How do I become a guitar shredder

concert : Thunder and Sirens: Neil Young in Spandau

Three, four measures - and everything is decided. An arm stretching instant enthusiasm explodes on the lawn of the Spandau Citadel, a multi-millipede sways to the rhythm of heavy-blooded guitar thunder, and as soon as Neil Young's nasal siren song rises above it, the crowd can no longer be held. No one here has to be musically wooed or convinced. It is enough to be filled with memories. At the level that is independent of the day, on which Neil Young and his five-piece band roll off, hardly anything can go wrong, but nothing really works out either.

The whole is a planned reproduction, not an event. A few days ago in Leipzig, today in Berlin - and tomorrow maybe in Las Vegas. An evening to sing along from electric to acoustic to electric, not even half the fun for people without knowledge of the repertoire, framed by the two great rock'n'roll anthems that will forever be associated with Neil Young, "Hey Hey, My My "and" Rockin 'in the Free World ". In between the greatest hits from forty years, including “Heart of Gold”, “The Needle and the Damage Done” and “Cowgirl in the Sand” - and as an encore Lennon / McCartney's “A Day in the Life”. Young is now a classic himself.

But what does that mean? There are songs that at some point leave the time of their creation behind and those that can only be conjured up nostalgically as an expression of a certain phase of life - even if it is to banish the old demons. Neil Young has had more than enough of these songs, and that part of his audience has accompanied him on his way into and out of the Depression creates an attachment that other musicians dream of to this day.

You could also say that songs like “Cortez the Killer” from his album “Zuma” (1975) are so indestructible because they only provide material for his guitar shredder anyway. But although musical innovation, as newer songs prove, is a questionable category in Neil Young's rock'n'roll world anyway: It is primarily a question of recognizability and repetition. As much historically as the emotional world of a Beethoven string quartet may be charged - measured against a stadium rock concert like this, its animation is pure present.

The pressure is still right: with Neil Young, who despite his 62 years as an angry guitarrero does not seem embarrassing for a second - and with his band, which forms a reliable powerhouse with bassist Rick Rosas, drummer Chad Cromwell and Ben Keith on the steel guitar. And in the background his wife Pegi is swaying and shoving. Gregor Dotzauer

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