Alcuni buoni motivi per andare a vedere Prince dal vivo


Probabilmente con questi video qualcuno cambierà idea e coglierà la prima occasione per andare ad assistere ad un concerto di Prince e 3rdEyeGirl.

Fonte:    3rdEyeGirl


3RDEYEGIRL – Chaos & Disorder (Shepherd’s Bush Empire – London, UK. Feb 9, 2014)



3RDEYEGIRL – Something In The Water (Manchester, UK – Feb 22, 2014)



3RDEYEGIRL – Let’s Go Crazy (Manchester, UK – Feb 22, 2014)



3RDEYEGIRL – Guitar (Coliseu De Lisboa – Lisbon, Portugal. Aug 17/2013)



PRINCE and THE NEW POWER GENERATION – Days of Wild (City Winery – New York City. Aug 25/2013)




Nuove date del “Hit And Run Tour Part II”. Domenica due concerti di Prince allo Zénith di Parigi


Prince en concert au Zénith de Paris ce week-end

avec Emmanuel Marolle | Publié le 26.05.2014, 16h14 | Mise à jour : 18h33

Prince est de retour à . Trois ans après un concert au Stade de et deux ans après l’annulation d’un autre concert au pied de la Tour Eiffel le 2012, le Kid de Minneapolis revient dans la capitale pour deux concerts exceptionnels au Zénith de Paris. Les deux concerts auront lieu ce dimanche 1er juin, à 18 heures et 21h30.

Les billets seront mis en vente mercredi. (Link)

 Le «kid de Minneapolis» est réputé pour sa propension à organiser des concerts à la dernière minute, que ce soit sur de grandes scènes ou dans des petites salles. Cet hiver, il a provoqué une vague de folie à Londres, en y multipliant les concerts surprises, annoncés quelques heures à l’avance et parfois à un prix modeste (10 livres, soit 12 euros). De façon particulièrement appropriée, l’icône pop avait baptisé cette mini-tournée «hit and run» (délit de fuite).  La frénésie qui s’était emparée des réseaux sociaux et les longues files d’attente devant les salles de concerts avaient conduit la presse britannique à qualifier cette nouvelle activité des Londoniens de «Princewatch» (traque de Prince).

A l’automne 2009, le créateur de «Purple Rain» avait déjà fait sensation à Paris en investissant la nef du Grand Palais pour deux concerts exceptionnels, organisés en seulement cinq jours après un coup de coeur du musicien pour le lieu. Les 11.000 billets pour ces shows auxquels avait accouru le tout-Paris s’étaient envolés en 77 minutes. Puis, il avait surpris son monde en jouant presque à l’improviste pendant plus que quatre heures dans la petite salle du New Morning. Le chanteur n’avait pas annoncé le concert et s’était contenté de distiller des indices à la communauté de fans qui épie ses moindres faits et gestes.

En 2011, il s’était offert le Stade de France et n’avait divulgué l’information qu’un mois à l’avance, soit presque à la dernière minute pour un concert dans une enceinte aussi grande. L’année suivante, il avait voulu jouer au pied de la Tour Eiffel pour le 14 juillet, mais la mairie de Paris s’était opposée au projet.


Ecco perchè bisogna andare a vedere un concerto di Prince


Our thoughts on Prince’s recent Birmingham show

by Neil Kulkarni, 21 May 2014

So, there are those great gigs you go to. Those good gigs you go to. Those bad gigs you go to. All seem to exist on the same scale. This was off the scale in every way. This was so good, halfway through your mind was making cast-iron assurances that tomorrow you’d quit your job, quit your life, quit everything just to dedicate the rest of your paltry existence to chasing… this, this night, these feelings, this turning of yourself inside out. This was so good I’ve started seeing my life ever since, at least in those rare moments where the palpitations have stopped, in two distinct stages. There was my life up to this night, and now I’m starting the second phase of my life after this night. My pre-seeing-Prince years are gone now. Nothing I learned in them can help me now. I’m now in my post-seeing-Prince years. They will be productive.

