Daniel Lanois in Stockholm: Masterful Music Creation but the Stage Fades Compared to the Studio

What the Canadian has done for the pop and rock world is almost immeasurable – aside from legendary productions on albums with U2, Peter Gabriel, and Bob Dylan, he also brought new life to Emmylou Harris (she herself has said that he extended her career by 30 years). Add his collaborations with Brian Eno in the 1980s, and we're talking about a music creator of the highest order. Almost everything he touched in the '80s and '90s turned to gold.

As a solo artist, he has also held his own, primarily on the milestone Acadie from 1989, which is widely considered one of the best albums released by a Canadian. There, his atmospheric and evocative guitar playing triumphs, and the carefully crafted melodies creep in and envelop the listener like a warm and pleasant wool blanket.

Lanois hadn't played in Stockholm for ten years, so it was no surprise that Nalen was packed when he and his fellow musicians Brian Blade and Jim Wilson visited. Quite fun guys, by the way, as drummer Brian Blade has worked with jazz legends like Chick Corea, Wayne Shorter, and Herbie Hancock, while Jim Wilson has rocked out with, among others, Rollins Band.

Not unexpectedly, several renowned Swedish guitarists were also present, including Ola Nyström from Weeping Willows and Christian Kjellvander, whose dark country rock clearly bears traces of Lanois' sonic universe.

The whole thing begins rather unexpectedly with Lanois, after stepping onto the stage, introducing Norwegian singer/songwriter Stein Torleif Bjella, announcing that the Norwegian would play a few of his own songs first. Lanois explained that he had heard Bjella before, hadn't understood a word he was singing about, but was moved and invited him along on the mini-tour. An impulse that demonstrates what a sympathetic, attentive, and curious person and musician the 74-year-old is.

After three songs, where Bjella proves he is something of a Norwegian Bob Dylan, the Norwegian steps off and the trio slowly begins to play. The first two songs are instrumental, with Lanois on steel guitar, which is also a rather unusual way to kick off a concert. The audience is therefore not entirely into it, but then Lanois stands up and grabs his Gibson, significantly increasing the crowd's interest.

However, it becomes fairly quickly clear why Lanois hasn't become as big as the bands and artists he's produced. He doesn't have much charisma or engagement, and many of the songs lack the edge and melodies that make them memorable. It's stylish and pleasant, but mostly just simmers along.

It does lift, admittedly, in the middle of the set, when someone requests Shine, which creates a cozy atmosphere and singalong. Shortly thereafter, Jolie Louise is performed, which elegantly transitions into Still Water. There, one is reminded that in addition to being a divinely gifted guitarist, he can also write timeless melodies.

But there is never any magical atmosphere, which, in addition to the aforementioned issues, is also due to Lanois tuning his guitar between nearly every song, further slowing down the tempo.

Furthermore, when he is so good at playing and has such skilled musicians with him, why does he stint on guitar solos and jamming? As soon as one feels a song is starting to move and would benefit from being stretched out a bit, the song instead ends. Quite frustrating.

The only time he really lets loose is in Ring the Alarm, which he recorded with the side project Black Dub. There, it gets as distorted as when Neil Young riffs away with Crazy Horse.

But it's too little and too late, and the evening only just passes muster. It's obviously in the studio that Daniel Lanois' genius shines brightest.