"Today is the day of salvation", he sings, "Ain't a gonna tell no lie". And he screams the word "lie" as if he is in agony, as if a nail was just driven though his hand or his side pierced. That may sound familiar. If it does, that is because it's a quote from our review of last night's show in Den Haag :-) In sharp contrast with yesterday's explosion there now is an implosion. There is no scream. Only a toneless croak. The word "lie" is almost inaudible. Because somewhere between Den Haag and Tourcoing David Eugene Edwards lost his voice. Not completely, but he does sound hoarse. Edwards losing his voice bodes ill for the course of this show. You might think that. But fortunately you'd be wrong :-)

In an interview with French e-zine Froggy Delight (self-mockery the English would appreciate) Jean-Yves Tola says that they will only play in cities and venues that are crucial to their career. How Tourcoing fits into that line of reasoning is unclear. It's a dour provincial town in northern France just a proverbial stone's throw from the Belgian border. The smell of depression is in the air. And a chill too. Why won't the Le Grand Mix open its doors when there is already a considerable number of people standing in the cold before those very doors when the support-act is supposed to start in fifteen minutes? The French word garderobe means wardrobe in several languages. Why do they have a word for garderobe but not the actual garderobe itself? That question arises when we are inside. Granted, not questions of great importance. But questions all the same :-)

Tonight is At The Close Of Every Day's first show in France. And they are received respectfully by the crowd who listen attentively in silence. Even to Blessed Are The Poor In Spirit, sung in Dutch. A language incomprehensible to most Frenchmen, probably sounding double Dutch. Anyway, it's quite a difference compared to Brussels. By the time 16hp take to the stage Le Grand Mix is completely full, or close to a sell-out. The intro tape with the Mongolian throatsinging, that was used on previous tours, is back in use again. And still playing when the first notes of Strong Man are played. The audience is up for it. Seizing the first opportunity to clap along, i.e. American Wheeze. Slow versions of Strong Man and Horse Head are not ideal to clap along to :-)

Despite his husky throat DEE is up for it too. And Jean-Yves Tola and Pascal Humbert aussi. The latter is totally absorbed in his bass duties. Alternately inward-looking (subdued and focussed) and extravert (as if he's a participant in the Highland games where they have replaced tree-trunk throwing with double-bass flinging). Sweatbands are a fashion no-no for bands, certainly since Dire Straits. But Pascal gets away with his one - a The Spirit That Guides Us sweatband - a gift from At The Close Of Every Day. Jean-Yves in high-tops behind the battery - as the locals put it - powers the band on.

Because of DEE's strained voice we feared that 16hp might cut this gig short. It was obvious he was struggling to reach certain notes. His solo version of Straw Foot was skipped. Apparently Pascal had counted on an early night too. When they had finished Dead Run, Pascal started to walk off stage and he was called back by the other two, laughing. Pascal, now laughing too, retraced his steps. And we were treated to a rousing version of For Heaven's Sake. With customized lyrics. Instead of the usual I shoulda known your word was flap/Comin' out all sweet an drippin', we heard DEE sing I shoulda known your voice was flap/Comin' out all weak and limpin'. Despite that limp voice they (had) soldiered on and the show certainly was not limp but spirited. And speaking of spirits, it was now time to wet our whistles. And wonder why French people shout 16! 16! 16!:-)

by TYFC