LeftLion's Ria Serena recently had the enviable pleasure of seeing John Cale live, while he was on the road to promote his latest album, POPtical Illusion. The setlist featured selections from Paris 1919, covers ranging from Elvis to Nico and newer tracks from his latest album. The result? A performance that was nothing short of spectacular...
Cale’s musicianship is a mosaic of complex compositions and instrumentations, with POPtical Illusion only reinforcing his legacy. His music refuses to be confined to a single genre - his artistry is boundless, ever-evolving. Few musicians can claim a career spanning over 60 years, yet at 83, Cale seems bigger and bolder than ever. Still, his flirtation with the avant-garde remains paramount…
Cale played a pivotal role in shaping some of the most distinctive and genre-defying sounds of the ‘60s. His contribution to The Velvet Underground served as the foundation for his eclectic and unmistakable style. We can credit him for The Velvet's most brash and abrasive songs, while also acknowledging his role in their most tender ballads - such as the dreamy Sunday Morning and the darkly hypnotic Venus in Furs.
And let us not forget his post-Velvets discography, where compositions such as Paris 1919, You Know More Than I Know, and my personal favourite, Amsterdam, reign supreme. Beyond this, his collaborations with longtime friend and muse Nico, Soft Machine’s Kevin Ayers, and fellow experimentalist Brian Eno are also certainly worth noting. Cale has amassed quite the portfolio, and his commitment to redefining the musical landscape demands the utmost respect.
His latest project, POPtical Illusion, blends his signature experimentalism with the more polished sensibilities of his later work, resulting in a sound that pays homage to all facets of his career. Yet, John Cale is not just a performer – he is, in many ways, a philosopher.
One need only look to his lyrics to appreciate his deep introspections on life’s mundanities. He effortlessly blends intricate compositions with reflections on the human experience, resulting in something utterly absurd to the ear. In doing so, Cale has cemented himself as an artist who exists beyond categorisation.
Without further ado, here are my thoughts on witnessing the man in all his glory at the Playhouse in Nottingham…
The turnout for the set was, as expected, remarkable. The nearly sold-out venue brought together those who had the fortune of recently discovering him and those who lived through the height of The Velvet’s - and for good reason. Cale’s musicianship is timeless. It questions, confronts, and challenges, drawing in audiences who stay for his unbridled creativity. Cale was here to make an impression, and an impression he did!
Cutting an unassuming yet commanding figure in all black, Cale delivered an immersive experience. Paired with hallucinatory projections and heavily distorted guitars, Cale’s set granted accessibility to his musical psyche. His opener, Shark Shark, a sort of industrial blues track from POPtical Illusion, set the precedent for what was to come.
We saw Cale embody the role of frontman, taking up the guitar for the track - his only time away from the keyboard throughout the night. This allowed for a seamless transition into Captain Hook (1978) an avante art-rock deep cut from his earlier works.
Cale curated his set with precision, ensuring a flawless changeover between covers and originals. Selections such as The Endless Plain of Fortune (Paris 1919, 1973 album) and Set Me Free, saw Cale revisit his earlier days as a musician while Davies and Wales, offered a snapshot of his present artistic endeavours.
However, one of the more striking moments came with his brooding, deconstructed rendition of Elvis Presley’s Heartbreak Hotel. We were met with something far darker and more unsettling, than what was previously performed. Cale’s unhinged vocals, the use of droning instrumentals, and the scraping of the bass with a violin bow, transformed the song into a theatrical masterpiece – chronicling a descent into emotional collapse. This reaffirmed his relationship with the avant-garde, reminding us that he is an artist unafraid to take his audience into uncharted and uncomfortable territory.
And then there was his rendition of Rosegarden Funeral of Sores – a song most famously covered by Goth post-punkers Bauhaus which could also not go unnoticed!
His tributes to muse and frequent collaborator Nico, were perhaps the most personable moments of the night, as Cale performed not one, but two songs in her honour. He delivered this homage in the most graceful of ways, capturing the ethereal essence of her 1968 track, Frozen Warnings, almost perfectly. His reinterpretation offered a gentler take, in contrast to Nico’s original, where the discordant arrangement evoked a far more unsettling tone. His rendition of Moonstruck (Nico’s Song) was an equally poignant tribute. With a mirage of her face projected behind him, Cale’s performance felt like a heartfelt ode to their enduring musical partnership.
Before we knew it, the lights came up and the audience slowly began making their way out of the venue. However, not before an extended round of applause, as there was hope of an encore from Cale and his band. Our patience was rewarded for we were treated to the long-awaited cover of, I’m Waiting for the Man - a nod to Cale’s time spent with The Velvets.
In essence, Cale’s performance proved testament to his artistic evolution and fearless experimentation. His POPtical Illusion tour being a perfect example of his ever-evolving sound – one which refuses to be defined. Cale’s ability to blend emotional depth with such theatrics, makes his discography a true reflection of what it is to be artistically free, and thus, this tour helped to solidify his legacy of a man who is unapologetically himself.
This is a man who knows the limits, and actively proceeds to push beyond them, in search of a more innovative and eccentric sound. And I, for one, am more than happy to come along for the ride!
John Cale performed at the Nottingham Playhouse on 20th March 2025.
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