TOUR 2015
A magical moment of alpine rock
Hubert von Goisern brings mountain atmosphere to the Stadtpark
When a hearty Schuhplattler gets tarted up with rocking electric guitar, you immediately think of Hubert von Goisern. About 4000 fans in the Stadtpark followed the 62-year-old Austrian singer-songwriter into his musical homeland, which lies somewhere between the swamps of Louisiana and the Styrian foothills of the Alps, between soulful blues and cheery lumberjack. With squeezebox, cheeky dialect singing and sometimes biting lyrics Goisern frees folk music from dull beer tent bliss, as he plays with thoughts of suicide in Ganz Alloan, lets out a hearty yodel in Brenna tuats guat, or denounces the political oppression of the truth in Snowdown. Bob Bernstein takes care of the country flair on the pedal steel, while multi-instrumentalist Goisern brings an alpenhorn on stage for a farewell and conjures up a mountain atmosphere as moody as the now dark sky above the Stadtpark. A magical moment of alpine rock!
Blues made in Austria
He can do mountain hut party. But the world of alpine rocker Hubert von Goisern is much larger than that.
He crosses the southern states with his Coburg fans.
Coburg - The five from Austria really know how to make the sparks fly: "Des gibt's nur alle Hundert Joahr" ("This only happens every hundred years") Hubert von Goisern caroles and powerfully belts out the first power yodel towards Ehrenburg. The man with the heavy accordion is not a lederhosen-wearing party boy by nature, but stunning alpine rock is simply still his core ability - and has been his trademark since the delightful late Hiatamadl. The shepherdess stayed at home, but still sent her best to the four and a half thousand people at the Coburg Schlossplatz: the Goisern troupe goes hell for leather, opening the final round of HUK Open Air Summer on Thursday evening - and doesn't give the drizzle a chance: the grey clouds immediately capitulate in the face of the defiant joie de vivre exuded by Es ist wahr - Hubert von Goisern's version of the Hank Williams ear worm Jambalaya On The Bajou.
With smooth slide guitar the country firecracker makes it clear where the journey leads this evening: to the country of alleged endless opportunities, which musical world surveyor Hubert von Goisern from Bad Goisern (we'll just call him HvG) shunned for quite a long time. Initially he was far more interested in travelling the Philippines, making the acquaintance of the people in Tanzania and Tibet, Egypt and Mali and having musical conversations with them.
In 2014 the passionate global musiciant finally headed to the USA to make his own personal contribution against transatlantic estrangement, as he ironically put it. Artistically-speaking the journey was productive (they play fantastic music over there"), but on a human level, the bridge building between the Old World and New World was somewhat difficult: "My prejudices were intensified", the Upper Austrian admits and relates witty tales of (unsuccessful) attempts to get colleagues from the country metropolis of Nashville excited about Austro-American jam sessions.
But HvG managed the fusion without them: his new album Federn is permeated by the inspiration gathered in the southern states and knitted together with his own roots. Bluegrass, country, zydeco and of course the blues in all its facets breathe life into the 15 songs that form the centre of the live programme.
The band boss engaged the excellent pedal steel guitarist Robert Bernstein for the authentic sound and also swaps his Styrian squeezebox for a congener from Louisiana, to lend colour to the US-Austrian turbo yodel Stoansteirisch for example.
As suitable for beer tents and saloons as such crackers can sound, in principle Hubert von Goisern really has no time for mountain hut parties and the folksy mainstream. And so the 62-year-old and his splendid band only really get down to business after the warm-up. With ponderous blues on their mind (Am helllichten Tag) they roam the swaps of the south, dedicate a high-percentage anthem to seductive schnapps (whose American variant HvG has little time for: "whiskey is a petroleum derivative") and switch between melancholy and ecstasy (I kann wieder fliagn).
