Revisiting Before The Dawn: Part 6, The Curtain Falls

I was an emotional wreck by the end of Kate Bush's Before the Dawn live show. After the thrilling excitement of those first six songs with the band, then the haunting drama of The Ninth Wave, followed by the transformational majesty of A Sky of Honey, the pleasure centre in my brain had been stimulated beyond the point of euphoria. But Kate was not quite done with us yet. There had to be an encore... or two...

Among Angels

Kate first returned to the stage solo. Taking a seat at the piano she began to play the opening chords of one of her most plaintive ballads, Among Angels. After all the theatrics it was somehow even more spectacular to see Kate like this, just a woman and her piano, spinning a tale of unrequited love.

I couldn't help but connect this moment to Kate as a teenager, knocking out demo after demo onto an old cassette recorder: the urge to create melody and rhyme bursting out of her. That intensity and passion never dimmed, but over time she mastered her craft, learning the value of a breath or a pause, the power of walking us up to a thought, but not saying it out loud.

If Kate had not included such a moment in the show it would have felt incomplete. For the six minutes she sang and played you could have heard a pin drop. We all held our breath, feeling every note, every word.

Cloudbusting

The final song of the evening was another single from Hounds of Love. Despite telling such a sad true-life story, Cloudbusting is ultimately about love triumphing over fear. Most importantly for the show's purposes, it is as close to a sing-a-long as Kate has ever written. The song sounded as original as the day it was released, surely nobody manages to combine complexity and accessibility in a pop song like Kate? We clapped along, no doubt picturing Donald Sutherland and Kate in dungarees on a hill, making it rain.

The song ends with a glorious chant and this was our moment to fully become part of the show. Kate encouraged us to join in and that we did. There was something joyously cathartic about standing, clapping and singing our head off with the Fellowship: a perfect union of artists and audience bringing a tremendous performance to a fulfilling close.

After the Dawn

I was eight years old when Kate Bush first toured, so didn't get to see that show live. As the decades passed, I fully resigned myself to the fact that I would probably never get to see Kate on stage. The moment Before the Dawn was announced my entire existence became about seeing this show. I knew this was my once-in-a-lifetime chance to experience Kate as a live artist. I never had a moment's concern that the reality might not live up to my expectations (and boy were they high): I understood that if Kate had made the decision to play live again after three decades, it was because she felt she had something worthwhile to share. I knew this would not be a "greatest hits" show, could anyone seriously imagine a fifty-something Kate singing Wuthering Heights? I fully believed though that it would be something extraordinary and unique: I was not mistaken.

The heart of Before the Dawn was the formidable array of talent that Kate convened; not just those on stage, but all of the technical personnel were of the highest quality. The months of preparation that went into the show, the attention to every little detail of sight and sound were completely evident. I must give a special mention to Kate's son, Bertie, not least because he was the main driving force, ensuring that once his mother had the idea she followed through. Bertie, or Albert as we should call him now he's all grown up, proved to be a charismatic and natural performer in his own right. His solo number, Tawny Moon, was sensational and he managed to hold us all rapt. He was 16 at the time, but then his mother knows a thing or two about being a precocious talent. Having Kate and Albert together on stage made sense of the whole experience. We may love Kate for the incredible legacy of music she has given us, but I have no doubt that in her eyes, her son is her most important creation.

When I started this journey of revisitation six weeks ago, there was no sign of an official release of Before the Dawn. Then this week word emerged that Kate will be releasing the audio of the show on November 25th. I cannot wait to hear the recording and be able to wallow in the memories of that incredible evening. I'm still hopeful that Kate will release a film version of the show. These things take time: and in Kate's world they take even longer! I know that should it be released it will be because Kate believes she has a version that does justice to the show and the Fellowship that helped her create it.

Shortly after the run had ended, Kate issued a message on her website, giving her reaction to the experience:

"I was really delighted that the shows were received so positively and so warmly but the really unexpected part of it all was the audiences. Audiences that you could only ever dream of. One of the main reasons for wanting to perform live again was to have contact with that audience. They took my breath away. Every single night they were so behind us. You could feel their support from the minute we walked on stage. I just never imagined it would be possible to connect with an audience on such a powerful and intimate level; to feel such, well quite frankly, love. It was like this at every single show."

I am so glad Kate was able to feel the love that we have for her. I'm sure it must have been quite overwhelming, but I'm so happy we got to thank her in person for the joy she has given us over the years.

Two years ago tonight, Kate gave her final encore with the Fellowship. Maybe she will have enjoyed the experience so much that she'll be back on stage at some point, or perhaps she feels she has achieved everything she wanted to in that medium. Either way, seeing Before the Dawn will remain one of the defining moments of pleasure of my lifetime.


An official audio recording of Before the Dawn will be released on 25th November on Fish People. Details of the release and how to pre-order can be found by clicking here: Before the Dawn 



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Revisiting Before The Dawn: Part 5, The Moon Waxes...

At the start of Act Two of Kate Bush's Before the Dawn we were basking under A Sky of Honey, but now the sun has set on that lovely afternoon.

Aerial Tal

Nature is heading towards an uneasy rest. The menace that stalked the puppet-boy Tesoro as he entered this world is back and it's sharpening its claws. The birds are singing to mark the transformation into night. Kate knows their song, she duets with them. All of the birds are laughing, Tesoro laughs along. If singing with birds brings this much joy, what must it be like to fly with them...

Somewhere In Between

"This is where the shadows come to play,

Twixt the day and night..."

From the top of the highest hill Kate is observing the waxing and waning, as the dark chases the final chinks of light away.

