Peter has already played at the Roskilde Festival this afternoon. And once again he did Billy Jean and Needle and Damage Done! This is a review in Swedish, with a ragged google translation below:
"During the four minutes is Pete Doherty worth all the attention and all the crowds, writes Håkan Engström.
Peter Doherty reveals that he has not done its homework. When he bit into his solo gig in Roskilde manages to get halfway into the Neil Young "The Needle And The Damage Done" without any serious FOOLISHNESS as it appears in the key line.
Hey, Peter: what happens to all drug addicts?
"Every junkie's like a fucking … SORRY! like a setting sun", it will be in his collection.
In the end he got right on it. Approximately.
That was the whole gig: quite right, approximately. He managed to charm in the role of threadbare MUDDLE pelle, he managed with his singing and his rudimentary guitar playing fitfully in tempo to suggest what the songs have been or could have been. In the most successful moments tinted he presented as the world's best bad example, but just as often he had just a dozen troubadour Billy Bragg in the spirit of limited routine. Some songs are better than others, and it can make a world of difference, while in "Do not Look Back Into the Sun" from his time in Babyshambles sound like a hopeless Lalla sprite as solo plate "Last of the English Roses' a so classic cut folk that it is difficult to fail with it. The sympathetic audience helps him to row home the goodies, even though he repeatedly during the concert time interrupts to do what the moment feels more urgent: lighting a cigarette. Fingers on a harmonica. Roskilde inhaled air. Correcting to a cap placed on the microphone stand. In a surely sincere tribute to Michael Jackson he is the second song to grips with "Billie Jean". He throws twice. He will not get very far. But in time, noting what the song could have been on the anglifierades and was as troubadour entertainment in a small English bar hipp quarter before closing time. Time, also note that none of it there is a particularly good idea. But it is reminiscent of what Peter Doherty does when he is the best, that day and other days - when he accepts the role as club and publivskrönikör, especially in the "Music When the Lights Go Out". During those four minutes, he is worth all the attention and all the congestion".
Peter Doherty reveals that he has not done its homework. When he bit into his solo gig in Roskilde manages to get halfway into the Neil Young "The Needle And The Damage Done" without any serious FOOLISHNESS as it appears in the key line.
Hey, Peter: what happens to all drug addicts?
"Every junkie's like a fucking … SORRY! like a setting sun", it will be in his collection.
In the end he got right on it. Approximately.
That was the whole gig: quite right, approximately. He managed to charm in the role of threadbare MUDDLE pelle, he managed with his singing and his rudimentary guitar playing fitfully in tempo to suggest what the songs have been or could have been. In the most successful moments tinted he presented as the world's best bad example, but just as often he had just a dozen troubadour Billy Bragg in the spirit of limited routine. Some songs are better than others, and it can make a world of difference, while in "Do not Look Back Into the Sun" from his time in Babyshambles sound like a hopeless Lalla sprite as solo plate "Last of the English Roses' a so classic cut folk that it is difficult to fail with it. The sympathetic audience helps him to row home the goodies, even though he repeatedly during the concert time interrupts to do what the moment feels more urgent: lighting a cigarette. Fingers on a harmonica. Roskilde inhaled air. Correcting to a cap placed on the microphone stand. In a surely sincere tribute to Michael Jackson he is the second song to grips with "Billie Jean". He throws twice. He will not get very far. But in time, noting what the song could have been on the anglifierades and was as troubadour entertainment in a small English bar hipp quarter before closing time. Time, also note that none of it there is a particularly good idea. But it is reminiscent of what Peter Doherty does when he is the best, that day and other days - when he accepts the role as club and publivskrönikör, especially in the "Music When the Lights Go Out". During those four minutes, he is worth all the attention and all the congestion".
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