Six-eight swing
By no means do headstrong folk musician Goisern's lyrics only deal with his own sensitivities: he dedicates the weighty stoner-rock number Snowdown ("Truth seeks asylum / but never finds it") to Edward Snowden and all the others who have been persecuted for their honesty, guitarist Severin Trogbacher once more really letting rip. Goisern and his men also show their soft side, for example in the ballad Wie der Wind, before returning home to Styrian ground in six-eight swing and announcing the approaching end of the official concert with a distinctive polka introduction: Brenna tuat's guat, Goisern's number 1 hit from 2011 (the chastisement of capitalism packed in folk rock) gets the audience on their feet.
It's clear after that that it won't be over for a long time yet: the band makes the audience wait a while, but then they let loose with the kind of danceable turbo folk rock that shows just why the young Hubert Achleitner didn't find artistic fulfillment back when he was in the brass band in Bad Goisern. Those thinking that the good old shepherdess would turn up for the finale were mistaken: after about two hours Goisern preferred to say farewell to his fans in a quiet way and invited people to snuggle up with the Alpinkatzen classic Weit weit weg and the tender ballad Heast as nit. And because there's no end to the cheering, he even gets the alpenhorn from behind the scenes and sends his fans home with the devout good night yodel Krippensteiner - and with the recognition that the huge primeval instrument perhaps has its pitfalls. Even for a multi-instrumentalist like Hubert von Goisern.
Hubert von Goisern in Coburg: Cracking blues with yodelling
Hubert von Goisern presents his new album "Federn" to 4500 fans
at the Coburg Schlossplatz
and had a few old hits up his sleeves too.
It was clear: for Brenna tuats guat the audience jumped to their feet. The drizzle that was still falling at the beginning of the concert was forgotten. The band's request that smartphones be put away was also forgotten. There's no holding back when it comes to the number one hit of the Austrian charts from 2012. It's the last song on the official programme and it's not so important. A laid-back string of encores follows - all songs from the past and perfect for singing along. But what's far more interesting is what Hubert von Goisern (he's actually called Hubert Achleitner and comes from Goisern) and his band presented beforehand: the songs from the new CD Federn. It is the musical souvenir of a trip through the southern states of the USA.
Nashville/Tennessee, Louisiana, New Orleans - the musician went "where the pain was" and had all his prejudices confirmed, he said. But he also discovered that blues, country, Cajun and hillbilly can be beautifully combined with the music of his Upper Austrian homeland. And something truly appealing came from it - yodelled blues for example. Now HvG, as he likes to be called, has never interpreted the music of his homeland in a romantic "Almdudler" style, he was an alpine rocker right from the start. And his earlier songs had a bit of mountain hut party character, but were never schmaltzy and homeland-refined. "I tua ma hart mit dera Lederhosen-Musi" ("I have a hard time with the lederhosen music") HvG himself sings in his song Stoansteirisch.
With Alle 100 Jahr the band gives people what is expected of them at the beginning of the concert. It really rocks. Snowdown, an anthem to the whistleblower Edward Snowden, is powerful and loud. Here Hubert von Goisern shows where his heart beats. With lyrics such as "De Wahrheit de suacht um Asyl, aber kriag'n tuat si's nia, weil ma z'feig san dafür? Oder was oder wia ...?" ("Truth seeks asylum, but never finds it, because we're too cowardly? Or what?)
Hubert von Goisern deals quite freely with the traditionals he brought back from the USA. He takes them the way they are, rearranges them a bit and writes his own lyrics to them. So from Hank Williams' Jambalaya comes Es ist wahr or from Amazing Grace comes the ballad So a Segen. To make it sound authentic, the bandleader has brought Robert Bernstein from the USA on board. He plays pedal steel and lap steel. Along with Severin Trogbacher (guitar), Helmut Schartlmüller (bass) and Alexander Pohn (drums) he belongs to the marvellous band that rocked the Schlossplatz on Thursday evening.
