Author: Peter Podbrežnik
Artist: Arena
Label: Verglas Records
Released: 2001
Running time: 105:07
Rating: 4.5/5
The Brits in Arena, one of the most criminally overlooked progressive rock bands of our time, have put out three outstanding live albums in a relatively short span, each one a vivid testament to the incredible atmospheric energy of this technically top-tier quintet with its uncommon songwriting talent. »Breakfast in Biarritz« is a double live document recorded during the European leg of the »Immortal« (2000) tour, where charismatic singer Rob Sowden and the technically ridiculously accomplished bassist Ian Salmon (ex-Shadowland) made their debut as new members in front of Dutch fans. It’s hard to believe that today, after more than ten years of unbroken loyalty, with fans – Sowden especially – embracing them as an inseparable part of the band, they’re both already former members.
The setlist across both discs is built on the conceptual masterpieces »Immortal« and »The Visitor« (1998), while the first two albums get just two songs between them this time. The fact that »Breakfast in Biarritz«, the follow-up to Arena’s first live album, »Welcome to the Stage« (1997), has ‘only’ thirteen tracks makes sense once you hear that the up-and-coming quintet plays the epic, more than twenty-minute magnum opus »Moviedrome« in its entirety, and it’s also what opens the recording. If the goosebumps don’t start crawling up your spine at the opening narration of this flawless take on the dark sci-fi epic, they certainly will at its first verse. The way this versatile band conjures up indescribable atmospheric magic is always worth admiring, whether it’s Sowden’s thoroughly emotional vocal performance, Nolan’s keyboard wizardry, Mitchell’s guitar finesse, Pointer’s drum barrages or Salmon’s subtle bass lines.
Even though »Moviedrome« stays almost completely faithful to the studio version here, the extended solos bring a touch of something new to it. Arena are a dark, atmospheric band, and their lyrics often touch on metaphysics as well as mythology, which makes them interesting both to eternal romantics and to those with their feet planted firmly on the ground. Few progressive rock bands today also have the ‘balls’ to open a gig with a composition running more than twenty minutes. With a rhythmically even faster and vocally more aggressive version of »Crack in the Ice«, they first recall the conceptual masterpiece »The Visitor«, on which they exorcised numerous demons of our time through dark lyrical visions. And throughout every song, Sowden can lean on excellent backing vocal harmonies from the great keyboard wizard Nolan and the tireless workaholic Mitchell.
On »Double Vision«, the guitar and keyboard harmonies come through even better than on the studio version. Across the performances from Arena’s first three albums, fans could see for themselves that Sowden is at the very least an equal successor to his predecessor Paul Wrightson. »Midas Vision«, a classic from »Songs From the Lions Cage« (1995), turns out splendid, as you’d expect, while »Serenity« is above all a superb opportunity for the versatile Mitchell to shine with a monumental, heart-wrenching solo. The chillingly dark »The Butterfly Man« is delivered with an even bigger dose of shattering pathos than on the studio version, which means it’s not exactly advisable to listen to it in complete darkness. »The Hanging Tree«, thanks to its rousing chorus and hypnotic symphonic textures, is predictably one of the highlights of this live recording. The always dramatically heightened »A State of Grace«, where Arena pull back the curtain on the shady dealings of the oldest criminal organization in the Western Hemisphere, brings the atmospheric magic of this live document close to boiling point. The big triumph, as usual, comes courtesy of »Enemy Without«, which, along with »Moviedrome« and »The Hanging Tree«, can be counted as a highlight of the first disc. The traditional atmospheric appetizer »Crying For Help VII« is the moment when the crowd actively joins in on the main chorus.
The second disc opens with the »Immortal« classic »Chosen«, a dark vision of a dystopian future whose mysterious, conspiratorial atmosphere always thoroughly rouses even the most apathetic hearts and numbed senses. The gorgeous instrumental »Elea«, with its exceptional atmospheric magic thanks to mighty symphonic curtains and an inventive, sophisticatedly crafted guitar solo, is a wonderful moment for contemplation. The same goes for »Friday’s Dream«, which makes a fitting close to the recording, as its lyrics always remind us of the allure of Friday evenings, when the average inhabitant of the ‘developed world’ can briefly break away from the daily slavery to capital, and of something that could vanish tomorrow if we let total apathy take over. The second disc also includes an interesting documentary film about the »Immortal« tour.
Arena are one of the best progressive rock collectives of the 21st century live too, which makes »Breakfast in Biarritz« a real treat for longtime fans and a great chance for latecomers who haven’t caught them live yet to hear for themselves how their unique blend of Celtic melancholy and dystopian futurism works on stage. Sadly, over the years the routes for any Arena releases to reach record store shelves in Slovenia, our ‘Valley of St. Florian’, have become hermetically sealed, and since nothing suggests that will improve anytime soon, your best bet is to order online or to visit some country with a more developed music culture.
Line-up
Rob Sowden – vocals
John Mitchell – guitar, backing vocals
Clive Nolan – keyboards, backing vocals
Ian Salmon – bass guitar
Mick Pointer – drums
Production
John Mitchell
Tracklist
CD 1: 69:30
1. Moviedrome (21:57)
2. Crack In The Ice (4:25)
3. Double Vision (4:27)
4. Midas Vision (5:16)
5. Serenity (2:01)
6. The Butterfly Man (9:44)
7. The Hanging Tree (8:26)
8. A State Of Grace (3:10)
9. Enemy Without (4:53)
10. Crying For Help VII (5:11)
CD 2 (Tracklist Bonus Disc): 44:37
1. Chosen (6:33)
2. Elea (2:37)
3. Friday’s Dream (4:38)
4. Arena Documentary (30:49)
