I had been waiting for this gig for almost thirteen years. I tried not to think about it - I knew that, given my infinite expectations, it couldn't be an entirely satisfying affair. From where I was sitting, the stage looked like a distant, brightly lit ship... I felt really awkward, it didn't seem real somehow, it was more like a dream or something... Apart from the boring heckler who cried out for ' Heatwave ' for the entire duration of the concert (' Sentimental... Heatwave! '), the Albert Hall audience was well-behaved and quiet - a bit too quiet, perhaps, although after ' Tinseltown ' and near the end of the set everyone was on their feet, clapping. I mean, those guys up there changed (or rather, saved) our lives - a polite standing ovation was simply not enough! The light show was suitably unobtrusive, enhanced by Paul Buchanan's acoustic guitar darting flashes through the darkness. Delicate patterns moved slowly upon the backdrop, which turned to dark blue between songs. The projector, towering in the middle of the stage, looked a bit like a lamp-post, which seemed appropriate for The Blue Nile. The Blue Nile - oh God, what can I say? They were partly magnificent, partly just good. As a live band, they seem to have a sort of reverential attitude towards the recorded versions of their songs - they'll hardly change a note, let alone the original arrangements. That can be very frustrating, especially as every amendment and ' new ' bit they played tonight was beautiful and exciting. ' God Bless You Kid ''s instrumental ending, for example, when they let themselves go into some sort of improvisation, was one of the best moments. Other highlights included the throbbing, frantic ' Stay ' and an intense rendition of ' Tinseltown ', both numbers strengthened by Larry Saltzman's rhythm guitar. It surprises even me to say it, but ' The Downtown Lights ' left me cold - too impeccable, too perfect. Another reason to complain was the inexplicable absence of ' O Lolita ', an absolute gem destined to fall into oblivion. Then again, they did play ' Easter Parade ' and ' Family Life ' with a real passion, and I loved the way they religiously weaved their way in and out of ' Soon ', carefully holding in restraint every nuance of the song.
' Headlights On The Parade ' was the last selection of the evening. As it reached its climax, two beams of white light stretched out upon the backdrop and the huge vault of the hall became a revolving starlit sky, while Paul Buchanan's unexpected Telecaster gave us its final blessing, like a sudden fall of rain - it was a typical Blue Nile epiphany. Then they bowed and waved, leaving us gaping, mesmerized. The show had lasted about an hour and a half, yet I felt as if only twenty minutes had passed... Buchanan briefly returned with Steve Gaboury (I think) to sing ' I Left My Heart In San Francisco ', and then they were gone.