Hubert von Goisern himself proves himself as a multi-instrumentalist, playing not just his accordion, but also guitar, keyboard, harmonica and alpenhorn just as well. Even if things fall silent at times, the blues lays its dark side over the square - for Hubert von Goisern it always has a blue side, one of hope. And he wants to look it "right in the eye".
Coburg in "Goisern fever"
On Thursday evening Hubert von Goisern opened the HUK Coburg Open Air Summer at the Schlossplatz.
In the beginning were the "Alpinkatzen"
Coburg — Anyone looking for a suitable classification for musician Hubert von Goisern will be looking a long time - and in the end won't find one. For Hubert von Goisern's music is elusive and evades any attempt to get it under control with labels. In Coburg, the fans who have followed the path of this exceptional musician for years know this.
At the "Schwarzer Bär" first of all
Because the artist from Austria had made appearances in Coburg back in times when – in Germany at least – he wasn't yet filling big halls. Faithful fans in Coburg will remember his first appearance at the "Schwarzer Bär" before a decidedly manageable number of spectators. Right at the start Hubert von Goisern was part of a duo, under the name Original Alpinkatzen. The first show in front of a small audience was so successful that the next appearance in Coburg at exactly the same place took place in front of a full auditorium. Back then the duo had turned into a band with keyboards, drums, electric guitar and singer alongside multi-talent Hubert von Goisern. The guest appearance in November 1992 will have also been long-remembered by many because after midnight the show seamlessly turned into a birthday concert for the musician, who turned 40 years old. Even back then it was clear that the musician would be going new ways and looking for bigger auditoriums. Then in 1994 came the decision to end the Alpinkatzen project. A lot has happened since then. Hubert von Goisern has written film music (Schlafes Bruder), travelled all over the world playing music, even filling 14 European countries with sound in three years with a cargo ship converted to a floating stage.
Unusual career
In the meantime he has on occasion come very close to Coburg. In June 2012 he made a guest appearance at the Domplatz Open Air in Bamberg. On Thursday he returned to Coburg: Schlossplatz instead of "Schwarzer Bär". One way to describe the unusual career of a musician.
Suddenly the blues lands in the Alps
Hubert von Goisern is regarded as both a politically-opinionated character and one of the big names in the genre of world music. The thoroughbred musician proved in his first songs at the full Hanau Amphitheater that he knows in his unique way how to bring together different musical genres in his music. The lyrics to Alle hundert Jahr are actually a classic folk song that von Goisern sings in his thick Styrian accent. But the melody that accompanies the man on the accordion is imported from Jamaica. Crossing reggae, blues and alpine folk music is something that only very few dare to do. And it is for even fewer that the results of the daring experiment sound as harmonious and full of the joys of life as they do for the doyen of alpine rock.
During his concert at the Amphitheater von Goisern mainly played pieces from his newest album Federn, on which he undertook extensive journeys into the world of blues. The individual arrangements are virtuoso and complex no less versatile and entertaining. On stage von Goisern has support from Bob Bernstein on the bottleneck guitar, Alex Pohn on drums, Helmut Schartlmüller on bass and Severin Trogbacher on guitar. Harmonica, accordion and trumpet, which von Goisern is handed as needed, broaden the spectrum of the sound. Even dyed-in-the-wool fans are surprised by the interpretation of individual songs: Mir hat 'träumt begins as a sparingly instrumented ballad, before the piece merges into the furious Singa gang guat, in which a lively reggae beat is paired with wild yodelling and in the grand finale Hubert von Goisern roars into the microphone: "Hey Susanna, was is jetzt mit uns zwoa, samma wieder z'samm" (Hey Susanna, what's up with us two, are we back together"). "When the blues comes, you can't run from it. It might be that it takes a while, but it'll come", said von Goisern, explaining what drives him to "alpinise" this age-old American music genre.