Never seen him before, never thought I’d get the chance. £75 quid a pop was too rich for my blood. Craven and shameless begging on twitter got me on the gitlist. Only found out on the morning. Whole day a dizzying exhausting mix of dealing with reality, barely able to apprehend any importance in the day-to-day shit I was doing, unable to truly comprehend what I would be going to see. I was going to see fkn PRINCE. Not just another singer, not just another gig – this man, and I count myself among innumerable ugly Asian guys in the ’80s in this – wasn’t just a musical bomb in that decade and in my life, he proffered the possibility that being a short-arsed hairy brown person you could also be cut from God’s own image.

On the way out of Cov we find ourselves following a massive limo, doubtless just some gig-goers who decided to make a night of it, but we convince ourselves it’s Mr.Nelson himself, hid in the back with nothing but a few copies of The Watchtower and his make-up artist for company. Something about the limo, blacked out, no decals about ‘available for hire’, had us following, stalker-like, from a safe two-second-rule distance. Eventually, halfway up the A45 it pulls into a Texaco. We debate pulling in as well, surmise rightly that if it was the Purple One stopping off for a snack it’d be his driver who he’d send in for his Ginsters Spicy Slice, so stay on the road, get to the LG, park, walk, judging our fellow fans on whether they’re wearing purple. A crush, and we’re in, and we’re waiting, heart trembling, listening to the smartly-chosen ‘Big Fun’-era Miles Davis that’s getting everyone tenser and tenser, and we still can’t quite believe that we’re here. We’re gonna wake up in a minute. This can’t be real.

Deliberate false-starts. Third time’s the charm. Curtain drop. FUCK ME IT’S REALLY HIM. Looking stunning, looking like the kind of cat Marc Bolan would drop a couplet on. Silk pyjama jumpsuit, lightly-flared, beautiful. IT’S REALLY HIM. THIS IS REAL. AND IT’S REALLY HAPPENING. RIGHT NOW. IN FRONT OF US. From then on the thoughts, the impossibility of ‘thoughts’ – come too thick n fast n creamy to be chronologically delineated and kiss my arse if you think I could take ‘notes’ so let’s break it down thusly.

     • The band: Fuck me what a band. 3rdEyeGirl are blazing, funky like playing pocket billiards with planet-sized-cojones, HEAVY as hell. When Ida Nielsen hits that fuzz pedal on ‘Musicology’ her bass turns into this thing of coruscating electric wonder, NOISE at stadium-sized affect. And Hannah Ford’s drumming throughout is a thing of rolling joy and bliss and drama – there’s times when she’s so funky she sounds like a dub-production is being enacted on what she’s playing as she’s playing it. Astonishing musicians, locked in from the off, no ‘warming up’, just instant white heat and black power. And Donna Grantis is Prince’s perfect foil on guitar, great enough to match him lick for lick but able to step back and provide perfect Jimmy Nolen-style scratchy backing when the man wants to get lurid and loose on the simmering ‘Empty Room’. 3rdEyeGirl are genuinely the heaviest thing I’ve ever seen at the LG, even heavier than AC-DC were a few years back and that’s fucking heavy. The loudness and the glory.

