Can’s live shows will finally be heard, thanks to a bootlegger in big pants
Schmidt considers the Stuttgart concert a good example of Can’s stage interaction. On the second track, Czukay begins the bassline of “Bel Air” but the melody ends up slipping away when no one joins. “If we were playing something that was like or was close to a song, someone suddenly has it,” Schmidt said. “It was a bit like a game sometimes. You threw something at the other one, and he picked it up, or he didn’t use it and threw it at somebody else. When it worked, it was very beautiful and inspiring, even a lot of fun, using parts of what you’ve already done, but giving it a whole new direction.
The band’s concerts typically lasted three hours, comprising two 90-minute sets. For the live series, Schmidt plans to largely avoid single songs from different nights in favor of entire concerts, “which shows how we structured the set, how the flow was, the feeling of a real concert,” he said. he declared.
Can’s improvisational ethic did not always guarantee consistent results. “You can’t play like that on stage, surrender completely to the atmosphere and the moment spontaneously, without sometimes risking failure,” explained Schmidt. “There were of course also concerts which were horrible, really bad, because we played without a net.”
But even in the worst case scenarios, there was still potential for magic. “A lot of times when the first set went bad people didn’t go and the second set got really wonderful,” he said. “So the public has kind of participated in our creative efforts. It was really like it didn’t work, they were suffering like us, with us, and if it worked, they appreciated it like us.
The next outing will be from Brighton, England, on the same tour in 1975, Schmidt said, but he hopes to feature earlier performances, potentially including a recently discovered German television performance in 1970.