The Painter is there capturing the fading glimmers, soaking up the last drops of pigment. Some days are hard to let go, to accept that they are ending, so we cling to them, cherishing the beauty, the love, before the ticking and tocking clock caries us away.

"Good night sun..."

Tawny Moon

"I'll give every cloud a silver lining, every star will be bright and shining..."

Night is not an absence of light, but the playground of other celestial powers. The Painter knows this is no time to sleep, there is a rare beauty he must capture. The moon tonight is wearing the sun's clothes, it has stolen traces of its orange, its yellow. This tawny moon is up to mischief and the Painter will capture its essence, ignoring the aches and blisters it costs him.

"She wrote the book of love then threw it away.

You better all behave when Luna takes the stage." 

The Painter whirls, the moon rises transcendent. He sings her his love song. She calls to him, he cannot resist. The melody ticks to mark the passing hours. The moon and time are intrinsic allies, they create the cycles that all of nature must obey.

"She comes, she goes... she goes, she comes,

Oh my love, my love, my Luna, Queen of Bedlam."

The Painter draws us into his obsession, we also feel the pull of the satellite, we tingle as he whoops and reels. This madness is contagious. As the Painter collapses, spent from his devotion, we admire the nightscape he has conjured into being. The moon is our mistress now.

Nocturn

It is not only the Painter who has succumbed to the moon's advances. Kate has driven to the ocean, shed her clothes on the beach and now stands in the milky, silky water, looking up at a diamond sky.

"The stars are caught in our hair,

The stars are on our fingers..."

The majesty of the nocturnal panorama sweeps away our cares, gives us shelter from the harsh light of day. We dive down into the depths, a memory forms... a blackbird flails, a stone is tied around our leg... is this the same woman that survived the Celtic Deep? Is this her promised future or the past dragging her back under...

"It came up... on the horizon..."

We surface from the waves, just as the sky is at its darkest, just before the dawn...

"Bright, white, coming alive..."

This is a battle the night cannot win, light seeps into every pixel, flooding the sea with honey. A glimmer, a flicker, a glint, a flare, light constantly in movement. A new day.

"All the time its a changing and all the dreamers are waking..."

Aerial

The cock crows. The bells ring. Nature red in tooth and claw, blood red that paints the sky. Tesoro is pulled into the hunt, on his hands and knees, feasting with the birds.

"Bring it. Shake it down. Bring it on. Let it in."

This is a dark mirror of the joyous call of Prologue, this sun is harsh, it melts the flowers and its song must be sung.

"I feel I want to be up on the roof..."

The birds call to Kate once more, this time her voice won't be enough to satisfy them. She feels the urge to find higher ground, to touch the sky.

"All of the birds are laughing, come on let's all join in..."

Kate is giving herself to the transformation. Feathers start to sprout, see her beautiful wings.

The dawn has come and the light is revealing all, the hidden costs of survival, the price that nature demands for living. The guitars have become birds, they chirp and coo, chatter and cheep. Kate circles the bird guitarist, a rite of transformation. See her beautiful wings, she's dying to try them.

An air of madness takes hold, the bedlam of birds. The doors to the other world reappear, trees erupt from the ground, crashing through the piano, Tesoro runs in wonder and panic. The guitar birds are squawking and whooping, they rise with the dawn rays. The drums grow more urgent, as if they know this journey of light has reached its zenith. Kate surrenders to the call of the birds, the doors fly open and she soars into the air, taking flight on her beautiful wings.




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Revisiting Before The Dawn: Part 4, The Light Changes...

After the trauma and rescue of The Ninth Wave, we are all waiting to see what world Kate Bush would conjure for us in Act Two of Before the Dawn. At first it seems as if darkness still prevails. Snow is falling. An imposing set of doors dominates the stage, a small puppet child walks through them, passing into our world. He second guesses the decision, but it is too late: the doors slam in his face.

Prelude

The puppet, let's call him Tesoro, searches around, looking for his parents. Something is there, calling to him.

"The day is full of birds."

Tesoro thinks he can understand these creatures, talk to them even. Perhaps this new world isn't so frightening after all.

But then the mood shifts. There is danger here. Nature is beautiful, yes, but it is cruel too. These birds may mean him harm. Just when fear begins to overwhelm him, Tesoro hears another voice beckon him...

"Over here. Over here."

Prologue

Kate is waiting at the piano with the band. Tesoro walks over to investigate. Kate sings, soothes. It's going to be so good now; what a lovely afternoon it has become.

The summer light has now fully banished the cold and dark: the stage is bathed in golden rays. The lark ascends. This light is on a journey, bringing traces of distant landscapes it has touched, dancing rays from Italy. The birds speak the language of light; they sing to it, responding to its arc across this sky of honey.

"The mistle thrush and wood pigeon, the chaffinch and the robin, 
the blackbird and the siskin, 
like golden light dripping... and golden bells..."

The Prologue we knew has been transformed into an extended celebration of summer. Bells are ringing, echoing from a sensual world. Kate is joined by a Chorus, together they engage in full circle ringing, as birds take flight across the stage in slow-motion majesty.

"Ring it, shake it down, bring it on, let it in."

I feel exhilarated, bells and birdsong ring in my ears, my heart catching every beat of the exultant percussion and rapturous bass. The quality of the musicians Kate has assembled is now fully evident; this is her symphony and this orchestra is ideally constructed to fully realise her concept.

"What a lovely afternoon, what a lovely afternoon. Oh will you come with us, 
to find the song of the oil and the brush..."

An Architect's Dream

Kate takes Tesoro's hand and they walk out into the afternoon sun. They happen upon a Painter who is working on a huge canvass, filling half the stage. He looks a bit like Bertie.

