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The Guardian - UK
The Guardian - UK
Entertainment
Mark Beaumont

Todd Rundgren review – nostalgic tour from the Zelig of rock

Todd Rundgren at Yestival at DTE Energy Music Theater on 17 August 2017 in Clarkston, Michigan.
As comfortable with bossa nova as with sci-fi synth solos … Todd Rundgren. Photograph: Scott Legato/Getty Images

Todd Rundgren is music’s M-theory, the missing link that helps everything make sense. Over 50 years, as singer, producer and technical innovator, he’s dabbled in Philly soul, power-rock, prog, psychedelia, punk, new wave, avant-jazz and experimental electronica; a photomontage during tonight’s retrospective show casts him as a 70s rock Zelig, cropping up alongside Patti Smith, Iggy Pop, Freddie Mercury, Rod Stewart and David Bowie. His wide-reaching influence is evident in his recent collaborations, guesting on the Lemon Twigs’ concept album Go to School – virtually a tribute to Rundgren’s 70s heyday – and working with Trent Reznor and Robyn on his 2017 album White Knight. Barely a genre is untouched by the hand of Todd.

It’s been a long and tangled trip, but Rundgren ushers us through it like a schmaltz-laden guided tour. The first of two sets has a loose chronology: a broken strap leaves him air-guitaring through Open My Eyes, his Who-like earliest single with 60s psych rockers Nazz, before its more successful flipside Hello It’s Me sets the tone for the first 90 minutes. We’re talking twinkle-toothed, jazz-lite romantic balladry delivered in Rundgren’s undiminished velvet croon: I Saw the Light, Can We Still Be Friends, wingman classic We Gotta Get You a Woman. Charming, but marshmallow.

With Rundgren narrating his career twists – “the critics got fed up with me at this point”, “now the drugs are kicking in” – the set only veers left-field for the scorched-earth riffs of Black Maria, a fiery new wave Can’t I Just Tell You and the self-deprecating vaudeville romp An Elpee’s Worth of Toons.

The “informal” second set finds him cutting looser, rapping like Lou Reed over an avant-jazz The Individualist, babbling prayers and throwing kung fu shapes through an exotic Eastern Intrigue and hosting a video Q&A about his ill-fated 90s interactive albums, which itself falls foul to audio gremlins. Here’s the adventurous soul of the man, as comfortable with bossa nova as industrial rock and sci-fi synth solos. A pity he wasn’t unleashed sooner.

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