The Null Device
I am back in Reykjavík, Iceland; this time, I came here on occasion of Kraftwerk playing a gig at the Harpa concert hall. Having missed out on tickets to see them in New York (when they played tantalisingly close to the Chickfactor 20th anniversary gigs) and London and also having enjoyed visiting Iceland before, when the Reykjavík gig was announced, I jumped at the opportunity.
Harpa is the new concert hall built recently in Reykjavík; it was part of a grand project started at the height of Iceland's finance bubble; when the economic crisis hit, construction was suspended, but then the government decided to finance the concert hall, which ended up opening in 2011. It is a spectacular-looking building, and a great place to see concerts in.
On the way into the hall, we were handed a pair of 3D glasses each; these were not the red/blue ones, but some other type, with sheets of slightly tinted transparent plastic (possibly polarising filters?). Soon, a vocoded/synthesised voice announced “Damen und Herren, Ladies and Gentlemen...”, and the curtain fell slowly to the ground revealing the four members (Ralf and the three “new” guys, who've only been in the band for some 20 years), in grid-patterned body suits, standing in position behind black consoles whose edges were lit like vector graphics; behind them, a screen showed video projections. They started the first song: “The Robots”; the consoles' vector edges glowed red, and the screen was filled with Kraftwerk's computer-rendered doppelgängers, moving robotically, their extending arms projecting out of the screen. Then they went into “Metropolis”, with the consoles highlighted in white, and the screen filled with a geometric, monochromatic metropolis, a city of high buildings through which the camera glided, like a Bauhaus/Le Corbusier ideal of modernity.The rest of the set followed, with the visuals working spectacularly well; undulating three-dimensional sheets of green pixelised digits (Numbers), the vaguely Russian Constructivist-inspired 3D forms in The Man-Machine, Volkswagens and 1970s-vintage Mercedes motoring through green landscapes in a somewhat abbreviated Autobahn (the video of which seemed to be set in the era when it was written; other than the cars on the roads, these days, a road trip through Germany without seeing a single wind turbine would be unlikely), text and graphics floating above Tour de France footage, 3D-rendered musical notes gliding from the screen into the faces of the audience and more. Several songs (like The Model/Das Modell, Neon Lights/Neonlicht and Die Mensch-Maschine) were performed with both English and German verses. Some of the songs were updated for today; Radioactivity mentioned Fukushima, and the Spacelab video zoomed in on Iceland, to applause from the audience, before ending with a flying saucer landing somewhere near Düsseldorf. Computer World had a particular resonance in the wake of recent events, but has not, to date, been rewritten to mention the NSA.
It was the first time I had seen Kraftwerk since their Melbourne show in 2003 (which didn't have 3D graphics, though otherwise was spectacular), and was well worth the trip. say what you will, Kraftwerk know how to create a spectacle, a multi-sensory celebration of a (slightly obsolescent) modernity. (There are some photos here, though of course the 3D effects just show up as noise in them.)