The Painter is not keen on being watched. Tesoro and Kate keep their distance, carefully admiring the creation, the chiaroscuro. The light is constantly changing, the sky flickers as brush strikes canvass. But is the Painter simply observing, or does he have the power to transform this sky? Is this piece of work we see him forming cause or effect? Accident or design?

The Painter's Link

"It's raining. What has become of my painting?"

All of the Painter's hard work is in danger of being undone. His painstakingly placed dabs are beginning to run with the raindrops. But this is no disaster, just one more transformation.

"See what they have become..."

Kate and her Chorus rally to the Painter's aid. The light is changing, yes, the paint is merging, but this is simply a different creation. Now there are reds and oranges and yellows and pinks... a wonderful sunset...

Sunset

"Who knows who wrote that song of summer that blackbirds sing at dusk?"

The diurnal journey is approaching its end, a vermilion descent alerting nature that it will soon be time to sleep, or to hunt. Kate serenades the sun, telling its story of crimson, red and rust, and of goodbyes.

This carmine light has danced in from Spain, it sets the song aflame, a flamenco farewell to the sun. The compás sweeps us all along, we add palmas fuertes, bailamos...

"The day writes the words right across the sky,

they go all the way up to the top of the night."

What a lovely afternoon. We have followed the sunlight, marveled at its many aspects, watched as it transfigured the fabric of time. But this day is not over yet. There is another power at work, waiting to take the stage. After all, it is always darkest...

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Revisiting Before The Dawn: Part 3, The Wave Crashes...

"The screen is reality, the stage... the dream."

The storm that blew Kate Bush from the stage has left disaster in its wake. A ship, the Celtic Deep is sinking. Its May Day call has been picked up by an astronomer watching a meteor shower from Church Rock. We can see him projected onto a shimmering screen that hides the stage. He's radioed the coastguard and is trying to get them to investigate, but the message was very "staticky", so the details he has are sketchy. The astronomer begs the coastguard to send help, he knows there are souls in peril and he fears he may be their only hope.

"I think these people are depending on me... I'm the only one who heard them... please, do you understand... hello, hello, can you hear me... over..."

The screen rises, the stage is empty... wait... what are they? Fish? Or people? Another screen appears, we fly across sea, searching the rippling waves. There's someone in the water.

"Little light, shining..."

Trevor Leighton

And Dream of Sheep

Kate appears on the screen, she is floating on her back, the tiny red light on her lifejacket is blinking. You can hear the cold in her voice as she sings, she has clearly been there for some time. This voice is older, more vulnerable and careworn than the one that sang this same song all those decades ago. This voice has seen life, has loved and has lost. Now here she is, all alone in the dark. She is on the edge of giving up, exhausted from the fight to stay afloat, to stay alive. She needs to rest, she seeks escape from this reality and the stage is waiting, ready to welcome her into its dreamscape... Kate sinks under the water, a shiver runs down my spine.

Under Ice

These skeletal hosts, let's call them Fish People, circle the stage; this is their domain - half wave, half wreck.

Other seafarers wander in, could they be stranded too? The Fish People welcome Kate, they remove her lifejacket, she won't be needing that here. Kate spots a sofa, a lamp, a TV, they seem familiar to her.

A memory begins to form, of that time the river froze over. Kate starts to skate, captured by her past. The others there are drawn in, as if hypnotised. They mimic Kate's motions, until they all are skating in formation.

There's something moving under the ice. Kate screams out, recognising herself, trapped below. The Fish People drag her away. The other seafarers attempt a rescue, trying to smash the ice, but it's too thick. They find a chainsaw and try to cut through. Finally they manage to break the surface and it is Kate they pull from the water.

Waking the Witch

As Kate surfaces in the dreamscape on stage, so she manages to reemerge from the depths in the reality portrayed on the film screen. As she once more floats on the waves, voices call out to her, trying to get her to open her eyes, to wake up. Her past is dragging her down, back into the deep.

This time Kate wakes up to find herself on trial, accused of being a witch. Those who had helped her survive the ice are now turning on her, pulling her back into the court of the Fish People, who watch her every move carefully from the sofa.

Kate throws herself at the mercy of a priest, but he has already judged her guilty. She struggles with him, but the other seafarers intervene, taking Kate to face her sentence. There is a simple test for witchery: if the woman drowns she is innocent, but if she survives... Kate is once more forced back under the water, for a second we think she has fought her way back, but it's not her... it's a blackbird, its wings flailing, desperately trying to fly free, but it too quickly sinks below.

Just when things seem hopeless, a bright light beams down. A helicopter flies around the auditorium, searching for Kate. We hear from the pilot that all her fellow passengers and crew have been rescued from the wreck of the Celtic Deep, only she remains unaccounted for. But there is still a chance she could be found...

Watching You Without Me

Back in the dreamscape the Fish People have gathered bits of broken ship and created a portal into the real world. Through it they are watching a father and son banter about portfolios, toad-in-the-hole and footie. They're waiting for mum to come home, she's late. The Fish People regard these humans like we might watch fish in a bowl, mildly fascinated by the banal comings and goings of a different species. There's a sofa, a lamp, TV, all somehow familiar. The men settle down to watch the match, their dinner on trays on their laps. Dad pushes the door closed and suddenly there is Kate in the room with them, but they can't see her.

Having faced down her past, Kate must now connect with her present to find the will to survive. She tries to touch them, to communicate, but to no avail. She sees them get a phone call, she knows it's about her, she can't comfort them or get them to see she is there....

Kate is pulled back into reality, she wakes with a start.

"Let me live! Let me live!"

She screams for rescue, my blood runs cold. I want to dive in and save her, give her the warmth from my body and breath from my lungs. The little light is shining, sometimes white, sometimes red. The piano plays gentle chords, something is trying to break through this darkness, like a glimpse of sunlight from a lovely afternoon...