     • HIM: I never got to see James Brown, Jimi Hendrix, Earth Wind & Fire, T.Rex, My Bloody Valentine, Kraftwerk, This Heat, New Order, Joni Mitchell, Miles Davis, Sly & The Family Stone, Merzbow. Doesn’t matter now. I saw HIM. At various points Prince recalls all of them, smart enough to leave enough space to let the funky moments really get inside your bones and make your toes curl, genius enough that when he plays guitar he really does recall Hendrix/Hazel but still puts across nothing but his OWN blend of what he’s listened to. And still a brilliant, bewitching dancer. In a sense, Prince is the last living relic we have that directly touches back to those aulden times in music, crucially though every time he plays a note he propels us into the future. ‘Musicianship’ is something it’s become incredibly difficult to defend or respect or acclaim anymore – so often does it mean the tedium of wanky solos, empty showboating. In Prince the whole concept gets opened up to the full possibilities perhaps only Miles & Jimi ever touched before – every moment of Prince’s guitar playing is a juddering jolt of electric wow that pushes your jaw just that extra inch closer to the floor. And he’s not frowning or sweating, he’s looking like the coolest motherfucker you ever saw in your life, he’s looking like he’s ENJOYING it, like he’s just as turned on by the sheer psychedelic outrageousness of what he’s conjuring from his battle-axe cum magic wand. Two utterly astonishing moments as well where he entirely slips the rock-god leash and transmogrifies into utterly contrary identities- one a gorgeous medley of songs where he’s at the piano, pure Donny Hath/Joni style and you realise his voice is somehow older, but still immortal, his voice this thing that, like his playing, can seemingly DO ANYTHING, flying from the most sultry depths to the most shattering falsetto in the space of a syllable. Another moment where he steps behind what looks like a straight-up DJ set-up (samplers, decks), and pushes buttons and ‘Hot Thing’ and ‘Sign Of The Times’ happen LOUDER than you’ve ever heard ‘em, heaviest harshest electro beats you’ve heard live since Public Enemy. And you dance and you scream and you swear down you’re getting that logo tattooed on your FACE tomorrow – this guy can fucking do ANYTHING. Brum crowds are slow but in a way entirely free of gimmickry or hoodwinkery he stirs them, times it, paces it, builds it, like no-one else on earth. Greatest showman I’ve ever seen in my life.

     • The songs: The setlist is incredible, as you’d imagine from someone with so much to pull from but it’s the variety that’s key, the quixoticness/suprasmartness of his choices, the little surprises, the odd turns & twists & tweaks it takes that make it not quite a greatest-hits package, and then the glorious moments when he unleashes a monster like ‘1999’, ‘Kiss’ or ‘Beautiful Ones’ on your intensely gratified ass. The way he turns ‘Let’s Go Crazy’ into a monstrously bruising Sabbath-style grind of heaviosity, the way ‘U Got The Look’ and ‘Controversy’ come barraging in to the crowd’s total delight and surprise, the way ‘Diamonds & Pearls’ and ‘I Would Die 4 U’ get spun out and yet abruptly killed with brutal chutzpah, sky-high panache. This whole night is a master class in how to fuck with your past with just the right amount of irreverence and reinvention AND just the right amount of respect to not piss on people’s memories. It’s only on the way home that I think “man, no ‘Dorothy Parker’ or ‘Girlfriend'” but by then, like everyone else, I’m a sticky sated mess with his name in my heart and rattling in my brain with the ear-ringing deafening frenzy of a new-convert. Beforehand I was thinking – there’s no-one alive or dead I want to see play for 3 hours. At the end, I want to go see him again. And again. And again. NOW.

Finally, a thought that can’t be added to a list because it’s too important, a thought that occurs at 4 in the morning, cos of course, after this, I can’t sleep, I’m still buzzing, my head full of undeniable inarguable HIM. It strikes me that the most important thing about what I’ve just seen isn’t about skill or technique or songs or showmanship, it’s not about something you can learn or fake. It’s about generosity. Generosity of spirit in your music. At all times Prince does the incredible things he does FOR the people. At no point is this merely flash. If it was, my god WHAT flash. But there’s something about the way Prince puts his music across that’s about love, about love for us, and our love for him – he never scowls, he never moans if the crowd don’t sing back as loud as he wants them to, he never makes us feel like we HAVE to do anything. He starts a party and he keeps that party going and it’s the greatest party you’ve ever been at and you feel blessed and honoured to have been there, bear witness, got DOWN with the man. He just gives us his songs with a total openness of spirit and heart.

