I was firmly determined to not write about SEDUCER at all. First, because bands that get tossed into situation like these acoustic events normally sucks at converting their songs to Piano-bar versions and when songs are just played straight up on acoustic guitars it normally just is crap. And looking at them getting ready on stage I can't say I got especially intrigued by it all.

Barbara Eggers looked so awkward getting down behind the huge Kawai Electric Piano Jon Oliva uses and all of you who have seen JON OLIVA'S PAIN before know what the setup looks like, right at the middle front-edge of the stage. Judging by the blushing in Barbaras face, that was a bit out of her comfort zone. But believe me, I was in for a surprise I tell you, and it is so much fun when things like this happens. The whole structure of the songs was so full of life and the groove was absolutely captivating. Also, it's not very common to have piano to really groovy Hard Rock/Metal music. Who would expect a really Jazzy Piano solo at a Metal concert? If only Barbara could have the same attitude in her appearance as she had in her playing. The awkwardness didn't really fit in. And seeing her cheering on JON OLIVA'S PAIN from the other side of the Kawai later on she made clear she CAN rock. It was more than that though. The arrangements between the guitars, bass and piano was flawless and to add percussion to it all brought even more life into the music. And instead of playing everything straight transformed from Electric to acoustic SEDUCER added, or used, or maybe even abused their instruments to the max. Instead of harrow chords they were playing percussion all over the acoustic guitar for example. Really cool! I guess SEDUCER's music really comes to life live and I hope I get to see them electrified sometimes too.

But it was the mighty Mountainking that was the main attraction. Ok, I don't think these acoustic events are as spectacular as they were the first few times I saw them, but it gets very intimate and personal. Like being a part of the show. And Jon is always very charming and seems to enjoy this very much.

There's always some comment about familiar faces in the crowd or jokes about the content of the water-bottle. Was it really water or was it camouflaged vodka? When Jon choked on it, everything got even more fun. The stories behind the songs are a must and it is great to hear what song originate from where and who wrote it to start with. Of course, Criss comes up in most of the stories but since they all are so joyful and keep his memory alive it would be very strange if he left them out. Especially, since he still is very much a part of the music.

When a concert is as intimate and mellow as these are, it doesn't take much disturbances to annoy the security. There was this person (local wino I assume), that stood out from the start, all dressed in white and looked, well, long past expiring date. A bit in to the concert he (yep, for the story) started screaming for SAVATAGE classics and tried to shake Jon's hand time after time. It didn't take long before the security gently showed that person out the door. At the end of the song Jon looks up and says, hey, where did dancing Harry go? I was going to call him that, he was hilarious... What? Jon said and looked at Tom and Kevin. A woman? Wow!

Of course, Jon & co served some SAVATAGE classics during the night. Jesus Saves in its original version that actually was a ballad. Stay is a regular in the set and has only appeared as a bonus track before. To my luck Walk Away from extremely underrated JOP-album Tage Mahal made it into to the set, amazing song that works equally well as an acoustic track. Even if I've seen a few of these acoustic shows I'm still stunned with what they manage to create. New for this time was the Mandolin and Hammered Dulcimer (or Hammer Harp directly translated from Swedish) that Jon made up new names for each night, tinkle-box or something like that it was called in Dortmund. As cool as that latter instrument was and how much it did for the music, the lack of Matt LaPorte's guitar was still noticeable. For once, leaving out the guitar-solo in Walk Upon The Water felt like being robbed of the candy but it wasn't just there. Everything is still amazing and it might be a question of getting used to these new versions but I still lacked some guitar. Of course, Tom McDyne was doing his parts over on the other side but when a song normally has two guitars it tend to be empty if one goes away even if it is filled with some other instrument. But as usual I walked away with a silly smile on my face, JON OLIVA'S PAIN always hold such high standard it's actually hard to find something negative to say, there's just trifles to mark on (like the lack of guitar).

One thing is sure though, it's impossible to describe the feeling of belonging and connection when standing there in the front, the stories can't be re-told either, everything has to be experienced.

JON OLIVA'S PAIN's setlist:

01. New York City Don't Mean Nothing
02. Stay
03. Jesus Saves (DT Jesus version)
04. Fly Away
05. Only You
06. Stare Into The Sun
07. Heal My Soul
08. Eleanor Rigby (BEATLES cover)
09. A Day In The Life (BEATLES cover)
10. A Little Too Far
11. If I Go Away
12. Walk Alone
13. Strange Reality
14. Summer's Rain
15. Walk Upon The Water
16. When The Crowds Are Gone

(photos by siren Erika)

SEDUCER

JON OLIVA'S PAIN