Jig of Life

Having found her reason to live, Kate must reach out to the old lady she will become. Half in reality, half in dream, Kate sings, calling for her future to reach back and rescue her. The old woman brings life with her and a dance, a jig to keep the tug of the water at bay. But the Fish People are not done yet, they are not ready to let their prize return to reality. They call forth wave after wave, each mightier than the last. Strong, white waves, that roll across the stage, waves of satin driven by a team of white horses.

Kate is still trapped between reality and this dreamscape. She clings to the glimpse of her life that is to come.

"I put this moment here."

The voice of a loved one breaks through the dream, a brother, calling to his sister to give a kiss on the wind, then they'll make the land. Kate can taste her destiny, but will the Fish People let her leave their domain?

Hello Earth

Kate has raced the white horses and found a buoy, something solid to cling to in the deep blackness of the sea. She calls out to the earth, pleading to be seen. There is something bright in the sky, traveling fast.

"Just look at it go... just look at it go..."

The part of Kate still trapped in the dream has also found a buoy, the mirror of the one in the real world. Some of the other seafarers trapped there are already clinging to it, waving flares, faltering red light that barely penetrates the dark. Kate climbs on to the buoy. She sings...

"Hello earth, hello earth."

All the emotions I have fought to hold inside now come flooding out. Tears stream down my face. I weep for this woman, long for her rescue, but fear it is too late. The Fish People have come for Kate, they rise up out of the inky waves that lap around the buoy and catch her as she falls back into their arms. They slowly bear Kate away, carrying her down into the auditorium, a mournful chant underlining the impending sense of doom.

All other photos: Ken McKay/REX

Just when I dread that the worst has happened, my eyes flash to the screen once more. A hand reaches down from the sky, another reaches up from the waves and clasps it.

The Morning Fog

Dawn has broken, light is bleeding, breathing, speaking. The musicians, dancers, singers and Fish People sway around the stage. Kate returns from the wings to lead this celebration of survival, of second chances. The love that this fellowship feel for one another is evident in the smiles they share. They dance, play, sing, leading us out of that deep darkness. The audience sways along with them, our emotions wracked, but our souls light with joy. For a moment we are even cloudbusting (yay-yay-yay-yoh). Kate sings her thanks to her loved ones, her sisters, her brothers, her son. Then the final notes are plucked and the song is over.

Kate thanks us for being such an incredible audience, we can't believe she doesn't understand how lucky we are to be there. What an incredible show, what amazing artistry, what bravery and ambition. But wait, there's more? Apparently this was all only Act One. After a short break, Kate and the Fellowship will be back. What could be coming next? A red silk screen drops to cover the stage, on it, a single white feather...

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Revisiting Before The Dawn: Part 2, The Storm Rises...

Kate Bush had already performed four shows in her 22-date residency at the Eventim Apollo in Hammersmith by the time it was my turn to witness Before the Dawn. I was determined to stay spoiler-free, which meant no internet, no social media and no news for a week. The task was harder than I thought, as nearly all the UK newspapers had Kate splashed over their front pages the day after opening night.

[Ken McKay/Rexfeatures]

This image was everywhere and I glimpsed enough of the headlines to know that the show had been well-received. Miraculously, this remained my only spoiler up until I took my seat, two years ago tonight, alongside my husband and two of the best Bush-obsessed chums anyone could ask for, Amanda and Michelle. All four of us were suffering from varying degrees of hysteria, but, being British, were trying to maintain an air of normalcy.

The atmosphere in the Apollo was like a volcano on the point of eruption. Many faces betrayed the disbelief that this was really happening to us, a deeper understanding passing between us fans about just how immense this moment was. The stage was bathed in blue light and the band's instruments were ready and waiting. It looked a fairly traditional set up, but I somehow knew this was only the starting point for our journey into Kate's imagination. We were sat in the stalls, centre and about a dozen rows from the stage, which I hoped would give us a perfect view of the wonders about to unfold.

Our selfie outside the Apollo

At 7.30pm on the dot the lights dimmed. An eerie sound echoed around the auditorium... then we hear an incantation...

Lily

Lily's protection ritual spreads its magic throughout the audience. As she completes the spell and the band kicks in, the cap of the volcano is breached. Kate walks on stage, leading her band of backing singers, including her son, Bertie. A great wave of joy, relief, excitement, ecstasy and love rises from the audience and crashes onto the stage. In the many hundreds of concerts I have attended in my lifetime, nothing has matched the intensity of this reunion.

Kate leads her troupe in a circle, leaving them stage right, before taking position front and centre. She is wearing all black, with a jacket that has long fringe attached to the sleeves. Her hair is dark and wild and flows down her back. Her feet are bare. She surveys us. She absorbs the adoration. She sings.

As Kate calls forth her four guardian angels, they appear as shafts of light: before, behind, to the right, to the left. It wouldn't be surprising if angels actually appeared, so divine does this moment feel.

Kate is really there, on stage. Her voice as enthralling live as it is on record. The band she has hand-picked and nurtured are creating a glorious sound, that permeates every atom. I try and catch a breath, to move, but my brain is trying to freeze time, or at least slow it down so it can capture every second.

Later, my husband would say that seeing Kate in the flesh felt like seeing Santa Claus come to life. A mythic, mystical figure, beloved, but somehow you would never get to meet. Of course, Kate is no fantasy, but in that moment, I knew what he meant.

In fact, Kate was far from the remote recluse the media portrays. She was warm, chatty, welcoming, and so humble and grateful throughout it made me proud to call myself a Kate Bush fan.

