LIVE! : Marty Friedman

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by Alissa Ordabai
Staff Writer

May 6, 2011 at London Underworld in London, United Kingdom

It was Marty Friedman’s first London performance in 4 years, and the UK guitar community has, as always, responded with an impressive turn-out. Economic slowdown – which in the UK shows no signs of subsiding – meant that the iconic Underworld club was not as jam-packed as it was when Friedman last played here in 2007. But everyone in Britain who loves rock guitar as much as we at Hardrock Haven do, was there on the night, some having traveled from as far as Scotland.

Recession-defying enthusiasm from Friedman’s UK fan base is not surprising. After all, it’s not just the adrenaline rush of Friedman’s barn-burner tunes that draws in the crowds, or his phenomenal chops, or the sprawling Japanese-style melodies he is becoming increasingly keen on these days. And it’s not just the fact that any player – be it a pro or a beginner – will always have a wealth of licks and tricks to borrow from Friedman when watching him closely. What his shows do perhaps most spectacularly these days is give you a panoramic view of how rock guitar has been developing over the past 25 years.

Tonight’s set list could be seen as a resume of Friedman’s personal career, ranging from his very first 1988 solo album, to material he wrote while with Megadeth, to brand new songs that haven’t yet been released. But you could also view it as a brief history of rock guitar – from the peak of the post-Van-Halen shred craze up to 2011. Of all the 80s virtuosos no one better than Friedman has chartered these changes. Playing more melodic material and giving more attention to musical content as opposed to demonstrating technique is just one side of it. What Friedman – and with him so many others – have also recently managed to do is to overcome a major taboo of the 80s – that of mixing rock guitar and with straight-up pop.

Languid, yearning melodies straight from the world of Japanese pop music is something that tonight’s show put a special emphasis on. Living in Japan for the past 10 years and studying Japanese music has influenced Friedman as a composer, but also as someone who continues to develop his taste for all things visual. Backed by dashingly handsome members of his new all-Japanese band, this time Friedman was presenting not just a different soundscape, but a different visual message. Miles away from the rugged image and the relentless wall-of-sound rampage of his previous London show (where he had Jeremy Colson on the drums and Ron Jarzombek on rhythm guitar) this performance was a very different affair.

Musically more elegant and visually more complex, the new line-up is perfectly suited to support Friedman’s interest in expanding his stylistic ground. Plus you should also never underestimate the impact of looks in this business. The rhythm guitar player Takayoshi Ohmura is a flamboyant young shredder on his own right, and the rhythm section – full of energy and swaggeringly self-assured – provided just enough flexibility and zeal to support Friedman’s style as he presents it in 2011.

Tonight’s performance was perhaps less vigorous in comparison to Friedman’s previous London show, but certainly more diverse. His phenomenal technique and his deep-voiced, rich trademark tone – instantly recognizable and impossible to imitate – were just as vivid on the night as ever before. A touch of phantasmagoria borrowed from another culture punctuated the intensity of his sound signature, but also gave another dimension to the proceedings.

What direction Friedman will take from here remains the most interesting question. Being a musician first, and everything else second, he has enough resources and flare for all things new to continue his explorations. After all, with metal and pop at the opposite end of his spectrum, there is still a vast ground to cover. On the night, however, the non-stop cheers, the raised hands, and the spontaneous chants of his name in the crowd proved that he has already done enough to secure himself one of the highest places in the guitar pantheon.

Set List:
1. Street Demon
2. It’s the Unreal Thing
3. Amagigoe
4. Ballad of the Barbie Bandits
5. Tsume Tsume Tsume
6. Elixir
7. Stigmata Addiction
8. Gimme a Dose
9. Asche Zu Asche / My Oh My (Mutation Medley). (Rammstein / Slade covers).
10. Forbidden City
11. Tornado of Souls
12. Devil Take Tomoorw
13. Letter (bassist Ryota Yoshinari on vocals)
14. Novocaine Kiss
15. Angel
16. Salt in the Wound
17. Ripped (including Takayoshi Ohmura guitar solo)
18. Yuki No Hana
19. Kaeritakunattayo
20. Dragon Kiss

Encore:
1. Thunder March
2. Bad D.N.A.