Whitesnake
- Credicard Hall - SP - (05/09/08)
In
a specially dificulty friday for the paulistas, when the traffic
jams, in the caotic traffic of the city have reached new records,
the Credicard Hall was bringing back Whitesnake to the city,
a very dear attraction for the brazilians.
With a 30 years career, and an ever changing lineup, Whitesnake
has always been and still is, the band of David Coverdale,
a rock n'roll veteran who started as Ian Gillan's substitute
in Deep Purple in 1973, leaving after 3 years to form his
own band, in 77, the Whitesnake.
Back
on the road, right after the release of "Good to be Bad",
it's 11th studio album, today's band line up is composed of
a young and very talented team of musicians: Doug Aldrich
(guitar), Reb Beach (guitar), Uriah Duffy (bass), Timothy
Drury (keyboard) e Chris Frazier (drums), that with David
Coverdale are totally able to recriate live, once again, the
same kind of magic that once catapulted the band to stardom
in Brazil, during Rock In Rio I, in 1985.
And
with a packed house, in a sold out night, the opening of the
show with the new song "Best Years", can't be considered nothing
less than triumphal. The audience goes mad to see all the
old clichés once again on stage, the microfone stand juggling,
the two guitars alternating in the leading and the powerful
music verses that once made the happiness of publicity in
the very distant 80's decade.
David
Coverdale from the top of his 50 and many years of age, seems
to have found his old physical shape once again, and comes
dancing, provoking the audience with his "snake dance" routine
and remains invincible when it comes to voice.
He
looks the same, an specialist in misleading the critics, with
distractions like his fake blonde hair, flashy clothes and
sun tanned skin, he makes them forget about his white blues
man voice, talking straight to the audience very soul, making
a classic hard rock with an unmistakable blues accent.
 The
voice is still there, almost in it's totality, so are the
hits, and they parade one after the other, the band brings
to Credicard Hall all the songs the audience wants to hear,
but there's one ingredient missing, maybe, spontaneity?
The band seems to be following a very rigid script, wich makes
even the improvising moments, like the acoustic version of
"The Deeper the Love" and "Guilty of Love" sound like exhaustively
rehearsed.
But the spontaneity absense was felt only by the more sensitive,
maybe the same that after so much suffering to get to the
venue, cutting across an "endless sea" of cars, have probably
felt like they effort was not properly rewarded.
An unimportant question for the majority present, who left
in a positive state of joy.
Adriana Maraviglia
Redação Eletricidade
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