Thursday, December 15, 2016

So good was Kent at the Tele2 Arena – the Express newspaper

There is something else in the air now.

It is noticeable already before the band goes on stage, during the time that the large LED screen counting down the seconds until the opening riff from “Gigi”.

It is not possible to duck in order to begravningsstämningen as it skämtats if then Kent put up his avskedsfilm on Youtube actually starts to become a reality.

The irony döskallarna on skivomslagen and the merchandise is still a symbol of the four members of the special, the black humor. But there is a kind of new seriousness, too.

the End is near. We shall all once die. From the night of Sunday is the Kent history.

Then, and only then, can we begin to concern ourselves with nostalgia.
of its Gravity consists indeed even when the concert rolls in time. Kent is Sweden’s Biggest Rock band a few nights – but a full Tele 2 is large even for them.
the Explanation is likely simple; a slightly cautious finalpublik and a certain nervousness.

But where the members initially seem captured by the moment growing impressions of the spectacular stylish scenshowen a bit.
Visually, this is absolutely top-notch through and through. The set design and projections exceeds the number of international stars, world tours.

It also doesn’t take long before Kent is growing into the nicely designed arenakostymen.
of Course, was “The white concert” at the Stadium in 2003, a milestone in the band’s career, but to paraphrase the band: they were not really there.

It is only in the day Jocke Berg & co really mastered the large format fully.
Sure, Jocke is no Bruce Springsteen or Lady Gaga when it comes to mellansnacket; but he is bjussig even if it is inconvenient. And the recurring bandpresentationen is fine. The rays of heat between the members in the home stretch.
Much is familiar, yet more recognizable down to the smallest detail. But it’s okay. It is not far left now, and I remain impressed by the band’s ability to avoid being sentimental.Kent is not interested in a best-of medley, they choose the songs that sound the best and they themselves like the most.

Setlistan are in other words familiar to those who encountered Kent live earlier in the year. The exception – the shock! – completely new and never-before-performed “Vinter17″.
the Energy threatens to mosey out of the big arena sometimes, but it is neat and tight.

It is the same old fine Kent. And when “The last song” faded out, as the quartet stepped down from the stage to hand out roses to the fans at the front, it does not feel sad at all.

Just beautiful and dignified.



the Brief but bombastic intro with the stoked körtrion in the centre.


the catalyst for The concert. Jocke Berg makes his entrance with his acoustic guitar in one of the band’s big arenanummer. “999″ is epic and elegant at the same time, in the harsh backlight conditions.

“Stop me June (little ego)”

The fine ballad has got a beat. Markus Mustonen sounds like a drum machine behind his drum kit (that’s meant as praise). The conclusion, when jocke’s voice, flaws, indiemagi.

“Romeo returns alone”

the LED touch-screen, ocean waves turn into billowing technografik. Kent plays hard and precise. So it had Depeche Mode been able to let if they had Sami Sirviö on the guitar.


the fine Old distrock from the breakpoint when Kent went from big to mega. He sings so high that to and with my own microphone distar.

“Where are we now”

Answer: You are in Stockholm – so much home it can be given to Eskilstuna were not included in the tour schedule – and is, as usual, and treading a bit of water right in the song.


Kent, the teeth of their huge spotlight across the audience in stained blood red. At the same time as a white stallion appears on the LED display and a heavy, electronic indiedrama the rears and the rears in the background.


“We were kids! Just kids!” It is the pressure in the chorus that launches this relative news halfway to the stars. At the same time as the LED display is traveling through the milky way.

“the Egoist”

Singelsläppet that slipped out from the last studio album has found its place in the liveformatet. Mighty arenarock that manages to place the “Then now forever” in Dublin and “Achtung baby” in Hagnestahill.

“We are forever”

A luxurious running over with the built-in mission statements and excuses. The relationship to the Norwegian A-ha, stands and stomps up the pace backstage.

“Before it all ends.”

Kent’s white tiger may symbolize it up to date “Isola”-the track on the LED display. 2016 if this sounds like the electric arenarock, the band playing like their feet are a meter above the snow-covered ground.

“The left bank”

A bare display visualizes the mood of Kent’s cinematic syntballad. In the fateful chorus is the band that the black skuggfigurer around its singers.

“La belle epoque”

the LED touch-screen display get the neon colors and the concert receive an urban danspuls. The song syntstråkar is sharp as a laser. But there is more to take off.


Kent continues to play digital disco. A heavy and combative version, which allowed the concrete floor to vibrate.

“Love is waiting”

Now, when Kent still lit up the dance floor and opened the disco fits to publikfria to the fans ‘ kärlekskranka jättejubel. Kent has consistently refused to program allsång på Skansen, but the chorus sings the entire Tele 2.


One! Absolutely! New! Let! As the field winding slalom between the crisp pop songs, and old Kent-rock. The hook goes: “no, No, no, no, when shall I learn?”. Kent has not scratched it particularly hard, and is near grensling. But still: fun surprise.

“I see you”

the Symbolism borders on the övertydliga when the band are filmed from behind and the audience reflected on the large LED screen. But the sincerity and the dance beats will take the number in the goal with the honor.

“Music non stop”

Kent’s perhaps the biggest hit single keeps the dance floor alive with his confident Basildon-groove. A glowing dansgolvsversion with surreal movies.

“Without your breath”

Kent on the other hand have never sounded more”) than on the old B-side from 1997. On the other hand, there is much to add. The updated live version is insanely good-looking. The grayed-out guitar, the cautious bass drum, the delicious chorus… the Totality is so powerful that it had earned a spot on Time Magazine’s årslista.


Kent has played before large crowds before, but never in the face of so many up smartphones. The effect is overwhelming. And “Sweden” has never sounded souligare.


POINT-the sun rises over the Kent’s, perhaps, the largest livefavorit. The rest is a spectacle, which ends with the entire audience raises hands and makes David Gahan-wave on jocke’s command.



the Realization that a part of the band’s new songs will never be performed live becomes a little easier to bear with the knowledge that Kent missed a few occasions to play the last album’s strongest tracks.


the Triumph continues to be sealed with the stylish dansremixen of Kent’s first major hit single, at the same time as the excitable laser cannons cut violet tears through the air. They were never as judgment of others.

“the Man in the white hat (16 years later)”

the Band’s big moment continues to sit immovable on the throne. The feelings are outside of the through the whole number, who constantly switches up in intensity. There is an element of humor in it truliga indie bands that always looked real and imaginary enemies behind every corner finishes the discharge with a grandiose mellokonfetti. But still; an unstoppable tour de force.

Extra encore:

“The last song”

After the previous explosion, it is time for sadness and melancholy. Kent will be back one last time, dressed in white costumes, and in front of his solid swan song. Enhanced by a grumpy children’s choir, seen through a ghostly film negative. Any moderation in the euphoria may be, when the final countdown is soon down to zero.


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