The blues seized and held tightly
Hubert von Goisern at the Hanau Amphitheater
Hanau. Accordions meet electric guitars, electric bass, deep drums and pedal steel guitar, the powerfully musically underlined yodel alternates with the blues and Hubert von Goisern weaves his ballads in country and western sounds.
So it was in the sold-out Hanau Amphitheater, where the world musician from Austria presented not just his new album Federn. Right from the start Hubert von Goisern tackled things loudly and powerfully. Pure alpine rock. The yodel is part of it. But Hubert von Goisern isn't content with that alone. His voice becomes an instrument that climbs from deep tones into the clear heights and finds firm ground again between rocking guitar solos and an irrepressible accordion sound. Is that folk music? A look at the Amphitheater arena confirms it. Every generation is represented. There are some properly dressed people in checked shirts and lederhosen too. And they all have their fun. Not just with alpine rock. Because Hubert von Goisern also has a splendid understanding of the blues, for which he occasionally swaps the accordion for a harmonica.
The blues, he explains to the audience, means nothing more than depression, but the blues, he says, sounds better, not so hopeless and pessimistic. And when the blues approaches, von Goisern's advice goes, you need to seize it and hold it tightly, so tight that eventually it will beg to be let go. Then von Goisern seizes the blues and lets it go completely silent. Just listening is the name of the game. But von Goisern can do other things too. The Austrian reacts furiously when truth-loving people are imprisoned, or are forced to emigrate. The reproachful song is called Snowdown and refers to one of those affected. But there are also the simple things to cover, being musically exhilarated by schnapps, with more melancholy about being alone, about life in general. And all in a musical implementation that is unique in its mix of styles.
Borrowed plumes given colour
Hubert von Goisern plays the blues and Cajun with an alpine background
He is a traveller between musical worlds, a tireless searcher, an innovator and above all an individualist who won't be affected by trends for the sake of success. Hubert von Goisern's new album Federn, which he presented on Tuesday at the Garage in Saarbrücken, reports on his most recent musical expedition.
The Upper Austria, whose music from his early years was often abbreviated as alpine rock, travelled the world from Tibet to Africa with his musicologist gene, making his own music from what he found, just as he did with alpine folk music. Now he set off to a country whose music is very familiar to us. He landed in the USA, was disillusioned with Nashville's country music industry, went to Louisiana and New Orleans, where he lived and became acquainted with jazz, blues and Cajun at their roots. From this developed the album Federn with a mix of 15 self-penned compositions and adaptations, ten of which he presented to the 1100 spectators in a more than two-hour long concert.
And what he has brought back with him from the USA is carefully crafted, from the powerful rock numbers and swinging country songs to the heavy-hearted ballads - all processed on the basis of his own tradition. Thus in this concert pedal steel and electric guitar, accordion and keyboard find their way to each other and even the alpenhorn makes its appearance in the final Krippensteiner.
And while Goisern as a folk musician at times had a harder job of it with the audience, this music was a walk-over for him, seeming now closer to blues and Cajun than traditional alpine sounds. And here the musical window is wide open for him, from the popular song Jambalaya to the Thelonious Monk number I bin ganz alloan, from the bluesy Am helllichten Tag to So a Segen, a song that could be an ancient Austrian folk tune, but in truth is actually Amazing Grace, tightly instrumented and yet epic and dreamy. The emotional depth of the blues seems not to have arrived in Goisern's music yet though.
And Hubert von Goisern has something to say - even if the ears that are shaped by the idioms of the Saarpfalz region don't always find it easy to understand. In the power blues Snowdown he makes a statement "for all those who put their freedom on the line and risk their lives" and against all the eavesdroppers and skimmers, "who are slowly drowning in their data soup", whether in China or Iran, Moscow, Tel Aviv or Berlin.
