By Leonard Cohen

DVD directed by Murray Lerner

Review by Douglas Heselgrave

After five days of sleeping outdoors in the wind, cold and rain with little to eat, the crowd of 600,000 people who gathered at the 1970 Isle of Wight festival were more than a little shifty and cantankerous. The organizers had optimistically expected a crowd of 150,000 and prepared for that number of visitors. By the second day of the festival, numbers had swelled to over half a million people, and there was nowhere near enough room inside the concert area to fit everyone, so the more aggressive members of the crowd started to rip down the walls and fences that separated them from their favourite artists.

For many of the performers, The Isle of Wight festival was an unmitigated disaster. Joni Mitchell cried in the middle of her set, Kris Kristofferson was booed off the same stage that was then set alight during Jimi Hendrix’s performance. People were losing perspective, and musicians were understandably terrified. Joan Baez bravely turned in a passionate set that calmed people down somewhat, but there was still an edge of danger and unrest in the air.

By two in the morning of the last day of the show, many of the audience members who hadn’t slept since arriving on the Isle of Wight were edgy and out of control. It looked like the festival would end in disaster.

Enter Leonard Cohen.

Bedraggled and wandering around backstage in his pyjamas, Cohen had been wrangled out of bed at the behest of the stage manager, to look for the members of his band and begin his set. When he shuffled on stage accompanied by a rumpled coterie of musicians, it seemed like everything would fall apart completely. Glassy eyed, unshaven and looking like Rasputin at the end of a Dexedrine jag, Cohen surveyed the audience for a few moments before telling them a story about going to the circus with his father. It seemed like a desperate gamble, but a change could be felt almost immediately as a palpable ripple of calm spread through the audience. Cohen went on to ask the audience members to each light a match to bring the community of 600,000 together. Feeble lights began to appear throughout the crowd as Cohen strapped on a classical guitar and began to intone slowly ‘Like…..a……bird…..on…..a……wire.” The effect was immediately mesmerising, and where every other musician had failed, Cohen had the crowd eating out of his hand from the first note he sang.

For the next hour and a half, Cohen worked his magic on the audience at the Isle of Wight by playing rough and ready versions of songs from his first two albums as well as a few selections from his upcoming ‘Songs of Love and Hate.’ By today’s standards, Cohen’s performance was unpolished. None of the gypsy strings and apocalyptic cabaret stylings that have characterized his work since the late seventies is in evidence anywhere. The playing at times sounds almost amateurish – even though his producer and manager, Bob Johnson had assembled a group of top Nashville session musicians – including Charlie Daniels on fiddle – for the gig. And, one feels that Cohen wouldn’t have had it any other way.

The Leonard Cohen who took the stage at the Isle of Wight knew that the way to win over the audience was to identify with them. He didn’t come on as a rock star. Like the audience, he looked rumpled and in bad need of a good night’s sleep. He was a fellow traveller, an experimenter who talked fearlessly of despair, suicide and how he’d written songs while coming off of amphetamines. Like an older brother arriving in the nick of time, he’d come to take the crowd safely home when the party got out of hand.

By four in the morning, the crowd had transformed from an anarchic mob into a sprawling - but unified - family singing around a huge campfire. Sensing it was time to leave, Cohen said ‘it’s late, and perhaps this is good music to make love to’ as he began an especially passionate version of ‘Suzanne.’ He offered a few more songs to further lull the crowd before leaving the stage after saving the festival from disaster.

Leonard Cohen is an anomaly in popular music. Part old world mystic, part disgruntled alter boy dreaming of getting laid, there really is no one else like him. On paper, his performance at Isle of Wight should have bombed. But, Cohen has made a career out of confounding expectations. His output over the years has not been especially prolific, yet he has produced a body of work that equals that of any other living artist. Many have passed his songs by, and dismissed them as the four in the morning despair of a person fixated in perpetual adolescent angst. But, that’s an easy way out that fails to appreciate the breadth of Cohen’s concerns.

