Play Patents Ochsner and Hecht in Arbon’s Summer Days

Summer days are not Gurtenfestival. Büne Huber and his band also had to try this on Saturday evening shortly after falling asleep. Although the audience turned up with interest in front of the stage and about 20 degrees including the splendid lake night invite you to the folk festival – but the much-cited “spark” doesn’t want to jump. Not for 30 minutes at all. On the one hand, this may be due to the much smaller audience than it was the previous evening, but on the other hand, it may also be due to the song’s play. Because—the statement might limit the profanity of die-hard fans—the band’s newer material seems too unstressed for a mixed live audience, too little poetic, and too arbitrary—it doesn’t work.

Hopper doesn’t look like a ball of lightning either. He constantly leaves stories in between songs, and God knows he has never understood himself as a tame to his fan following. Perhaps that is why the young audience sometimes seems confused this evening.

Solos Are Too Long – And The Brass Section…

Additionally, the nine-piece ensemble creature rarely makes a name for itself for its choice of arrangements and very long singles. For example, the brass section – the heart of Ochsner’s voice recognition – exchanged the dissonance of the Great Salvation Army for proper and pure woods. This is fairly impressive in terms of playing style, but when metaphors and chords work on the heart muscle, windbreakers don’t cry so hard.

And – not everyone likes copper clips, even if they are five-piece and perfectly cut. “Guggemusig!” A tall man in his twenties grumbled. After what seemed like a five-minute brass duel, his girlfriend just said: “Listen, play wherever you know!”

Elizabeth, the redeemer

Fortunately for Patent Ochsner, what matters to all the bands who wrote several indestructible hits decades ago: the past is a patiently purring cat that loves to wake up whenever you hit it. After 35 minutes, these pats reach the audience. “Goodnight, Elizabeth,” forbids the mob and the first choirs are vehemently opposed to Bess’ flourishing.

From then on, the concert will run on autopilot. This means that it does not deviate by a millimeter from what Patent Ochsner has always provided. It’s dramatically illustrated, wonderfully steeped in metaphors, but as low-stakes as its highly predictable collection of songs. For fans, at least the last thirty minutes will be the singing of the choir of the Swiss folk song.

If you can throw hits like “Fischer”, “Bälpmoos”, “Venus vo Bümpliz” and of course, “Scharlachrot” right in the ring on the ground, you won’t lose a last-ditch in Switzerland. However – in the end, the public remains quite conservative. Solid is just solid. And perhaps they would service Büne Huber to set the performance on a mixed-age Friday evening.

youth power

While one doubts one’s judgment immediately after Ochsner’s patent concert, Hecht makes clear in his energetic appearance that the songs and especially the stage presence of “Ochsner” have already made an appearance. Because it only takes a fraction of one song before Hecht shows up the hall for it to explode. Thousands of hands merging into the sea as singer Stefan Buck skates a few minutes later on a free-standing paddle.

The good singing of the choir was made by the hoped-for folk festival. The small audience sings and dances and the forgotten cell phone walls shine like stars in the sky. Unlike Patent Ochsner, Swiss climbers present their stories more accurately than Bernese. During the mourning song “Just One Minute” the audience catches their breath and there is an intense silence. Singer Stefan Buck is not a storyteller, but a talented presenter, artist, animator, and transmitter of moods and emotions. He and his fellow musicians have such an exhilarating energy that only young people can give.

Little shift?

At one o’clock, Hecht finished his set with “Adam and Eve”. The audience is still cheering as if there is no tomorrow. One secretly hopes that the godfathers Ochsner will watch the show somewhere on the edge of the stage. Because the evening shows that a little metamorphosis will be too late for even Switzerland’s most powerful dinosaur – with all due respect to the grandiose act – aiming to see the next generation of the audience.