Hubert von Goisern's homeland blues are the wild card
2600 spectators come to the castle for the sumer's finale event
The yodel king
goes all out
Burghausen. When Hubert von Goisern sings "holadilodi" sings, it's more than a standard yodel. The musician has understood like no other how to knit together elements of folk music, blues and pop in such a way as to create a whole new style - that's the trademark of the musician who cultivates his roots in the Austrian Salzkammergut region with love and a portion of melancholic longing. Even if the 62-year-old became a world citizen a long time - with his language, his humour and of course music, he remains a child of his homeland.
2600 spectators came to the finale of the castle festival on Sunday evening to experience the Austrian king of yodel blues in all his facets. The concert was almost sold out. There would have been room for a hundred more people on the Waffenplatz though.
The "Goiserer" thrilled his audience and the evening was a worthy finale to the festival. He charmingly won the hearts of the listeners with his distinctive hearty dialect innuendo and worldly wisdom. For example when he happily explains how simple music is. "No-one uses anything other than C major and G major anyway, one person starts and the other listens and then joins in", he says and reveals that this simple rule doesn't always work in the Anglo-Saxon world - he'd tried to play the "Protestant hymn" with Catholics. That didn't go well.
Hubert von Goisern philosophises about depression and blues, tells the audience that "schnapps is a minx", plays with fire on his search for "where the devil spawns his children". He sings with unbounded energy and entertains his audience, doesn't allow himself or his four-member band a break, instead playing through for a good two hours. Now and again he puts down the accordion and picks up the trumpet and belts out a magnificent solo.
On this evening there is no trace of musical arrogance. Hubert von Goisern wants to serve his listeners, please them and he does so very well. Not just because his music encompasses more than two tonalities. It is above all his strong stage presence, his intention to put down a good concert, and the band's perfect attunement with their leader.
People stand closely-packed together. Hubert von Goisern's biggest fans may have been in the back rows. It's there that people clap most diligently, that's where there's still room for people to sway along in time and express their spirit.
As wonderful as Goisern's music is, after the good two hours the listener doesn't feel much more in the way of anything new. The concert ends at exactly the right moment. A wonderful finale, good atmosphere and happy faces. Just the way a concert should be. Once more the weather stays on the side of the people of Burghausen. The clouds held back right to the end and it didn't rain until night fell.
Hubert von Goisern and Band in Tulln
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Ingenious adoption of borrowed plumes
100 per cent dedication: Hubert von Goisern delights on his current "Federn" Tour.
GRAZ. Clearly it was too bright for After Dark and that's why Tito & Tarantula were barely listened to at the Open Air Arena B at the Graz Exhibition Hall yesterday. Their compact set was worthy of more attention. Powerful songs of the kind that had inspired their host to his current album and the associated tour.
In interviews HvG describes this inspiration as a thoroughly painful process. For a short time, this album, which developed from an extensive USA trip, was even on the verge of being canned. But the resulting creative act of strength was without a doubt worth it. The album Federn is one of the best from 62-year-old Hubert Achleitner. And is amazing live too.
In the "rattling hall", the Upper Austrian served up his own songs and wonderfully well done covers (he has often proved that he can do this, such as with Janis Joplin's Mercedes Benz). Now it's Hank Williams' indestructible Jambalaya (as Es is wahr), the no less indestructible hymn Amazing Grace (So a Segn) or Oh, Susanna (Singa gang guat/I sattel meine Ross ). Steve Winwood's heart-rending Can't Find My Way Home (from the days of Blind Faith) touches hearts as Neama vü Zeit, without stepping into kitsch. Pedal steel guitarist Bob Bernstein has some strong moments here.
Among the self-penned songs, produced with the help of the congenial band members Alexander Pohn (drums), Helmut Schartlmüller (bass) and Severin Trogbacher (guitar), are I kann wieder Fliag'n, Schnaps and Snowdown, which is what you'd call a "killer" between Nashville, New Orleans and Bad Goisern. The latter song, dedicated to Edward Snowden and Chelsea Manning, gives you goosebumps and is a highlight of the show. Alongside the rousingly powerful Brenna tuats guat.
