A rather cool Slowhand.

The first Sunday in June brought an experience in the form of a performance by Eric Clapton and his backing band. Prague's O2 Arena was practically sold out, perhaps thanks to the chairs placed on the floor. Most of the visitors were at least forty years of age, with the exception of the much older blues fans. Singer, guitarist, and songwriter Eric Patrick Clapton, a 77-year-old veteran whose name is associated with bands like Cream, Blind Faith, the Yearbirds, and John Mayall's Bluesbreakers, is a living legend of "white" blues. In many polls, this role model for a host of other blues guitarists is ranked as one of the all-time greats. Since launching his solo career in 1970, he has released twenty-two albums, the most recent one (Happy Xmass) in 2018. Despite his alcohol and drug escapades and controversial statements on some political and environmental issues, Eric Clapton is the undisputed musical icon of the last fifty-five years.

The evening show opened with German support act The Bluesanovas. The Osnabrück musicians, chosen by Eric himself to be the opening act, first showed off their instrumental skills before the band's frontman Melvin Schultz appeared and added his sonorous voice and Tom Jones-inspired phrasing. The portion of rock 'n' roll and blues was closed with Live it or leave it from the band's upcoming album. A less usual but interesting guitar solo was performed by Filipe de la Torre.

Those expecting a thumping entrance by the headliner on a floodlit stage are disappointed. The two side screens offer details of mostly solos, either by guitarists or keyboardists, but otherwise nothing happens visually. The dim lighting, gloom and half-shadows are largely conventional with music that has its original home in smoky pubs. But the audience wants to catch a glimpse of Eric Clapton's face, if only for a moment, even if the nature of the performance does little to justify the spare set design. Pretending (Journeyman, 1989) is a good opener. The two backing vocalists, one in dark green and the other in a black dress, make up for a bit of the lack of singing. In quick succession go Key to the Highway (Layla and Other Assorted Love Songs, 1970) and I'm the Hoochie Coochie Man (From the Cradle, 1994) with a theme of pimping by author Muddy Waters. The five songs played with electric guitar (Fender Stratocaster) conclude with I Shot the Sheriff (461 Ocean Boulevard, 1994) and White Room (Wheels of Fire, 1968 - Cream).

The chapel is compact and forms a strong support for the aging star. An interesting figure is the left-handed American guitarist Doyle Bramhall II, who, like Eric, doesn't step out of the shadows for the entire concert. He is one of the few who play with the strings reversed, i.e. with a thin E on top, and watching his unusual runs across the fingerboard is a treat. The two keyboardists, Paul Carrack in the obligatory hat and Chris Stainton in a pulled up shirt, are great. They have plenty of room for solos and both are the only band members with spotlights directed at them. In a sort of theatrical direction, the second act comes acoustically conceived, and includes a double bass solo by Nathan East. The audience responds enthusiastically to Layla and Tears in Heaven, probably Eric's most played items. The third chapter of the spectacle is a return to the electric guitar. One of the few original compositions is Badge (Goodbye, 1969 - Cream). Clapton is on edge with his intonation and has to help himself by adjusting the vocal line, supported by Sharon White and Katie Kissoon in the background. There's a hiccup in the guitar solo in Wonderfull Tonight (Slowhand, 1977), but nobody minds and it rather humanises the guitar genius. The show ends with a trio of songs that give space to the instrumental equilibriums of all the musicians. The highlight is the somewhat plodding and tempo-settled Cocain (Slowhand, 1977, by J. J. Cale). The band leaves without a word and after a while adds one song from the pen of Joe Cocker, High Time We Went, sung by Paul Carrack. After that, the ninety-minute performance by one of the most influential blues guitarists of all time, Eric Clapton, comes to a definitive end. Zero communication with the audience, visible detachment and a reluctance to offer more than the fifteen songs played, combined with a quality concert experience and excellent instrumental performances, leaves some mixed feelings.

"