MUSIC fans were quick to take to social media to complain after the guitar hero appeared to have problems with his equipment before walking off without explanation or apology just an hour into his set.
Eric Clapton performs on stage during the 2013 Crossroads Guitar Festival at Madison Square Garden on April 12, 2013 in New York City. (Image: Getty)
ERIC CLAPTON fans were left furious after the famed guitarist walked off stage just threequarters of the way into his set at The Hydro in Glasgow.
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Many took to social media to express their anger at being shortchanged after typically shelling out £67 on tickets to see the legendary star.
Diane Flynn posted on Twitter: Eric Clapton concert at SSE Hydro - £62 x 2 + £60 parking fine from Glasgow Council!!!!!! Was it worth it?! #nothappy
And writing on Facebook, Jim McNeil said: “Angry fans continued to boo for ages as they left demanding refunds. Think he has lost many fans tonight. Not a good move to make in Glasgow of all places.”
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And also on Facebook, Lesley Baird said: “I have seen Clapton many times, he has little or no rapport with the audience but such a fantastic musician have always forgiven that! Very disappointed by his walking off tonight!”
The guitar legend only managed a handful of classics before appearing to have a sound problem just an hour into the set.
“At first the stunned audience thought he might be going off but coming back for an encore. But the stage crew ran on and started dismantling the set.
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“People were raging after spending £67 each on tickets, lots had come from afar and booked hotels too. I know he’s a perfectionist but that was just bloody rude.”
Car dealer Geoff Rider, 49, from Glasgow said: “I’ve never heard an angrier audience. They were booing and jeering and couldn’t believe they’d been treated like that.”
Jes Smith tweeted: Great performance by Eric Clapton and co last night @ Glasgow Hydro. But very abrupt unexplained ending which angered some. Strange Brew?
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Roderick Mathison also posted: Mr Eric Clapton just walked off 3/4s way through a gig at Glasgow Hydro. Think his amp blew up, but his social skills could be better.
A spokeswoman for the Hydro arena said: The production team for last night's performance suffered a technical issue which resulted in the concert ending earlier than anticipated.
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Alba MSP Ash Regan has warned that women remain in danger in prisons and welcomed the Scottish Government's decision to finally give up its legal challenge to a UK Government block on the GRR Bill.But this birthday boy can claim a far more impressive triumph at this point in his life. After a 50-year career, Clapton stands as the most consistently huge-selling guitar hero of all time.
No other classic rock axman has maintained such a sustained hold on the charts, having scored Top Ten albums, if not Top Five, for half a century, right up through last year’s tribute album, “The Breeze: An Appreciation of JJ Cale, ” that rose to No. 2.
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Peers like Jeff Beck and Jimmy Page can’t claim anywhere near that record of commercial consistency. Neither can Pete Townshend or Keith Richards. While all remain brand names, able to fill arenas at whim, none has released new music that keeps bringing back the masses.
Of course, Clapton’s hold on the hearts and the charts has come at a price. During many periods, he has chased trends, rather than forged them, or slid by on sentimentality, when he could have probed or challenged us.
Clapton’s albums from 1978’s “Backless” through 1983’s “Money and Cigarettes” slouched through slack riffs and snoozed through disengaged vocals. In the late ’80s, he seemed to mistake himself for Phil Collins, while his work over the last decade has found him subsuming his own character to imitate the style of his idols, B.B. King (through his terse, stinging leads) or J.J. Cale (co-opting his sleepy Tulsa funk).
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True fans have had to hold out for mere glimmers of Clapton’s genius. Luckily, even on his most dire albums, and routine concerts, they’ve found a place.
While such reprieves have made the troubling arcs of Clapton’s career easier to take, as a present for his 70th B-day, we should take time to celebrate his unassailable peak. Between 1964 and ’74, nearly every Clapton solo and song not only electrified us, they moved the culture forward.
The guitarist started to set the agenda of rock with 1964’s “Five Live Yardbirds.” His leads with that seminal Brit blues band, the Yardbirds, presaged the more elaborate electric work that would later come charging through in acts from the Peter Green-led Fleetwood Mac or Kim Simmons’ Savoy Brown.
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Flinching from the Yardbirds’ growing pop aspirations, Clapton escaped to John Mayall’s band, which he essentially took over with 1966’s seminal “Blues Breakers with Eric Clapton.” The disc freed Clapton to hone his soon-to-be-inimitable tone and sharpen his attack. By the time the album appeared, the comet-like Clapton had left to form the game-changing band Cream with bassist Jack Bruce and drummer Ginger Baker, resulting in the 1966 debut, “Fresh Cream.”
While their next album, “Disraeli Gears, ” made them pop stars, live shows by the world’s first power trio (captured on albums like “Wheels of Fire”) nailed their soul. In concert, Cream blew out blues riffs with the abstraction of free jazz. In the process, they tipped off the psychedelic jam-band scene that later bloomed in San Francisco.
After less than three years with Cream, Clapton fled again, this time to the ill-conceived Blind Faith. While he attempted to make something new with Traffic’s Steve Winwood, what they ended up with sounded too much like Cream II. Yet, even their rushed, and padded, sole album housed a classic song from Clapton, “Presence of The Lord, ” with a seminal wah-wah solo.
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Though Clapton was just a sideman on the “On Tour” album (cut with Delaney & Bonnie & Friends in 1970), that thrilling project pushed Clapton into a fresh, distinctly American soul sound. It’s a style he would perfect on his greatest solo work, 1970’s self-titled debut, aided by sterling contributions from Delaney Bramlett, Leon Russell and more.
In that same, impossibly dense year, Clapton birthed Derek & The Dominos, with Southern guitarist Duane Allman. It was one year before Allman broke big with his own band. The Dominos’ only studio album, “Layla, ” features some of the most thrilling solos ever recorded, most notably on “Why Does Love Got to Be So Sad?”
Having achieved such an orgasmic peak, it was inevitable that everything thereafter would feel like a come-down. Clapton did find an adult, and poignant, new voice in the mid-’90s, with his “Tears in Heaven”/”Unplugged” juggernaut (inspired by the tragic death of his young son, Conor).
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If such grown-up concerns, and performances, couldn’t hope to reach the level of innovation and inspiration of Clapton’s first decade, something indelible has endured.
Much of it can be found in the guitarist’s rare sense of melody, as well as in his unique tone. Even on the weakest nights, he has been able to channel a clarity as individual as the greatest singers’ timbre.„Würde es den Blues nicht geben, hätten mich die großen und kleinen Probleme im Leben vermutlich dahingerafft“, sagte Eric Clapton einmal in einem Interview. Dass sein Leben durch Extreme wie seine langjährige Drogen- und Alkoholsucht oder den tragischen Tod seines viereinhalbjährigen Sohnes Conor im Jahre 1991 geprägt wurden, wissen nur die wenigsten, die seit über drei Jahrzehnten der Musik des mehrfachen Grammy-Winners lauschen und von den Songs und dem Sound, die „Mr. Slowhand“ seinen Gitarren entlockt, begeistert sind. Seine unvergessenen Songs wie „Layla“, die Version des Bob Marley-Klassikers „I Shot the Sheriff“, „After Midnight“, „Wonderful Tonight“ oder „Tears in Heaven“ beeinflussen Gitarristen seit Generationen und zeigen, dass die britische Gitarrenlegende weit mehr kann als nur den puren Blues
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