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Bryan Ferry (UK)
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October 07, 19:00
Crocus City Hall 
 Bryan Ferry is laconic, suspended, and full of irony – his image of a poetic, genteel seducer harmonizes with the peculiarities of his vocals. It is his transparent, cold-hearted voice that can be heard in the song “Slave to Love”, which has probably passed through all the love stories of the world. A true connoisseur of feminine beauty, a dedicated fan of luxury and fashion, even after decades of stage performing, Bryan Ferry has not lost a single iota of his embracive personal charm.
Son of a coal miner, Bryan Ferry cultivated his musical abilities while studying art at the University of Newcastle. In 1971, Ferry founded “Roxy Music” with, among others, composer and synthesizer player Brian Eno, who left in 1973. Ferry was Roxy's front man until its demise in 1983, but as Eno was leaving the band, Ferry released his first solo album, "These Foolish Things", which demonstrates a different approach of what he was doing at that time with “Roxy Music”: while the band jumped on the Glam Rock bandwagon, Ferry, in his solo efforts, showed a cool crooning style. After “Roxy Music” disbanded, Ferry put emphasis on his solo career, releasing five albums after the Roxy years and keeping the same crooning style which became his trademark. His biggest solo hits include "Don't Stop The Dance" (1985) and "Kiss and Tell" (1988), which was featured in the motion picture Bright Lights, Big City (1988). All told, Bryan Ferry has over two dozen studio albums under his belt, he’s performed all over the world, including playing such high-profile shows as Live-Aid and the Miss World Pageant, and he’s done some modeling and acting. His career has been recognized with lifetime achievement awards, from Q magazine in 2004 and GQ in 2005, and in 2003 he was given the Ivor Novello Award for outstanding contribution to British music.
After a three-year creative break, Bryan Ferry released his latest album “Olympia in October 25, 2010. In order to record this album, Bryan Ferry practically recreated the group “Roxy music”. The album was featuring Brian Eno, Andy McKee, Phil Manzanera as well as other guests – “Scissor Sisters”, “Groove Armada”, David Gilmour, Nile Rodgers, Johnny Greenwood, “Radiohead”, Flea, “Red Hot Chili Peppers”. The first single from the album, 'You Can Dance', released in August 2010, has already top charts of club music in Europe.
In 2012, he set up the Bryan Ferry Orchestra and documented The Jazz Age group. This totally instrumental album highlighted his music group re-recording a few of his biggest strikes within a 1920s jazz design. Ferry came back to the studio room in 2014 to record his 14th studio room record with longtime collaborator Rhett Davies. The causing Avonmore — including guest areas from Johnny Marr, Nile Rodgers, and Marcus Miller and revived Ferry’s middle-’80s audio — made an appearance in November.
On the album art of Avonmore, the record he released when he was a year shy of 70, Bryan Ferry showcases himself as a dashing young man -- a portrait of an artist not as a glam trailblazer or distinguished elder statesman, but rather caught in an indeterminate time between the gorgeous heartbreak of Roxy Music's Avalon and the meticulous solo work that came immediately in its wake. This is Ferry's prime, a moment when his legacy was intact but yet to be preserved in amber. Avonmore consciously evokes this distinct period, sometimes sighing into the exquisite ennui of Avalon but usually favoring the fine tailoring of Boys & Girls, a record where every sequenced rhythm, keyboard, and guitar line blended into an alluring urbane pulse. Ferry isn't so much racing to revive a younger edition of himself as much as laying claim to this particular strand of sophisticated pop, one that happens to feel a shade richer now when it's delivered by an artist whose world-weariness has settled into his marrow but is yet to sadden him. This much is apparent on Avonmore's closing covers, an oddly appropriate pairing of Stephen Sondheim's "Send in the Clowns" and Robert Palmer's "Johnny & Mary" that are both given gently meditative electronic makeovers, but much of the record explores the other end of the Ferry spectrum, where he's making music to dance away the heartache. He's no longer on the floor himself, preferring to watch with a bit of a bemusement, but this reserved romanticism suits him perfectly, particularly because Ferry and his co-producer Rhett Davies - a steady collaborator since 1999's standards record As Time Goes By - place an emphasis on mood but not at the expense of the songs. Naturally, what is first alluring about Avonmore is its feel - it's meant to be seductive - but the songs are what makes this record something more than a fling.
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