Hounds of Love

The final chords of Lily are still resonating when Bertie warns us: "it's in the trees... it's coming..."

I was pretty sure that Before the Dawn would not consist of Kate standing in front of a band and singing her hits, but maybe I was wrong. There is no doubt that such a show would be compelling, but I still suspected Kate was intending to scratch a visually creative itch with this production. This second track was a fairly straight performance of one of her most beloved songs, with the winsome barking of the backing singers a strange delight.

This was a director's cut of Hounds of Love, with Kate adding some space to the frenetic pace of the original track, allowing the chorus to breathe. She calls on her lover to "never let me go, tie me to the mast", expanding the sense of succumbing to love. It was fascinating to finally hear Kate evolving her compositions for the live stage.

If you still doubt that the occasion was overwhelming, one of my favourite memories of the night is having a medicinal gin in the bar afterwards and Michelle saying "I wish she'd done Hounds of Love". You have to be pretty far gone to miss an entire song!

Joanni

Kate only released one single from her 2005 album, Aerial, but if there had been another it might well have been this atmospheric depiction of Joan of Arc leading her troops on the battlefield. Three songs in and it feels like the initial nerves, both on stage and off, have settled. Kate is in imperious form, perfectly recreating the complex vocal, proving beyond doubt that her unique instrument pours from her, no product of studio trickery.

It's also becoming clear that this set is something of a pre-show, a chance for everyone to get over the fact that this is "Kate Bush live on stage". We can see that this fellowship that Kate has assembled is first class, the band are adding new dimensions to Kate's arrangements, producing layers of gorgeous sound. The singers are weaving around Kate, their voices merging beautifully. This is a labour of love, toiled over for us lucky few to relish.

Artwork created for Before the Dawn by Timorous Beasties

Top of the City

OK, this is definitely not a greatest hits show. Fourth song in and only one single so far. I'm beginning to suspect Kate was thinking "what would I enjoy singing every night" rather than worrying about whether anyone would recognise it. Not that anybody in the audience was complaining, this album track was greeted with the same screams as if the band had played the opening notes of Babooshka!

If you don't know Top of the City, it is a tale of failing love, wrapped in obsession and recklessness. Originally from The Red Shoes, Kate reworked it for her Director's Cut album, but I always thought that version was way too similar to the original. But here Kate finally seems to get under the skin of the song, adding a looping refrain between verse and chorus that underlines the tension and the longing in the lyrics.

Another memory from this number is how the bank of lights at the back of the stage that would punctuate key moments in the songs, swept up into the audience as the crescendo crashes at the start of each verse. I'm pretty sure Kate took the opportunity to look at the faces out there in the dark. In that moment did she smile, remembering how worried she had been that anyone would be interested in seeing her play live after all these years...

Running Up That Hill (A Deal With God)

Everybody knows the sound of the drone that signals the start of one of Kate's biggest hits, and so it was that the crowd went berserk as it seeped into our ears. A scattered green laser formed a symbolic hill and those old enough were transported back thirty years to Kate dancing in unison with a gorgeous man in a high-windowed room. We all knew every note, every syllable. But this time Kate was singing it for us. We were there as she conjured the deal, as the love and pain and frustration spilled out. As the track climbed to its climax we clapped along to the beat, becoming part of the fabric of the song, creating this unique and ephemeral version that belonged to all of us.

King of the Mountain

The wind it blows, signalling a change in the weather. All seems calm at first, Kate ruminates on fame and fortune, wondering if Elvis still lives, free from scrutiny, atop a mountain of happiness. But as the song progresses, we can feel electricity charging the air. 

The wind it blows, there's a storm rising. Kate's vocal becomes more urgent, more visceral. The band's playing intensifies, as if they are trying to conjure a hurricane. 

The wind it blows, or is it a bird? The song extends, breaking out of its studio confines. Kate let's rip, is she warning us or embracing the oncoming storm?

The wind it blows... the wind it blows... there's a storm rising... there's a storm rising... there's a storm rising...

Then Kate is gone. Will this wind blow us all away?

A clap of thunder.

A bullroarer chases the storm away, then an explosion of golden confetti falls upon us, like the foam of a mighty wave...

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Revisiting Before The Dawn: Part I, The Dawn Breaks...

At 7.30pm two years ago tonight (British Summer Time), Kate Bush took to the stage to present Before the Dawn, her first live concert in 35 years, 3 months and 12 days. Not that I was counting. In fact, I had long before given up believing that I would ever get to see Kate play live.

Being a Kate Bush fan in the last two decades has meant accepting certain truths. You must wait. You will get good at it. And every now and then Kate will give you something magical. Something that makes the months and years in between dissolve into nothing. And you're grateful. Ecstatic. Which is why the short note that appeared on Kate's website on Friday 21 March 2014 sent my sensual world into a frenzy:

I am delighted to announce that we will be performing some live shows this coming August and September.

       I hope you will be able to join us and I look forward to seeing you there.

          We'll keep you updated with further news on the web site.

                  Meanwhile, all details of concert dates and tickets are in the note below.

                    Very best wishes,

                             Kate

[Trevor Leighton]

I must have had to read those words fifty or so times, before I dared to believe it was true. My mood spun from dizzy bliss at such incredible news to heart-wrenching fear that I might not get to go. The week waiting for tickets to go on sale was one of fitful sleep, giddy excitement and slowly dissipating shock. I was thankfully one of the lucky band able to secure a ticket. Now all that was required was the bit I was good at: waiting.

