Back to

Asian reviews
Current reviews

Senayan Tennis Indor Stadium, Jakarta, Indonesia
April 13, 2004

by Trey Woodford

Deep Purple rocked Jakarta with a near two hour performance which maintained its frenetic intensity with no breaks for the duration of the show. From the opening number to the encore the band and audience were both on fire. The concert provided an excellent mix of old and new material and the entire band were far beyond impressive.
The group actually performed six songs from their new album, all of which are instant classics. It is good to see them taking such pride and confidence in their new material by playing an increasing number of songs from their current lineup. These were garnished with a healthy offering of their familiar, beloved classics.
Though only a small crowd, perhaps 2000, was in attendance, all the members still played their hearts out, showing the fans in attendance the same respect and appreciation, and playing with the same energy, intensity and endurance, for which they would a sold-out stadium.
They did this despite the 90+ degree heat and 90+ percent humidity that is typical of the weather in Jakarta year round. Not only did they play with energy and enthusiasm though visibly affected by the heat, but smiled genially throughout the show, clearly enjoying both their music and the opportunity to share it and connect with the audience.
For this they have truly earned my esteem and gratitude, showing that they are truly there for the love of music, and not for the ulterior motives which so rankly pervade the music industry in this day and age.
I have always felt a special affinity for Deep Purple. They released their first album the year I was born - 1968 - so I have literally had a chance to grow up with them. Who'd've thunk that nearly 36 years later they'd still be rockin' stronger than ever. As an American English teacher living in Jakarta, this concert really helped me feel at home as well.
This show was especially significant to me because some 20 years ago I first had the privilege of watching the Steve Morse Band open for Rush in Washington DC. Though already a master guitarist who could wow the crowds with his virtuosity all those years ago, Morse has boundlessly matured even from his early degree of maestroship over the course of those past 20 years. It was truly a paramount privilege to see him live again after all this time.
Steve is now arguably the best and most versatile axe-grinder in rock, combining the quickness of Malmsteen, the classical mastery of Richie Blackmore or Randy Rhoads, the bluesmanship of Jimmy Page, and the tone of Eric Clapton or Carlos Santana, all into one super-virtuoso whose completeness would require several other guitarists to duplicate.
Mr. Morse showcased his talents stupendously on the stage. As he caressed his guitar, fingering it and delivering smolderingly passionate licks and vibrato, in all the sweet spots and with just the right touch, the guitar and the audience responded by moaning, screaming, trembling and gyrating in titillated ecstasy (Sounds like the storyboard for an Ian Gillan lyric, huh?).
Ian Gillan himself was in fine voice. Despite criticism about his range and power on previous recent tours, Ian displayed perhaps even more strength and range than in his early days of touring. Like a fine wine, he just gets better with age. He also displayed a high degree of energy and humor, and giftedly connected with the entire audience. His patented note-for note duets with the guitar were certainly a marvel to behold first-hand, as he executed them flawlessly and effortlessly.
Jon Lord was genuinely as indispensable as Richie Blackmore thought himself to be. He was conspicuous by his absence and continues to be profoundly missed. Jon verily played with a degree of Lordliness peerless in the musical kingdom both in the studio and onstage.
Don, nonetheless, plays with an equally unrivaled Air (ey) of majesty. While Lord's diversity ranged from an utter mastery of psychedelic organ, to classical, to honky-tonk piano, to progressive moog and all points in between, Airey easily replicates this diversity, adding to it a perhaps even greater degree of proficiency with classical technique, as well as a matchless proficiency with jazz method and gothic organ discipline. Finally, he is blessed with a remarkable respect for the people abroad with which he makes it a point to learn at least one traditional song from every country he tours in and play it during his keyboard solo. The savance required to do this on a day's notice prior to a show is uncanny indeed.
Roger Glover was fantastic as well, running around the stage with greater energy and enthusiasm than most rockers half or even a third his age. He played with perfection as well and his scorching, precise though oft understated basslines are the perfect complement to Morse's searing riffs.
As the hardest-working member of the band it is nothing short of astounding to find a drummer Ian Paice's age who can still play with such intensity, endurance, and power. Indeed, the Paice was blistering as Ian hurled thunderbolts like Thor himself for nearly two straight hours, highlighting his performance with a masterful and engrossing solo to consummately adorn the band's sizzling rendition of Space Truckin'.
Though Paice has always been among the more accomplished drummers in rock, his style has even further refined itself into a combination of thundering drum rolls reminiscent of the late, great Ginger Baker, and taut, understated, precise and ornate syncopation reminiscent of the post-humously immortalized Bonzo.

