Johanna Parker wrote:
When we went to the rail though, even though it was only a few steps, the good sound stayed behind, esp the voice. It was really strange.
I herewith admit my preference for a GA concert over a reserved seated one despite all the inconveniences coming with it. Standing at the rails and observing all the smallest nuances of Bob’s stage presence and the interactions with his band clearly adds something special to a sole audible experiences.
But GA was not the case here in Germany during the autumn tour and so we had to struggle for proper seats, didn’t we?
Well, I was more or less lucky with my tickets in rows 5 (Oberhausen), 4 (Hannover) and 4 again (Nürnberg). The sound there was good to excellent at all gigs. Nevertheless I sat on pins and needles to not miss the notorious stagerush, which began at different times with Oberhausen really late, Nürnberg quite early and Hannover in between, if I remember it right.
Obviously the sound was not laid out to be good so close to the stage. I didn’t take note of this in Oberhausen, maybe due to the fact that the stagerush was that late (and I didn’t make it to the rails, but rather some rows back). In Hannover on the other hand I managed it to the rails, but somewhat to the right, and Bob’s voice I heard through a mixture of the both the stage monitor and the general sound system. This was bearable.
In Nürnberg it was a complete desaster. I was at the rails right in the middle and I heard of Bob’s voice only to one of the stage monitors and it was more or less inaudible, just as it came through a thick wall of cotton wool from outside the venue. I did not step back to my seat anyway, which I do regret now.
So please tell me, what is the use of stagerushing if you can indeed see every drop of sweat falling from Bob’s face but don’t hear his voice anymore? Do we gain anything from it or do we rush the stage only for the sake of stagerushing?