The media went into meltdown, which must have confused the hell out of most people under 30. There was rabid speculation as to what the shows might be like, but Kate was staying mum. The only hints were the show's title, Before the Dawn, and a photograph of Kate in the water wearing a lifejacket. Any Kate fan would instantly know this meant that The Ninth Wave, a concept piece about a woman lost at sea that formed half of 1985's Hounds of Love album, must feature prominently. Only Kate would decide to tour an album for the first time thirty years after its release! 

[Trevor Leighton]

To pass the time in the run-up to the shows, I produced a 50-day countdown on this blog, which told the tale of Kate's career (for an index, here's the whole story). My intention was to follow this up with my review of Before the Dawn once the shows had concluded, but I found the whole experience so overwhelming it didn't seem possible to express in words what seeing this show had meant to me. Then I decided to wait for the inevitable DVD and write my review then, but it now seems possible that Kate has decided against such a release (if that ever was her intention). So I've decided the time has come to revisit that miraculous night and share my thoughts and recollections, partly so that I can convince myself that this all really happened and partly to try and preserve the memories before time robs me of the finer details. 

Kate's residency at the Eventim Apollo in Hammersmith, London, lasted for six weeks, so my tale will be in six parts over the same six weeks, enough to properly do justice to the love, care and artistry put into the show by the KT Fellowship (this was Kate's name for her tour company, her usual humble acknowledgement that her work is not created in isolation).

For those lucky enough to see Before the Dawn, I hope it triggers your own memories. For those that missed out, I hope it provides some small insight into the worlds Kate conjured for us on that stage.

Until the next time then. What was that? Yes, Lily, I'm coming...

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50 Words For Kate: The Whole Story

Two years ago I wrote a series of fifty blogs that covered the career of Kate Bush, in anticipation of her first live concerts in thirty-five years. The blogs began with Kate's debut single, Wuthering Heights, back in 1978 and ended the day of the first show of Before the Dawn, her critically acclaimed stage show. This index is designed to aid fellow fans or curious readers who might want to find a particular blog entry. I hope you enjoy my personal journey through Kate's amazing body of work,

Click on the title word to be taken directly to that blog:

An Introduction: it does what it says on the tin
50.  Wuthering:  some incredible facts about Kate's No.1 debut single
49.  Rolling: Kate visits Japan. More fun than it sounds...
48.  Kicking: Kate's extraordinary debut album
47.  Stretching: one of the greatest love songs of all time
46.  Cropping: some photoshoots that probably felt like a good idea at the time...
45.  Loving: Kate teaches British children about homosexuality... no, really
44.  Roaring: two albums in one year? That's surely never going to happen again...
43.  Spinning: how Kate nearly led me into a life of crime
42.  Touring: the legendary first tour in 1979
41.  Special: Kate gets her own TV show
40.  Breathing: remember when we used to worry about imminent nuclear attack?
39.  Delight: she wanted to test her husband, she knew exactly what to do...
38.  Imitation: an impressionist's dream
37.  Exciting: Kate takes control on her third album, Never For Ever
36.  Waltzing: a cautionary tale told in 3/4 time
35.  Magic: an underrated Christmas classic
34.  Knowledge: some say it's Sat in Your Lap
33.  Dreaming: Kate's fourth album, a work of genius
32.  Baffling: a flop single (or two), is Kate's career over?
31.  Running: No. It's only just begun...
30.  Hunting: when Hounds of Love ruled the charts
29.  Waving: a first concept piece, The Ninth Wave
28.  Katemas: my favourite annual holiday
27.  Talking: why Kate doesn't like interviews
26.  Soothing: b-sides themselves
25.  Experimenting: a compilation album and a new single
24.  Collaborating: some of Kate's work with other artists
23.  Cathy: Kate's childhood is revealed in photography and song
22.  Composing: Kate's music for film
21.  Yes: Kate returns again and I make a new best friend
20.  Sensual: Kate explores a female energy on The Sensual World
19.  Trio: collaborating with the Trio Bulgarka
18.  Comic: Kate acts!
17.  Trivia: the 1990 convention and my claim to Kate fame
16.  Rocketing: Kate pays tribute to her childhood hero, Elton John
15.  Pleasure: an emotional return with a new song, Moments of Pleasure
14.  Bouncing: Kate has a new single, but which track would it be?
13.  Red: the story of The Red Shoes
12.  Healing: two contrasting cover versions from 1994
11.  Happening: The Line, The Cross & The Curve, debuts at the London Film Festival
10.  Missing: 1995-2005, the lost decade. Or was it?
9.  Happy: is Elvis alive? This and other mysteries explored in King of the Mountain
8.  Glorious: Aerial, Kate's first album in 12 years
7.  Masterpiece: my thoughts on A Sky of Honey, from Aerial
6.  Understanding: a surprise announcement and a sort-of new single in 2011
5.  Directing: revisiting tracks from previous albums on Director's Cut
4.  Snowing: Kate's 10th studio album, 50 Words for Snow
3.  Misty: the tale of a woman and a snowman
2.  Queen: Kate is honoured for her work
1.  Dawning: the day Kate returned to the stage after a 35-year absence

50 Words For Kate: #1 - Dawning

I have been fascinated by Kate Bush since I first saw her perform Wuthering Heights as a seven-year old. At thirteen, with the money earned at my first summer job, I began buying her albums and singles and fell completely under her spell. For over three decades, Kate has been an intrinsic part of my life. Her music affects me like no other, it speaks to my soul, ignites my imagination and excites my emotions. Quite simply, I cannot imagine what my life would have been like without this woman's work.

Through the decades the one element that left a slight pang of sadness was the thought that I would never get to see her perform her music live on stage. I was too young to have gone to her tour in 1979, but I bought the video of that show and played it endlessly. In some ways that made the absence harder, as Kate was electric on stage, in every part an equal to the artist she is on record.

