Prince (October 4, 2002) – “Prince Is Still Charming After All These Years” Feature - Evening Standard Concert Review (October 3, 2002)

---

This Evening Standard review covers Prince’s October 3, 2002 concert at the Carling Apollo in London. John Aizlewood describes a nearly three-hour performance that moved between musical brilliance and self-indulgence, while recognising Prince as a playful showman and an extraordinary guitarist.

---

Publication: Evening Standard

Date: October 4, 2002

Country: United Kingdom

John Aizlewood reviews Prince’s concert at the Carling Apollo, noting that some audience members were still waiting outside midway through the opening portion of the show because Prince required every customer paying up to £65 to be searched in case a camera was being carried. Prince reportedly commented: “I don’t mind having my picture taken.”

The reviewer states that Prince remained unrepentant about the approach, telling the audience: “If you came to get your Purple Rain, you’re in the wrong building. I’m not interested in what you know, but what you’re willing to learn.” The comment introduced a performance that included audience-baiting through brief excerpts from several of Prince’s major hits.

The concert was performed without the lavish stage excesses associated with earlier periods of Prince’s career. Prince was accompanied by a five-piece band and concentrated on what the article describes as impenetrable funk, reflecting the continuing influence of George Clinton and Black American music.

Among the songs mentioned are “Take Me With U,” “Raspberry Beret” and “Nothing Compares 2 U.” The review notes that the latter song had provided Sinéad O’Connor with a major career moment. Prince repeatedly crossed the line between uncompromising performance and self-indulgence during a show lasting nearly three hours.

The concert also contained more playful moments. Prince encouraged a dance competition and brought audience members onto the stage during the final encore. The reviewer also notes the unexpected appearance of Prince’s guitar roadie, dressed in a suit and tie, emerging from the orchestra pit.

Prince’s post-popularity music is described as having merit, with a surreal version of Led Zeppelin’s “Whole Lotta Love” demonstrating his abilities as a guitarist. “Muse 2 The Pharaoh” is described as several songs combined into one, with Prince’s vocals moving from powerful rap passages to falsetto.

The review concludes that Prince remained part enigma and part extravagant performer. Despite occasional uninspired moments, the article recognises his continued ability to charm an audience through musicianship, theatricality and unpredictability.

CONTEXT AND NOTES

The review presents Prince as an artist determined to control both the concert environment and audience expectations. The restrictions on cameras and the refusal to deliver a conventional greatest-hits performance form an important part of the writer’s assessment.

Rather than depending on elaborate staging, Prince appeared with a compact five-piece band and placed greater emphasis on funk, musicianship and extended performance. The nearly three-hour concert moved between newer material, excerpts from familiar songs, unexpected cover versions and direct audience participation.

The page is accompanied by an archive photograph captioned “Camera shy: Prince on stage in 1998 – photographers were not allowed in last night.” The photograph shows Prince wearing dark glasses and a patterned stage outfit.

FEATURE HIGHLIGHTS

Event: Prince concert at the Carling Apollo, London

Era: 2002 live performance period

Tone: Critical, appreciative and occasionally amused

Photography: Archive stage photograph from 1998, used because photographers were not permitted at the reviewed concert

WHAT THE CLIPPING SHOWS

• John Aizlewood’s review of Prince’s October 3, 2002 concert at the Carling Apollo

• Discussion of the camera restrictions imposed upon audience members

• References to “Take Me With U,” “Raspberry Beret,” “Nothing Compares 2 U,” “Muse 2 The Pharaoh” and “Whole Lotta Love”

• Description of a nearly three-hour performance featuring a five-piece band and audience participation