The enthusiastic audience is treated to Heast as nit and Weit weit weg. No Hiatamadl.
Viru Folk: On the 2nd evening Hubert von Goisern, king of alpine rock, was brilliant!
"For me this was the best and most thrilling concert we've ever had at the Viru Folk Festival!" said organiser Peep Veedla the morning after the concert.
Hubert von Goisern's show was the only time that he didn't answer any calls. The man known as the king of alpine rock thrilled all the other concert-goers too and at the end of the performance the crowd were on their feet cheering him.
More photos at www.ohtuhleht.ee
HvG and Band at the Viru Folk Festival
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Hubert von Goisern carries the Jena Arena audience off to the United States
Austrian singer-songwriter Hubert von Goisern thrills the sold out Kulturarena on Wednesday evening.
The audience experienced the blues, jazz and country, coupled with folk music and rock.
Jena. "I've been here twice and seen this tower. But ever since I found out that it's called the Cookie Roll, I've always remembered it", Hubert von Goisern joked about Jena's tallest building. Around 3000 people were at the sold out Kulturarena on Wednesday evening to see the Upper Austrian and his band. The singer-songwriter and world musician had brought with him not just pithy pieces of wisdom ("schnapps is medicine" or that "idiots are spread evenly across the world"). On the banks of the Saale he presented the results of his musical search in the south of the United States.
In the first fifteen minutes he catapulted the laughing and cheering audience 8000 kilometres away. As preparation there was traditional alpine folk music lined with electric bass, guitar, drums and pedal steel. He subsequently cast his spell over the listeners with the harmonica - with an Austrian interpretation of blues, country and jazz music.
"Music that isn't dissimilar to our own", Goisern explained, "is what I brought back with me fron my two trips two years ago."
"Amazing Grace" in Upper Austrian
Inspired by his journey to Louisiana, the 62-year-old thoroughbred musician born in Goisern, cut loose with the melody of the church song Amazing Grace – admittedly, in finest Upper Austrian: "Weil des Glück und a da Segn, fall'n uns zua im Leben, wia vom Himmel, da Summerregen" ("happiness and grace fall to us in life as the summer rain does from the sky"). In the playful country version, the Viennese guitarist lays down a sensitive and skillful solo. This is promptly honoured with a spontaneous round of applause from the arena.
After three quarters of an hour the standing crowd slowly began to move, if very cautiously. Presumably they were comfortably dreaming of the vastness of the plantations under the scorching sun of America.
But the ever youthful Goisern, who fears the day that someone knows what he's going to say before he's even started talking, has remained rebellious and can also be awkward. With Snowdown the artist has a song that he has dedicated to all those in the world who have put their lives on the line for freedom: "De Wahrheit suacht um Asyl, aber kriag'n tuat si's nia, weil ma z'feig san dafür? Oder was oder wia?" (Truth seeks asylum, but never finds it, because we're too cowardly? Or what?")
Hubert von Goisern shows what real alpine rock is
All good things come in threes - Hubert von Goisern would probably agree:
he made his third appearance at the Arena yesterday evening.
Jena. On the big screen in the Film Arena just the day before, now the musician from the Salzkammergut was on stage with his band in the KulturArena. This year he came with Federn, his brand new album, just back from a trip to the southern states of the USA. It was something to look forward to, as Mr von Goisern has been completely reinventing the term folk music for the German-speaking region since the mid 80s.
So for the 3000 fans in the arena, it was a joy to see and hear this melange of country and bluegrass rhythms with its Austrian foundation of sound. There was no stopping the whole band in rock and jazz. And there were some rousing, as well as tenderly thoughtful sounds mixed in there too. Thus an evening with a touch of alpine in the middle of the city by the River Saale drew to a close.
