Iggy Pop in Munich: On Sunday, “The Godfather of Punk” played in the sold out hall of the Isarphilharmonie. Our criticism:
Burn it! Leonard Bernstein wrote cheerfully in Gasteig’s 1985 family book. And whatever the American composer had exactly in mind, his compatriot Iggy Pop approached the request on Sunday evening (July 31, 2022). damn close. After those 90 minutes of concert, it really was close – and the temporary Gasteig HP8 in Sendling would have caught fire. The energy that was in this 75-year-old’s appearance was so enormous. Anyone who thought that the singer they call “the godfather of punk”, but who has long ago shown that he can do a lot more, can calmly and freely manage his work, did not reckon with James Newell “Jim”. made by Osterberg. That’s what he is called when he is not playing Iggy Pop’s stage animal.
Iggy Pop in Munich: Nobody sits at the Isarphilharmonie
In any case just because there are chairs in the lobby doesn’t mean you have to sit. The armchairs fold themselves wonderfully – or it’s good to stand on them. So the only question is why those in charge did not extend it, which is easily possible. Iggy Pop’s crazy carousel could then take one lap crazier. Not relevant. Because less than ten seconds – what, it was not even five – after he entered the stage, everyone was standing: in the stands, in the stands. with no exception. Isarphilharmonie – sold out of course. For weeks. What else?
In 2019, Iggy Pop presented the late work “Free”.
It won’t be an exaggeration to say that Pop and his seven-piece band have played one of the best shows in Munich this year. And yes, there are still five months until New Year’s Eve. In 2016, he was in the city for the last time, then as a headliner at the “Rockavaria” festival at the Olympic Stadium. It was a very good performance – this one was better in classes.
It is also thanks to the band with which Iggy Pop recorded his wonderful album “Free” in 2019. For example, on Sunday you can hear “Loves Missing”, a great number with a hard brass section for trumpet and trombone. The moving title track from the album is unfortunately only played to explode in Iggy Pop’s “Gimme Danger” and The Stooges from 1973, but “James Bond” becomes an event and explains two things: first, how organic the new material is matches the work of this man who has always been a music seeker with a lot of experimentation. On the other hand, how fruitful is the collaboration between the 75-year-old and only 38-year-old guitarist Sarah Lipstate, the artistic pseudonym of Noveller. She is the producer of “Free”, likes to play the electric guitar with a violin string, and opened the evening with the elegiac “Rune”.
But before you get the wrong impression, Noveller mixes “virtuoso” with “brutal” which is good for all songs. She and her colleagues give older pieces, coming from almost all creative stages, a fresh, brilliant, driving character: of course “Lust for Life” and “The Passenger”, in which the Isarphilharmonie becomes a great choir. But also the crashing encore of Search and Destroy and the Stooges classic I wanna be your dog. Pop portrays him in which he practices barking with the audience before – the confused and frantic search for protection – disappear in the same and reappear somewhere between rows eight and nine. Great fun.
In general, an American, whose family roots can also be found in Germany, is in a good mood in Munich: high-fives, waves, boxing, kisses are thrown, middle finger is stretched out and people are dancing like dervishes – traditionally most of them are topless. It’s a celebration. “Thanks for coming, fuck,” Iggy Pop calls out at one point to a raging, sweaty, merry room played against the wall. And he presses – to show how serious he is – “Fuck!” a few more times. You can return a thank you in this form. Or you put it like a guy in his 50s who, after leaving the Isarphilharmonie, says, “We’ve received gifts.” Yes, there is something to it.