That’s the thing, perhaps the only thing, that links all true artistic immortals, that deep intrinsic instinctive unselfishness, and Prince exudes it out of every pore. There’s moments tonight where it’s as if he IS music, in some way a living avatar of music’s true liberating spirit, the openness, the freedom, the suggestiveness, the abstractness, the horniness, the transcendence that has us all hooked our whole lives made flesh. He’s everything. Incredible moment when he thanks us for not using our phones, then gets everyone to turn on and transform the place into a sea of stars. And then, during ‘Purple Rain’, which is the most moving moment of my entire life of gig-going, you realise not just that you feel you’re part of that film’s closing sequence but also that that kind of fantasy is precisely what Prince makes real, right here and now. In a time where it’s become orthodoxy that there’s nothing new under the sun, Prince gives you back a new you, under a new sun, dancing a new dance. He makes your life, in seeing him, feel that big, that worth it. That’s an incredibly rare and precious gift, to be able to make people feel that life is worth pushing on with. Utterly inspirational. Totally mind-blowing. It’s amazing what a person can do with music. The pivotal moment I feel the rest of my life will be spun out from. I don’t care if that’s delusion. It’s the best delusion I’ve ever felt.



Fonte Immagini:


Prince, primo concerto a Birmingham. 30 canzoni in piu’ di due ore di spettacolo


Ieri sera è iniziato il “Hit And Run Part II Tour 2014″ di Prince e 3rdEyeGirl. Prima tappa Birmingham. Qui sotto alcuni articoli, recensioni ed immagini del concerto.

Prince live at Birmingham’s LG Arena

By -Friday, May 16 2014, 15:18 BST

Prince‘s compelling legacy thrives on the mystery that surrounds everything he does. His new band 3rdEyeGirl sees him, well over 40 years into his career, continue to surprise and captivate music fans. Whether it’s random single releases, keeping schtum on when new album Plectrum Electrum will finally hit the shelves, or headlining a handful of small ‘Hit And Run’ shows across London and Manchester back in February, the Purple one has mastered the art of the non-traditional approach.It’s a credit to his unpredictable nature that, when he does do what all music legends should be doing – playing in front of thousands of adoring fans – it still remains a thrillingly unique event. Prince is back in the arena forum where he belongs. There’s a strict 11pm curfew, the fans want all of the hits, and do you know what? He obliges.

Much like his music, Prince has aged very well – almost impossibly well. He struts out onto the stage with purple and white balloons, letting them float above before he launches into classic hits ‘Take Me With U’ and ‘Raspberry Beret’. The band’s instruments are telepathic, Prince’s groove is infectious and the stage set-up is modest for a cultural icon. Tonight, the focus is firmly on the songs, and Prince is utilising all of his rhythm to hypnotise the crowd.

The guitar licks on ‘Kiss’ are funkier, ‘Let’s Go Crazy’ is booming and 2007’s ‘Guitar’ is an ode to the musical weapon that has become an extension of his own body. Prince is spritely, agile and full of energy. This is a man who isn’t going to let a number dictate how he moves, and his ability to still seduce the opposite sex is paramount to his rockstar prestige.

That image is heightened by his all-female band 3rdEyeGirl. Prince’s search for the best female guitarist in the world led him to Donna Grantis; her licks, riffs and solos friendly teasing the Purple one’s throughout the show. Danish bassist Ida Nielsen kept the rhythm suitably funky in her Beverly Hills Bohemia get-up, while drummer Hannah Welton-Ford was fierce and instinctive. 3rdEyeGirl’s chemistry is so firm that even within a single beat of Prince commanding to switch things up, they react smoothly and in uniform.

Of course, with a new album (presumably) on the horizon, a few of the more recent numbers are included. ‘Fixurlifeup’ and ‘Pretzelbodylogic’ lie cohesively with Prince’s extensive back catalogue, sandwiching an updated rendition of ‘Something In The Water (Does Not Compute)’. The latter culminates in a mind-stretching guitar solo, proving Eric Clapton’s declaration that Prince is the best guitarist alive today.

In fact, after a lustrous segment on the piano, that praise could freely be extended to multi-instrumentalist. ‘How Come U Don’t Call Me Anymore?’ was powerful and evocative; Prince effortlessly scaling up and down his vocal range. ‘The Beautiful Ones’ was compassionate and beguiling; wrapped in its nostalgic ’80s romanticism. Prince can take a show to its peak volume and back without compromising the flow and spirit.