Viru Folk brings Hubert von Goisern, the king of alpine rock, to Estonia
"Everyone in Austria knows Hubert!" confirmed Estonian-born Salzburg resident Monika Ruprich Tammai, when she heard about Hubert von Goisern's show this weekend at the Viru Folk Festival in Käsmu.
The darling of fans of German language music is making his first appearance in Estonia. It's pretty absurd that so-called stars from all over the world are brought to Estonia to give shows, but nobody dares to ask the cream of the crop of musicians to perform. Viru Folk is the only organisation that is getting a really exciting guy to perform in Estonia after all these years," musician Indrek Kalda [famous Estonian folk violinist] enthused about the show from the musician, who is popular in Austrian and southern Germany in particular.
Incidentally: there is a great demand for Goisern's shows and his concerts are regularly sold out. According to Kalda many of his German fans will be present at the Austrian musician's show too. What makes Goisern so special?
Indrek Kalda believes that Goisern is a man who presents the various styles of folk music from the different regions of Austria with the twist of rock music.
"Goisern packs his music with nature and folk, accordion and yodelling and in so doing creates alpine rock. "On the one hand it's very archaic and yet simultaneously very modern music," Kalda confirms. From time to time Goisern is referred to as the king of alpine rock.
According to Indrek Kalda Estonians tend to know less about the à la carte menus and more about the McDonald's menu. The same goes for international music. "It would be a shame if Estonians didn't want to hear the accordion player and folk singer Goisern," he says.
Monika Ruprich Tammai reveals that Goisern is loved in the German-speaking region above all for his lyrics, which are deep and critical. He acquired an even larger audience after his 2011 album Entwederundoder. "He is a jovial and pleasant Austrian guy, who plays very cool music," says Monika.
This weekend, the 8th Viru Folk Festival will be taking place in the picturesque "captain's village" Käsmu. This year the focus of the music events lies on Danish music culture.
Killer evening at the cathedral: Hubert von Goisern rocks Passau
Hubert von Goisern closes the Passau Eulenspiegel Festival with his superb USA programme
Signs are good right from the start for a "killer" evening: a warm summer's night, soft pink sunset behind the imposing, still cathedral, in front of it a large open air stage, as well as a thoroughly eager audience with bratwurst and beers under the starry sky. The finale of the Eulenspiegel Festival on Sunday was a real "killer", as the artist himself would call it, thanks to Hubert von Goisern - the edgy original whom everyone just calls by his first name. What Hubert combined in the two hour power dance through the new programme Federn was earthy musicianship and multifaceted sound and content, irresistibly made with an extra portion of authenticity. A typology:
Hubert, the rocker: he invented alpine rock and he does it credit. The basses vibrate in your gut, the beat goes to your feet and von Goisern is a stage animal that roars into the microphone with full strength and makes the Domplatz dance.
Hubert, the globetrotter: the artist was drawn to the southern states of America for his new programme, "it's a bit like it is at home in Austria". He returned home with a whole heap of inspiration and now introduces Styrian folk songs to the melodies of the southern states, makes the mouth organ howl fiercely and the blues billow. Borders blur, openness wins.
Hubert, the critic: his heart beats left, of that von Goisern leaves us in no doubt and he has his strongest moments when he turns political. "De Wahrheit, de suacht um Asyl, aber kriag'n tuat si's nia, weil ma z'feig san dafür? Oder was oder wia?" ("Truth seeks asylum, but never finds it, because we're too cowardly? Or what?") it goes in Snowdown. The basses mumble gloomily, the lyrics vibrate accusingly.
Hubert, the sensitive: von Goisern can yodel, rock and grumble like crazy. That a good many couples are in each other's arms at the end of the evening is achieved with his lyrical songs, which change the colours, searching and emotional. The alpine rocker can be tender too.