Occasionally there would be stirrings that she might perform again, even one time when I heard it from her own lips. But each time it came to naught. It would become a regular topic of conversation with Amanda, my bestie and fellow Kate adorer: how amazing it would be, but how it might also cause us to expire from the stress of it all.

When the announcement finally came, just five short months ago, it felt unreal. Each day I had to check the news to make sure it was not another of the "Kate's doing a tour" dreams that sporadically troubled my sleep. And it was as stressful as we'd feared. That week between the announcement and the tickets going on sale was not good for my blood pressure. And the actual buying of the tickets... well, let's just say I'm glad nobody could see me shake.

Tonight, Kate Bush begins her 22-date residency at the Eventim Apollo in Hammersmith, London. I wish her well with all my heart. I will be there in seven days' time, alongside Amanda, and we will be pinching each other. The dream is finally coming true.

These last 50 days, sharing Kate's extraordinary career with you through my own personal experience, has been a labour of love. Thank you for coming along for the ride and for the many comments and compliments that have made it all worthwhile. I'll be back in October, when the dust has settled, to share my thoughts on Before The Dawn.

Until then, here's a little something to cherish from the last time Kate played live...

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50 Words For Kate: #2 - Queen

When I was a child (running in the night), things like record sales, chart positions and awards mattered to me. I always wanted Kate Bush to sell more, climb higher and win accolades and was disappointed when other, less deserving acts beat her. I remember my best friend at high school, Ben, was a Madonna fan, and we would race to see whether Hounds Of Love or Like A Virgin was number one that week in the album charts. We argued over who was more talented, I listed Kate's many musical abilities, Ben pointed out Madonna played the cowbell.

As an adult, somewhere in my forties, I have learned to appreciate what matters most is not what the rest of the world thinks about something, it's what it says to me and how it moves my own heart that counts. Of course it's lovely when the artist you love is appreciated by the wider world, so it was a pleasure to see Kate recognised in three significant, if very different ways during 2012 and 2013.

In April 2013, Kate was at Windsor Castle to be awarded Commander of the Most Excellent Order of the British Empire, or CBE for short, from Her Majesty the Queen. Kate later posted this "thank you" on her website:

I feel incredibly thrilled to receive this honour which I share with my family, friends and fellow musicians and everyone who has been such an important part of it all.

Now I've got something really special to put on top of the Christmas tree.

The 'everyone' in the quote above of course includes all of you.  Thank you so very much for all your fantastic support and encouragement.  I feel extremely privileged to still have an audience.  It's you that have made my work, which would otherwise have just been creative projects, into a success.

Many, many thanks to the best fans ever,

Kate  x

It was not the first time Kate had met the monarch. At a Royal Academy of Music event in 2002 Kate had asked the Queen to autograph her programme for her son, not realising that Her Majesty does not do such things. As Kate later said: 

“I would do anything for Bertie, including making an a***hole of myself in front of a whole roomful of people and the Queen.” 

On this occasion, there were no such lapses of etiquette. The smile on Kate's face says it all.

A year earlier, Kate beat the current critical darling, PJ Harvey, and multi-million selling Adele to win Best Pop Award for 50 Words For Snow at the South Bank Sky Arts Awards. Kate made another rare public appearance to collect the award:

The third honour was potentially the most exciting. It was rumoured that Kate was going to be performing live! Yes, the Closing Ceremony for the London 2012 Olympic Games was to be A Symphony Of British Music, and was set to feature some of the most legendary names in British popular music. Naturally those legends included Kate, and the rumours reached fever pitch when it was reported that she was shooting a new video for Running Up That Hill featuring Jude Law! This photo was apparently a leak from the set:

I had deserted London for L.A. the year before, but managed to tap in to the live streaming of the event. Just as well, as the US broadcaster decided to cut Kate from their delayed prime-time presentation! As predicted, the opening bars of Running Up That Hill began and the commentators seemed to think it was really happening to ya... 

I swear I watched the whole thing expecting she would appear, even to the bitter end I thought she might jump out of that pyramid, like a stripper out of a birthday cake. Oh well, I guess that confirmed the fact that she was never going to play live again. At least we got a lovely remix of R.U.T.H. It even reached number 6 on the UK charts!

What a lovely, triumphant year that had been for Kate. Now we all just had to wait and see what she'd do next...

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50 Words For Kate: #3 - Misty

If I had to choose just one song from Kate Bush's repertoire to illustrate why she is such a special artist, then I would select a song from 50 Words For Snow that carries all the hallmarks of her genius.

Misty is the tale of a woman who builds a snowman, only to find him come to life. Naturally she falls in love and they have a romantic encounter. There are so many remarkable things about this song, which runs to well over thirteen minutes. The legendary jazz drummer Steve Gadd's playing is extraordinary here, intertwining with Kate's piano, managing to sound both free-flowing and deliberate at the same moment. The song has no chorus, but repeating themes that grow in significance each time we hear them.

Kate delivers one of her greatest vocal performances, fully demonstrating that despite its drop in register, her voice has lost none of its power to interpret and emote. Every syllable is perfectly formed, yet there is a roughness to her voice, the touches of time, which just adds to its beauty.

The main reason though that I would choose this track to represent Kate, is it shows her abilities as a storyteller. As a writer, it can take me hundreds of words to achieve what Kate manages in a few dozen lines of verse. While naturally a great deal of attention is given to Kate's melodies, her lyrics are equally important and equally individual. She has honed her skills over the years, realising that the fewer words you need to convey a feeling, the more power it holds.

