FilmReview

Tubular Bells 50th Anniversary Tour

Reviewer: Jane Darcy

Composer: Mike Oldfield

Arranger: Robin Smith  

Director: Matt Hargreave

Mike Oldfield’s iconic Tubular Bells, first realised in May 1973, went on to become the best selling instrumental album of all time. As this new concert performance shows, it remains a mesmeric work. Extraordinary to think that Oldfield began composing it at the age of 17. At 19 he was invited to record it as a studio album by Richard Branson – indeed it was the first record Branson released on his newly formed Virgin Records. The same year as its released, the opening of the title track was used in the film The Exorcist, becoming a top 10 hit single in the US.

On the album Oldfield overdubbed recordings of himself playing most of the piece’s twenty or so instruments. The result was music that took the world by storm – rich, multi-layered, hypnotic and beautiful. It remains hard to categorise. At the time it was seen as an exemplary piece of prog rock, but Robin Smith, Oldfield’s long-term collaborator and arranger, now describes it as ‘highly complex, embracing minimalist, rock and serialisation’ and that in many ways it can be seen as the precursor of new age, chill and ambient.

Smith’s arrangements of Oldfield were a memorable part of the iconic Opening Ceremony to the 2012 London Olympics. Here, in Tubular Bells 50th Anniverary Tour, a film directed by Matt Hargreaves of a dramatic concert performance at London’s Royal Festival Hall, Smith is the musical director, conducting his arrangements from the keyboard on which he also performs.

Smith is strongly influenced by Carl Orff’s concept of ‘Theatrum mundi’ in which music, movement and speech are all inseparable to the performance. Tubular Bells 50th Anniverary Tour  is visually stunning, with dazzling performances by Circa, an Australian acrobatic circus company. Tightly choreographed by Yaron Lifschitz, the performers move to the music in creative ways, conveying something both of the piece’s mystery and its joyousness. Behind them on the stage an ever-changing glowing sphere rotates, suggestive of the earth, but only towards the end of the performance taking on the distinctive colours and patterns of our planet as seen from space.

But most importantly of all are the orchestral players and vocalists, ranged on either side of the stage. The cinematography displays as never before their intriguing complex and compelling performances. We first hear Robin Smith’s ‘The Gem’, an eerie, melodic piece with a powerful rhythmic section. This is followed by ‘Summit’, composed by Oldfield and arranged by Smith. Oldfield’s famous ‘Moonlight Shadow’ follows with an expressive Lisa Featherston on vocals. When we finally come to Tubular Bells itself, the audience is clearly thrilled. That simple, memorable tune begins on the piano (Dominic Ferris) and is picked up by the glockenspiel (percussionists Kevin Earley and Sophie Hastings).

Gradually modulations are built in, first with a soprano voice (Sophie Rohleder) and cello (Kuêsi Edman), followed by a rich, ever-changing orchestration which includes acoustic and electric guitars, reed and pipe organs, percussion and mandolin. Suddenly the lyrical shifts into the insistent beats of rock, and then come the haunting sounds of slightly distorted guitars (Jay Stapley and Maxime Raguideau-Obadia). And of course there are the haunting sounds of the tubular bells themselves. Tubular Bells is an endlessly fascinating piece. You would probably need to have been at the concert to get the full effect, but Tubular Bells 50th Anniverary Tour captures much of its magic.

Tubular Bells will be in UK Cinemas for one night only on 22nd September.

The Reviews Hub Score:

Endlessly fascinating

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3 Comments

  1. Truly awful. If you are an Oldfield fan stay at home and play the albums. If you are a fan of bad karaoke, guitarists who need the tunes simplified, a singer who is a west end wannabe, and a clever but distracting circus show, then this is for you.

  2. Sorry it was rubbish, started off more Pink Floyd sort.. no idea what he the dancing was about, probably to keep you KIND of entertained whilst he music was dredging on… p.s. some of the musicians i dont think they knew what the were doing.. i don’t think Mike Oldfield would’ve endorsed this to be honest…. i Grew up listening to Mike Oldfield music – yes there were bits but no not good enough TBO..

  3. It amazes me how much can be achieved through fancy wording. All those promotion slogans that describe this absolutely desecrated version of TB as a ‘ground-breaking’ performance with ‘expressive’ singers and ‘intriguing’ arrangements…are as deceitful as those original ads that made hundreds of people believe that Mike Oldfield was actually playing there.
    It was an embarrassing do, critically slated despite all the promotion efforts.
    West end wannabe – good description for the ‘expressive’ bassist Lisa Featherston, who was working flat out to cover up her lack of vocal ability with dramatic movements and weird half-groaning tones in her voice as if she was trying to sound sexy, completely inappropriate for Moonlight Shadow. Not to mention her poor timing and generally bad sound (the sound problems weren’t her fault, obviously, but that doesn’t help).
    As for the acrobats and everything else, enough said elsewhere on the Internet. The 50th Anniversary of Tubular Bells at the Royal Festival Hall was, sadly, not worthy of the timeless music that Mike Oldfield’s original is. Some nice bits here and there, most musicians clearly skilled…but the overall impression not good, unfortunately.

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