music tradition with american blues.