Olso concert review Shania Twain: "Tacky" and enjoyable

As a video jukebox in a bar in the American countryside - with only Shania Twain songs. Except she is here! Now! More or less "live"!

By Morten Stale Nilsen
October 16, 2018

It has been written - insightfully - that Shania Twain, 53, was the first to realize that the country public in the United States had gotten satellite dishes. Understood: They did not put in pickup trucks and chewed grass and shot on innocent passers-by, at least not all the time.

They watched the same TV shows and advertisements as people in the big metropoles, and thus had the same dreams as well: riding a camel in Egypt, for example wearing a soft chiffon. Tighty suit and suitcase in matching leopard pattern.

They dreamed of the same exotic destinations and the same expensive luxury brands as everyone else. Not least, they dreamed of looking like Shania Twain. A far from unreasonable, but predominantly unattainable dream. The Canadian artist was - and is - painfully beautiful.

She still knows how a woman makes an entrance too, out in the hall, up at the bench, sensational and unexpected, wearing a glittering dress and a cowboy hat. She speaks before she sings - "Hello, Oslo" - while her female drummer (a hard-wearing shock of blond hair) plays the distinctive rhythm figure from Queens "We Will Rock You".

There is an admission here. Many of Shania Twain's numerous hits from the glory days share the same rigid glamrock beat, unknown in country music before she appeared. When it comes to singing, it's unclear how much she's doing. I have seen enough "lipsyncing" to detect, through the video screens, that she does not do it in the ballads ("You're Still The One" and the vocal demanding "From This Moment On").

But hey - what do you want? A singing Shania or a dancing, audience-flinging and mid-singing-talking Shania? You can not get both. 

The scene design is "state of the art" American tulle, taffeta, tant and fjas. The main element is five large hydraulic boxes, which are lifted up and down, giving Twain the opportunity to point out that life also goes up and down, and - as she sings in "Life's About To Get Good" - consists of joy and pain.

It's hard to argue so much with it, but some should have carried her - with the high heels - up the stairs behind one box. Goodbye, show some respect for the diva.

A Shania Twain "concert" is not a hundred percent like other concerts. First of all, it is with the singing. Secondly, it is with the music - much of it is also "in the box". Thirdly, she is interrupting the hit parade with a video vault in which she shows us excerpts from a bunch of her little hits.

Fourth, it's a matter of a drum solo or instrumental passage, usually perceived as a threat during a normal concert, something different on an evening with Shania Twain: namely an unprecedented promise of costume shift. This is in absolutely everyone's interest (my favorite was the speckled bodysuit. I'm a simple man).

I'm pretty sure she sings real in "That Do not Impress Me Much", at least part of it, and is impressed with how the audience receives her new, boring songs with courtesy and warmth. Her kindreds from ancient times are, if true, to be said as likely as possible. It's okay with some change. 

A Norwegian woman - from Skarnes - comes up to Twain on the lill scene at the other end of the room towards the end. She rages, but suspects quickly, explains the talkative for her relationship with the star in excellent English. Grips the microphone and points to mom. Agreed game? Again: Who cares. It's touching such scenes in reality TV shows can be touching. They are 75% they are also cheating. They are 75% they are also cheating.

Twain chats with other audiences on their way to the main scene again. "From Consgvations," says one. "Gjøvik!", Says another. "This is so international, I love it," says Shania.

er warming artist, Swiss Bastian Baker, wears a "sexy rock guitar" - her words, not mine - for "Party Of Two" and "Swingin 'With My Eyes Closed" before the confectionary is emptied in the form of "(If You're Not In It For Love) I'm Outta Here! "And" Man! I Feel Like A Woman! ». (Shania Twain songs were always a reviewer's worst nightmare).(Shania Twain songs were always a reviewer's worst nightmare).

It was not so "live" that something did, but it was fun and no one was disappointed. It was considerably more courteous than listening to her last album ("Now" from last year), and just the way it would have been if the Americans were allowed to join the Eurovision Song Contest.

So better.