Silver Tongue - The opening number came from Bananas, the current release. It was well- performed, maintaining the integrity of the CD track while incorporating an extended Morse riff into the middle of the rendition. Is the duality of this title by design or coincidence? The fact that Gillan omitted any reference to his girlfriend which preambled so many of the tunes performed has me leaning toward coincidence, but the author's salacious predilections make it difficult to rule out the possibility of intent.
Woman From Tokyo - An electric performance of a perennial favorite interluded by a slo-jam in which Morse showcased his tone, Airey rendered melodic accompaniment and Paice and Glover provided perfectly synchronized rhythm and harmony. The crowd was singing along in a jumping, dancing, screaming, fist-raising frenzy.
I Got Your Number - Another track from Bananas which wonderfully showcases the talents of the entire band. Again, the performance maintained the sound and feel of the album version, while Morse and Airey cut loose a little with rocketing mini-solos during the interlude.
Strange Kind of Woman - The band performed this old classic flawlessly and passionately while the audience sung along with enthusiasm. Morse and Airey adopted it as their own, playing it with the same pride and meticulousness as its founders would have. Morse, Airey and Paice once again let rip in the middle of the song, to the delight of the throng in attendance.
Bananas - The title cut from the new album. This perhaps displays the skills of the entire band better than any other track. Performed live it did so even more. Here Ian Gillan is at the top of his game both vocally and lyrically, spinning wittily mischievous Shakespearean puns. Steve Morse and Don Airey leapfrog with alternating superhuman riffs. Ian Paice is both at his most polished, dexterous and booming all at once. Last but not least, Roger Glover delivers thunderous, rapid-fire bass licks which perfectly hold the other elements of the piece together. If you must go Bananas in Jakarta or anywhere else, don't forget the peel. This air and watertight layer of protection is what keeps out harmful bugs, blights, and all other manner of devouring pest or microbial assault.
Knocking At Your Back Door - One of my personal favorites. I am delighted to see this returned to the set. Once again the new members performed this with proprietary precision, while Morse managed to make Blackmore's riff even better without detracting from its integrity. Gillan's performance was accompanied by suggestive gestures. One might easily envision Sir Ian performing his bawdy Shakespearean puns before Her Majesty herself as she blushed and giggled with libidinous delight just as The Bard himself did before Her Exquisite Ladyship, Queen Elizabeth.
Contact Lost/Well Dressed Guitar - Steve Morse demonstrated here why he truly is The Lord of the Strings. In Contact Lost Steve demonstrated impeccable, slow-handed, bluesy tone, leading into some of the most blistering fretwork ever witnessed, followed by an amazing presentation with the pedals. Utterly amazing.
Don Airey solo - As tough an act to follow as Morse's solo was, Airey followed it remarkably. His solo displayed his unparalleled diversity of styles, from classical to jazz to psychedelic, to spaced-out sci-fi, to rock organ, etc. He started off with a mini-concerto, then included music from Star Wars (accompanied by amazing sci-fi sound effects), traditional classical pieces from history's finest composers, jazzy segments, progressive pipe organ riffs, etc. He even included portions of Indonesia Raya, the Indonesian national anthem, to which the audience went wild and sang along. It was truly a touching gesture. Though I, myself, am not an Indonesian national, I am pleased by this respect afforded to each country in which Airey tours. Other reviews have shown that Airey does the same thing in other countries.
Perfect Strangers - The audience had a perfect familiarity with this title cut from Purple's 1984 classic. The band performed this flawlessly as well, the new members again playing it with proprietary fondness and comfort. The original classical essence of this tune was well replicated, even down to the zip-string guitar effects originally provided, though Morse, again, embellished the song spectacularly.
Highway Star - Morse and Glover worked in amazing tandem on the lead-in to this song. The runaway Paice was out of this world as well, and Gillan's high-notes had incredible richness and power.
Doing It Tonight - A funky ballad rife with bawdy puns, the house was gently rocking, even if the full implications did soar far above the heads of most in attendance.
Lazy - All of the band members were at their scorching best as they jammed in the beginning, middle and end of this song. Don amazingly managed to replicate the agility with which Lord used to play his organ throughout this number. Steve managed to take the blues progressions designed by Blackmore which, though technically impressive were cold and clinical, and imbue them with life, tone and emotion. Positively splendid. I would have loved to see them perform “When a Blind Man Cries” as well. I am certain Steve Morse would enliven the melancholy of that song with tone and feeling equal to or beyond that of any bluesmaster ever.
Haunted - This is a ballad from the Bananas CD, and perhaps one of the best power ballads ever written and performed. It was even better live.
Space Truckin' - Simply MOTHER TRUCKIN' AWESOME! The entire band was, of course, superb, but this was Ian Paice's moment to shine. He brought the house down with his thunderstorm, an electrifying combination of speed, power, technique, and precision during his solo in the midst of this number.
Smoke on the Water - Perhaps Deep Purple's most renowned classic, again performed with enthusiasm even by the newest members of the band. Everybody was cooking on all four burners for this one. Again Morse paid respectful tribute to the basic essence of Blackmore's solo while dramatically improving upon it as well.
Black Night - This was the group's rousing encore. The band and the audience alike were consumed with the fires of Rock and Roll Heaven as the audience sang along loudly and spiritedly. All of the band members bade the crowd a liberally gracious and appreciative farewell.

Because of their outstanding musicianship, as well as chemistry with the audience and with one another, Deep Purple has become one of the longest lived acts in music. It is paradoxically appropriate and ironic that they who helped pioneer the progressive rock movement nearly four decades ago are still at the cutting edge of the genre, and at the very heart of its continuity.
Through their induction of Steve Morse and, most recently, Don Airey, Purple have shown that they are not only a legendary classic rock band whose hallowed traditions can be passed as a torch from one generation of musicians to the next, who can replicate the rich traditions of their predecessors as well as blaze new trails for their respective posterity. Perhaps in this vain they can survive another 35 years plus. We hope to see more of this remarkable band well into the future. LONG ROCK DEEP PURPLE!
Trey Woodford