Here Kate makes us believe that snow can live and breathe, that it can hold us in its arms, drive us to love and to the edge of despair at its loss. It's a fantastical premise, but it never once feels silly or flippant in her hands. From the magic realism of the blood from a cut hand bringing the snowman to life, to the woman's searing grief at the loss of her Misty, it is the birth of a modern fairytale.

Kate commissioned a series of short animation segments for three of the tracks from 50 Words For Snow, the most elaborate of which was Mistraldespair, this gorgeous stop-motion piece made for Misty.

So after the excitement of getting two albums in one year, we all wondered what would happen next. Kate said she already had ideas for another album, that sounded promising. One thing was certain, she wasn't planning any live shows, as she told The Word magazine in their December 2011 issue:

"I guess I haven't ruled it out, because I did enjoy it, but I have no intention of doing anything live because it wouldn't work with how my life is at the moment. Never say never, but I've got no plans."

Well that seemed pretty clear and definitive...



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50 Words For Kate: #4 - Snowing

"Well, I knew I wanted to do a wintry record... then it just honed in on this loose theme of snow and everything started falling into place... For me it's so atmospheric - so evocative of so many things."

Completing the revision of her earlier work on Director's Cut clearly provided the catharsis Kate Bush had hoped for. She immediately began work on a brand new album, a collection of songs that shared a theme: snow. Astonishing everyone, probably including herself, she managed to get it ready for the winter of 2011, meaning she made good on her jest of delivering two albums in a single year. It was like 1978 all over again!

50 Words For Snow is, like the snowflakes it evokes, hard to pin down. It is a work of popular music, but it is not "pop". Kate has taken the freedom of jazz and created her own genre, allowing her unique creativity to follow each tangent and flash of inspiration. With no major corporate label to limit her freedom, she can choose to deliver an album of seven tracks that together provide over an hour of music. There are no longer any rules, there is no formular: it is art as pure as the driven snow.

She did attempt to release a "single", but Wild Man, a tender tale of a Yeti sighting set in the heart of Asia, was never going to make sense to the iTunes generation. It once again shows Kate's ability to conjure a distant culture by carefully and sensitively entwining their musical heritage into her own.

Unusually for a Kate album, there are other voices leading songs. Her son Bertie provides a haunting descant on Snowflake, falling from a cloud into the welcoming arms of his mother. Kate realises a personal ambition when she gets to duet with her hero, Elton John, on the time-travelling love story, Snowed In At Wheeler Street. Stephen Fry plays Prof. Joseph Yupik on the title track, a linguist challenged by Kate to name those fifty words for snow.

The classically trained voices of Stefan Roberts and Michael Wood create a perfect counterpoint to Kate on Lake Tahoe, a ghost story about a woman who drowns while searching for her lost dog.

The closing track on the album, Among Angels, is really a cheat, as Kate freely admitted it was written a few years before and has nothing to do with snow. However, I think it is the perfect ending, as it evokes shimmering summer, bringing us out of the cold, dark winter, into the light. From its false start to its abrupt ending, it has quickly become a cherished favourite of mine.

50 Words For Snow may have been one of the fastest albums Kate has ever made, but it in no way feels like a rush job. It is the work of a maestro, an artist in total control of their craft. Even in the 80 degree heat of an L.A. "winter", I can put the album on and feel the icy wind and the touch of a snowflake on my cheek.



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50 Words For Kate: #5 - Directing

"Sometimes stepping back one step can allow you to take two forward, and in a funny way that's what's happened."

Kate Bush decided to give herself a "do-over" and re-record a number of songs from The Sensual World and The Red Shoes to create a new album, Director's Cut. Perhaps we have Bertie to thank for Kate opening up to her past, surely he must have wanted to see and hear his mother's work?

Whatever the trigger was, I believe this project may have been pivotal in Kate's subsequent decision to return to the live stage after 35 years. Previously, she had quickly dismissed her past material, like most artists only hearing what she considered its flaws. Now she realised that she could reclaim her work and revise it, allowing it to live again in the present. In particular there are two tracks on Director's Cut that lead me to believe that while we may know the songs Kate chooses to perform in Before The Dawn, it might take us a while to recognise some of them.

The original This Woman's Work was a fairly traditional Kate composition; piano-centred, with subtle orchestration and a perfect pop length of 3' 35''. The director's cut added three minutes, lost the piano and the strings and replaced them with delicate, barely there electronica. This is a remake, not a re-edit. While obviously still about the same subject matter, it evokes a totally different mood and emotional response to the original. It is reflective and soulful, a meditation rather than the dramatic underscoring of the original. It is a clear symbol of how Kate has evolved as an artist, but it is also a beacon showing that her past, present and future are part of a continuum.

Moments Of Pleasure was also a traditional Kate song in its original form. To Kate this is a celebratory song about the joy that loving other human beings brings into our lives, while recognising that this opens us up to equally great hurt. This director's cut does not at first appear to be quite as radical. The piano is still there at the centre of things, though now it is softer, pauses and plays at tangents. Kate chooses not to sing the line "just being alive can really hurt", replacing it with a choral hum from an ethereal choir. It is a deconstruction of the original, respectful of its heritage, but brave enough to jettison everything but the core elements of the song that are needed to convey its meaning.

It's possible that Kate may have decided to similarly reimagine other songs from her past for her live concerts. If Director's Cut proves anything, it is that she is more than comfortable with the artist she has become, separate from trends, image, expectations. If Kate decides to revisit her older material in the shows, I expect she will want it to reflect who she is now, not try and recapture an echo of her past. Am I the only one excited by that prospect? Given the warm reception given to Director's Cut, I imagine I'm not...

If you would like to know my thoughts on the rest of Director's Cut, then read my earlier blog where I compare each track with its forebear: Unfinished Business.



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