There has been a huge resurgence of interest in Leonard Cohen in the last few years. His personal and financial problems have recently thrown him into the limelight long after he’d pursued attention and notoriety. Rendered almost penniless at an age when most performers of his generation had retired, he has spent the last year and a half on a gruelling tour that would send other road-hardened seniors like Willie Nelson and Bob Dylan running for the golf course.

Cohen’s long career has made it easy for record companies hoping to cash in on his recent popularity to find old material to release. It’s tempting to be cynical about the ‘Leonard Cohen at the Isle of Wight’ DVD/CD set appearing at this juncture in time, but that feeling is quickly dispelled – like the anger of the crowd was – after experiencing only a few minutes of his performance. Like Jimi Hendrix at Monterey Pop, Sly and the Family Stone at Woodstock or Bob Marley at the London Lyceum, Leonard Cohen at the Isle of Wight captures one of recent history’s great musical performances. It is essential and shouldn’t be missed.

Views: 420

Tags: Cohen, Douglas, Heselgrave, Isle, Leonard, Wight, of, reviews

Comment by Kyla Fairchild on November 24, 2009 at 4:14pm
Beautiful writing. Great review. Thanks for sharing.

My biggest concert regret of this year was not ponying up the cash to go see Leonard Cohen when he passed through Seattle. He played in a horrible venue ( WaMu Theater) which I'd heard nothing but complaints about from every single person I knew who'd ever been to a show there. I figured his performance would sound terrible and be a disappointing experience, but apparently he pulled it off and it was an amazing show.
Comment by Jerry Withrow on November 24, 2009 at 5:44pm
Saw him this year in Columbia Md. and Durham NC -
two of my lifetime's most joyous concert experiences.
It was worth every(sniff, sniff) penny.
Thanks to you and the folks at Columbia Legacy for capturing yet another pre-sunrise blessing.
Comment by Mike Karman on November 25, 2009 at 9:04am
What a great review. Cohen is always in my top 10 essential artists. Thank you!
Comment by Keith Drummond on November 25, 2009 at 9:36am
Thanks for the great article. I had the Isle of Wight record as a youth, and that (and McCabe and Mrs Miller) is what turned me on to him.
Comment by Will James on November 28, 2009 at 2:03pm
The best for all time. Yeah, that's a period.
Comment by Jason Gross on December 1, 2009 at 8:25am
Bravo! You make a good case for this being an important performance.
Comment by Tara Aaron on December 1, 2009 at 10:09am
Saw him in Nashville last month. I couldn't believe that a 74 year-old man could play a solid three-hour show and still be that, well . . . sexy! I grew up listening to the "I'm Your Man" album (I'm kind of a latecomer), and hearing "Take This Waltz" live was pretty much as good as it gets for me. Bring on more L.C. DVDs!
Comment by Pete on December 5, 2009 at 11:39am
Sorry, but Dylan LIVES on the road...and Cohen's a Jew, an altar boy? Not likely. Something tells me that our reviewer wasn't actually in attendance at the Isle of Wight...never let the truth get in the way of a good story, right? I LOVE Cohen, but I doubt that his set saved anyone...he speaks to a lot of us due to his raw candor and unAmerican sensuality...his work is extraordinary, but I think he'd agreed that he's a poet with a guitar who has suffered from a public that is tone deaf to literate writers...
Comment by doug heselgrave on December 5, 2009 at 1:06pm
No, I certainly wasn't at the Isle of Wight. i was a mere lad living in Vancouver, Canada, but I was reviewing a DVD , so I saw the crowd transform. You should watch it and you'll see what I was talking about. It is extraordinary and was unexpected....and yes, Cohen is Jewish, but his poetry is full of Catholic imagery - right from the beginning. And, as you probably know, he's had a fascination with the church's ritual and approach to salvation for years. Try reading 'Book of Mercy' and you'll see....


You need to be a member of No Depression Americana and Roots Music to add comments!

Join No Depression Americana and Roots Music


If you enjoy this site please consider helping us with a small donation!

Don't like PayPal? Mail a check to: No Depression, 460 Bush St., San Francisco, CA 94108

When you shop at Amazon please enter through this search box and No Depression receives a referral fee



Created by No Depression Feb 17, 2009 at 9:06pm. Last updated by No Depression Sep 24, 2012.