As far as playing the hits goes, nothing gets an arena on its feet quite as quickly as ‘1999’ and ‘Purple Rain’ does. The former’s chords remain one of the most infectious hooks in pop, while the latter provoked an impassioned response from the crowd. The songs have become embedded in the psyche of modern western music, and the audience’s impulsive reaction to sing every word is electric.

“Did we have a good time tonight?” Prince asked with a wry smile, already knowing the answer. “Glad to be of service. I told you we’d be coming back.” The star may have returned in a more traditional way than we’ve come to expect from him in recent times, but as ever his showmanship, presence and flair was nothing less than extraordinary.


Prince ricomincia da “Purple Rain”, major compresa

La Stampa – 20/04/2014 Milano
Luca Dondoni  @lucadondoni

Sono passati più di vent’anni da quando Prince scrisse la parola «slave» (schiavo) sul suo viso per protestare contro la sua casa discografica, la Warner Bros., che secondo lui lo stava sfruttando con un contratto capestro irrispettoso dei suoi diritti. Ieri Prince, dopo centinaia di tira e molla legali, ha deciso di sotterrare l’ascia di guerra con la sua ex etichetta sedendosi al tavolo delle trattative e rifirmando un nuovo contratto con la stessa major. Non solo, per suggellare tale armistizio ecco sul piatto annunciato un album nuovo di zecca che uscirà breve.

E generoso, ieri, ha postato sul suo sito un inedito intitolato The break down. Il nuovo accordo prevede che la Warner Bros. pubblichi materiale inedito di Roger Nelson (il vero nome del folletto di Minneapolis) oltre a un’edizione deluxe, rimasterizzata in digitale, di quel Purple Rain che, uscito esattamente trent’anni fa, fu seminale per la crescita della superstar americana. «His Purple Majesty», come lo chiamano i fan più impallinati, torna ad avere la proprietà e il controllo dei dischi incisi con la Warner che durante il contenzioso aveva smesso di versare dividendi all’artista.

«Sono abbastanza soddisfatto, sarà un rapporto di lavoro molto proficuo», ha detto Prince, al quale hanno fatto eco le dichiarazioni dell’amministratore delegato della Warner Bros. Cameron Strang: «Lui è uno dei più importanti artisti della musica mondiale, un talento unico. L’accordo è importantissimo per la nostra azienda».

Mentre aspettiamo il nuovo disco non T.A.F.K.A.P (The Artist Formerly Known As Prince, questo è solo uno dei tanti nomi che ha assunto in carriera), Prince non ha voluto lasciare i suoi fan all’asciutto: negli ultimi mesi ha postato su Twitter il brano Da Bourgeouisie e in una delle sue rarissime apparizioni tv all’Arsenio Hall Show ha fatto ascoltare un altro inedito intitolato FunkNRoll, mentre a febbraio ha interpretato se stesso nella sua serie tv preferita, The New Girl, per poi pubblicare un duetto con la protagonista Zooey Deschanel dal titolo FallInLove2Nite.

Ma non è finita: durante un’incursione in un club di New York ha presentato dal vivo alcune canzoni del cd Plectrumelectrum registrato con le ragazze delle 3rd Eye Girl, la sua band di supporto. Il nome del gruppo è anche quello scelto da Prince per il suo profilo twitter per cui se lo cercate sul social network digitate @3RDEYEGIRL e provate a mandargli un messaggio. «Nessuno è capace di suonare come questa band – ha dichiarato Prince alla rivista Rolling Stone – in molti ci proveranno, ma non ci riusciranno».


Altre due date per il “Hit And Run Part II” di Prince & 3rdEyeGirl

Tour Dates flyerE’ iniziata la prevendita dei tickets per gli show del “Hit And Run Part II” nel Regno Unito. Tutto bene. Per alcuni di questi è stato annunciato il sold out, ma in realtà c’è ancora disponibilità. Abbiamo provato per il concerto di Birmingham del 15 maggio, ad anche se in un settore non bellissimo, due posti li abbiamo trovati.  La notizia interessante è che sono state aggiunte altre due date sempre a Manchester e Birmingham.  Le voci più insistenti danno per probabile altre aggiunte all’elenco attuale. Rimaniamo in attesa di news.

Qui l’elenco completo