THE 10 BEST PRINCE PERFORMANCES ON YOUTUBE
If you read my post at No Man Walks Alone, you know I greatly admire Prince, in particular his concerts. Until recently, it was difficult to find any of his concert footage online because his lawyers always had it taken down. But since his death, it seems that this is no longer a priority, so there are quite a few up right now. So you can get at least a sense of what his concerts were like. Here are my ten favorites among the ones Iâve found. Watch them now, because you never know when theyâll disappear.
This is the kind of performance that first made Prince famous - overtly and intensely sexual. Itâs over the top, but itâs also genuine and inspired by lust more than attention-seeking. He doesnât just rub his crotch as a gimmick. He builds the mood and energy of the song with his voice, bringing the crowd along with him. Full concert here.
Purple Rain Tour, Syracuse (1985)
This is the whole concert, but just watching the first few minutes will give you an idea of what absolute bedlam a Prince concert was like, especially in the 80s. He could take a town like Syracuse and turn it into sex-crazed asylum for two hours or more. He comes out in some kind of feather boa thing and has his shirt ripped open by the second song.Â
Sign âOâ the Times Warmup Concert (1987)
To me, Sign âOâ the Times was Princeâs greatest album. The variety and complexity of sounds on that album make it his masterpiece among masterpieces. This is a ârehearsalâ for the tour supporting that album, held at the First Avenue club in Minneapolis (the site of much drama in the Purple Rain movie). Prince comes out in a polka dot suit (and glasses!), and starts out in a casual, playful mood. Itâs jarring when he suddenly breaks out of this quiet, almost scholarly, character and launches into the first song (âHousequakeâ). But a few bars in, the jacket comes off. And by the time the sax solo starts, itâs a full Princegasm.
Ok, you probably want to see him play âPurple Rainâ. Here you go. This is on the Arsenio Hall Show (remember that?). In the early 90s Prince went through a period of mellowing out his sound some to fit into the R&B trends of the time, leading to songs like âDiamonds and Pearls.â But performances like this remind that he could still lay down the fire. The pose he strikes at the end of the song, and then blowing on his guitar as if to cool it off, is very Prince. Also pompadour hairdo FTW.
âMotherless Childâ (1999)
This is a Prince-ified version of an old negro spiritual, and my favorite performance among the ones listed here. You can see his command of the whole band as well as his own instrument, and how much of himself heâs able to get into this song. You can see more footage from the same concert here.
Acoustic Set, Musicology Tour (2004)
I like this clip because it captures Princeâs relationship with his audience. The first time I saw him was on the Musicology tour, which featured an acoustic set in the middle of every concert where Prince would just play acoustic and mess with the audience. The connection is natural and direct, with no special effects, as little amplification as possible, just like youâre in his living room and heâs playing you your favorite songs. It ends with a (somewhat rare, he usually played it on piano) version of âSometimes It Snows In April,â finishing with the lines:
Sometimes I wish that life was everlasting
But all good things they say never last
And love, it isnât love until itâs past
He recorded the studio version on April 21st, 1985, 31 years before his death to the day.
This is the same Coachella performance at which Prince played his now-famous cover of Radioheadâs âCreep.â This song is kind of forgotten because it was on The Gold Experience, a great album that was a casualty of Princeâs falling-out with Warner Bros - it wasnât really promoted, and now is caught in some kind of purgatory that keeps it off of Tidal. The CD is out of print, so if you want a copy, you can pay $85 for it on Amazon. "Shhhâ is now known more through Tevin Campbellâs cover than Princeâs original recording. But Prince played it often live, and this is my favorite version. I can only imagine what happened to the poor group that had to follow Prince at Coachella. I mean, what do you do when a dude just burns it down on stage like that? âUhh...so umm...weâre the Lumineers...thanks for sticking around.âÂ
âCrimson and Cloverâ (2009)
Everything about this performance is so random and yet so cohesively Prince. First, heâs on the Ellen DeGeneres Show (kind of wtf, like what is he doing exactly on a daytime talk show?), and second, heâs covering (sort of...by the time heâs done, itâs a much different song) a hippie pop song from the 60s, and third, heâs gone with a red-ruffled shirt, reading glasses, and a leopard print guitar strap. It all works because his guitar melts the impurities off the ore. Really wonder if the Ellen crowd knew what just hit them.Â
âAll The Critics Love You In New Yorkâ (2009)
His last few years he got more and more into taking old hits like this one and drawing out the groove for long jams. At this point he had been playing with the same set of musicians - Renato Neto on keys, John Blackwell on drums, Rhonda Smith on bass - since at least the Musicology tour, and was very comfortable leading them. All those cues -Â âbreak it downâ - are instant and flawless. Theyâre not planned changes in the song, heâs just leading them with the cues. This clip also shows again how versatile he was without compromising his own voice. Heâs at a jazz festival, so he does some scatting around 7:45, but he still calls out the audience (âAm I funky? Are you funky?â) and gets them dancing (âLetâs jump up and down!â). Full concert here.
âHow Come You Donât Call Me Moreâ (2011), with Alicia Keys
This show was part of a run of 21 concerts Prince did in LA in April and May of 2011 called â21 Nite Standâ. Prince was a huge influence on Alicia Keys and he admired her work as well - she introduced him for his induction at the Rock and Roll Hall of Fame, and he clearly enjoyed her performance of âAdoreâ at Princeâs BET Award ceremony.Â
Prince and Alicia Keys both recorded versions of this song, although Prince wrote it. I like Alicia Keysâ version and I love her voice, but hearing them sing the song together shows what set Prince apart even from other great artists. Alicia sounds great singing the first verse, but Princeâs second verse accesses different senses. The song isnât just a sound anymore, itâs a feeling. Thereâs no other performer who could sing it like that.
âRed House (Purple Version)âÂ
âGett Offâ - at MTV Video Awards, the famous assless pantsuit performance
Everything else...seriously, there are no bad ones.