Hubert, the down to earth guy: "A so a Segen, dass uns tuat geb'n, und dass ma uns so guat g'spüarn, dass ma miteinander spü'n und hör'n, wia's tuat, und dass, dass a so is' wia's is'." ("Such, such a blessing that we exist, and that, and that we feel each other so well, that we play together and hear how it sounds, and that, and that it is the way it is") Von Goisern pays homage to his homeland and not just with his language. Aside from world politics and "feelings", schnapps and roast pork are covered too - you don't get more regional colour than that.
Hubert, the team player: even if the star of the evening shines on diverse instruments from the accordion to the guitar and alpenhorn: it would all be nothing without his strong four-member band. He knows that and emphasises it - more than once and noticeably from the heart. After three encores the versatile guy leaves the stage to cheers. The end of a "killer" evening.
"I'm for the deconstruction of boundaries"
Four years after his hit album EntwederUndOder Hubert von Goisern takes a musical trip to the American south with his new album Federn. He talks to Tobias Ruhland about his experiences.
Hubert von Goisern - Live at the Heimatsound Festival
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Heimatsound: Two days of festival fever
Great atmosphere in Oberammergau
3000 people are singing along at the top of their lungs, dancing, jumping and making the Passionstheater in Oberammergau quake. It's perfectly clear: when Hubert von Goisern plays his chart cracker Brenna tuats guat, there's no holding back. The song is one of the highlights of the Heimatsound Festival 2015. For two days Oberammergau was under exceptional circumstances - in a positive sense. And with 3000 visitors too. Those with tickets had reason to be happy: the music event had been sold out for months. Everyone wanted to be there.
Hubert von Goisern conjures up sticky goosebumps
4500 people in Salem listen to Hubert von Goisern's alpine sound,
as he moves his audience to silent ecstasy. The band played instruments beyond the norm.
When Hubert von Goisern asks his fans to "keep smartphones down, because they really disturb an artist" before the start of the show, 4500 people in front of the stage comply with his request. When, after two and a half hours of a gigantic music spectacle, he takes the time, what seemed like five minutes, to say goodbye, thank his fans and the people "who made this possible" too, the technical guys are all named in full, it says something about the exceptional artist, his musical programme and the contact he seeks with his audience. At times he sends out political messages - packed in musical world travels - powerful in sound and voice as in his song Snowdown: "Snowdown in China... Iran... Russia... Oman... de Wahrheit de suacht um Asyl, aber kriag'n tuat si's nia, weil ma z'feig san dafür." ("... truth seeks asylum, but never finds it, because we're too cowardly)
Then once more, quite fitting with his most recent musical journey to the southern states of the USA, he betakes himself deep into the country swamps and with Jambalaya plays the kind of blues that gives his listeners accordingly sticky goosebumps - even though it's barely 20ºC on Thursday evening in Salem. His musicians, all Austrians except for one, master instruments beyond the norm of drums, guitar and electric bass. Pedal steel, electric guitar, accordion, alpenhorn - it's all von Goisern. The southern state feeling of his most recent CD Federn comes across beautifully.
And thus it isn't a riotous ecstasy, but rather a silent ecstasy that spreads through the audience. Hubert von Goisern and his band draw everyone under their spell. Loud and crashing, quiet and almost whimpering, always full of expression. Hiatamadl, perhaps his most famous hit, brings the earthy alpine sounds, von Goisern is a true virtuoso on his accordion, with crisp lyrics and the audience knows and understands them, even if they don't quite manage singing with the broad Salzkammergut accent. Nonetheless, even these earthy songs never sound rustic, though the music can nevertheless trigger memories of mountain hut romances.
Many of the 4500 people attending the final concert of this year's Salem summer festival have known von Goisern a very long time. They have in a way accompanied him through his musical experiments, his world travels that have taken him to Africa and Tibet and now even to the American south. They are attentive observers who have a greater appreciation for the musical quality and honesty of his songs than for a grand stage spectacle. The fans, it seems, have aged with him and they sit in their chairs and listen, enchanted. "A great concert - a great von Goisern", is the general final judgement. It was worth it!