TheConcerts

ABBA The Concerts
ABBA live 1970-1982

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77Tour 1977Poster1

Tour 1977

Europe

In total there was an European audience of about 100,000 people.

  • Set list

    Set list as usually performed

    • Introduction with the sound of a helicopter (about 40 seconds)
    • Tiger
    • That’s Me
    • Waterloo (followed by a welcome message by Björn)
    • SOS
    • Sitting In The Palmtree
    • Money, Money, Money
    • He Is Your Brother (introduced by Björn)
    • I Do, I Do, I Do, I Do, I Do (followed by an interruption while B&B play with sound effects for 3-4 minutes)
    • Dum Dum Diddle
    • When I Kissed The Teacher
    • Knowing Me, Knowing You
    • Rock Me
    • I Am An A(introduction by Frida)
    • I’ve Been Waiting For You
    • Mamma Mia
    • Fernando (followed by a reprise sung together with the audience)
    • Why Did It Have To Be Me
    • Intermezzo No. 1
      The Girl With The Golden Hair – a mini-musical
      :
    • a) Thank You For The Music (introduced by Björn, different lyrics than on the studio version)
    • b) I Wonder (Departure) (after an introduction by the narrator)
    • c) I’m A Marionette (followed by an instrumental bridge)
    • d) Get On The Carousel (including short reprises of the previous musical songs)
    • Encore – Dancing Queen
    • Encore – Thank You For The Music (reprise, with all of the band lined up)

    In ABBA The Movie Limited Edition Benny explains that the Mini-Musical wasn't supposed to be the highlight of the show. Regarding this he rather thinks of Fernando and Dancing Queen.

  • Staff
  • Links & sources

The Concerts

Click on each entry to open/close the window with details.

  • 1977, January 28 – Oslo (Norway)

    77Oslo1Oslo_

    Oslo, Ekeberg Idrettshall

    Facts & trivia

    • Audience: 6,000 (sold out)
    • The Norwegian royal couple was in the audience. To honour them ABBA did an a capella performance of the song
      Vi har ei tulle med öyne blå which the Norwegian Crownprincess Sonja had recorded in 1976. Apparently ABBA only sang the first verse:
      Vi har ei tulle med øyne blå, (We have a little baby girl with blue eyes)
      med silkehår og med ører små, (with silky hair and with tiny ears)
      og midt i fjeset en liten nese (and in the middle of the face a little nose)
      så stor som så. (as big as this.)

    Review

    press Et ytre av gull [As Google isn’t a good help here can anybody provide a complete English translation?]

    ABBA vant alles hjerter da de smilende og ærlige demonstrerte sitt fantastiske lydanlegg og avsluttet med replikken: Det er så bra at hvem som helst kan gjøre dette efter oss.

    Men, det er en mild overdrivelse, for selv om det kan være mye å sette fingeren på når det gjelder det musikalske og tekstlige innhold av deres verdensberømmelse, så er de fire middelaldrende ungdommene uhyre profesjonelle i fremføring og grep på sitt publikum. I bibelsk kjortel-stil forkynte ABBA, som betyr far i den samme boks sprog, et heidundrende Waterloo for lettskremte hørsel- og synsapparatur. 30 kvadratmeter høyttaleranlegg og en aldri hvilende lysmester, som vekslet mellom helvetes rødt til isblått og giftgrønt, var synsrammen rundt
    showet. Samt et stort og velspillende orkester og over 6000 tilhørere som forventningsfullt var kommet fra store bilkøer i området Østbanen/Lambertseter. På en hylle i veggen, under skiltet med «heime – burte», var kronprinsparet ønsket velkommen med «Jeg har en tulle med øyne blå». Så braket det løs med SOS og «Jeg er en tiger». For det skal sies at ABBA er ikke fullt så uskyldsblå i sin opptreden som godtfolk liker å mene. Sex er en hovedingrediens i deres show, og de svenske piker i sølvtrikot vendte baken til publikum litt oftere enn hva vanlig genanse skulle tilsi. Men det er jo ikke første gang svensker har vist nordmenn ryggen i en idrettshall. Som for øvrig overrasket med utmerket akustikk. Nå er ikke ABBA kjent for å kjøre i senk publikum med katastrofal lydstyrke, men det dro jo godt på når bassgitaristen slet strenger som hardest og de to parallelt spillende trommeslagerne brukte maksimal armstyrke. Og likevel lot lydene seg separere og bli lyttet nærmere på.

    Den medbragte blåsegruppe var av høy kvalitet, og musikkarrangementene var førsteklasses til sitt bruk, selv om vi kom på den forkastelige tanke at de var skrevet mer for å dekke over enn for å understreke kvaliteter ved gruppens slagere. I det hele tatt var den ytre effekt voldsom, maken til bruk av lyd og lys har aldri vært hørt og sett i Norge. Med full guffe på maskinene sang de to jentene som 100 Anita Hegerlander, mens gutta holdt seg mer diskret i bakgrunnen. Helhetsinntrykket var meget sympatisk. Så snille og pene som de fire er, samler de generasjonene i enstemmig glede. Det er første gang i underholdningsmusikkens historie at barn og mor og bestefar forstår hverandres smak. I dette faktum ligger mye av ABBAs suksess, men også en del av deres musikalske forflatning. De anstrenger seg for, og har talent for, å lage umiddelbart fengende slagere som ikke støter noen, og de fremfører dem med den internasjonale artists godt innlærte ferdigheter.

    Publikum tok begivenheten med stoisk ro, men det var helt tydelig at showet falt i smak. Det skal imidlertid ikke stikkes under stolen at tempoet dalte mot slutten, slik tradisjonen er i idrettshaller. Den nyskapte mini-musikal om den lille amatør som ble stjerne, og ikke visste hvor slitsomt det var, gjorde ikke noe varig inntrykk. Det gjorde derimot ABBA som scenemennesker, og showet som en glitrende slager-cabaret.
    [Translated excerpts from the end of the review:]
    Sex is a key ingredient in their show, and the Swedish girls in the silver dot turned the back to the audience a little more often than usual. [...]
    The audience took the show with stoic calm, but it was quite clear that the show fell in taste. However, it should not be beneath the chair that the pace ends at the end, as tradition is in sports halls. The innovated mini-musical about the little amateur who became star and did not know how tedious it was did not make any lasting impression. However, ABBA did as stage people, and the show as a sparkling butcher cabaret.
    Øyvind Thorsen, Aftenposten (Norway), January 29, 1977
    press ABBA in Oslo – Kindness Symphony [based on Google translation]

    Staggering cheers when ABBA appeared but no one whistled and stamped, that’s not what ABBA’s audience
    does. Then the applause became milder for each song. After an hour, half the concert, I saw several leave, and in the halls outside there was a queue outside the slot machine.

    Nevertheless, the world’s most popular group appeared publicly for the first time in a long time. Premiere in a sports hall in Oslo, the tour now goes to other cities with large halls down Europe and ends February 14 in the Royal Albert Hall in London. Then on to Australia.
    A little joy came after a song that was fast and strong and could be mistaken for rock. It was in the air that the youngsters wanted to dance, but it did not happen. Also, when ABBA was pretended to leave the dais.
    We have to sit in place in good time before, like when Ingmar Bergman directs on the drama. So great expectations must be spotted. Kolsvart – and a threatening engine noise. And then, full light and drapery away; There stood the four in ABBA with nine musicians and three singers, all in white. Annifrid and Agneta had a topcoat in silver with wide sleeves.
    Were they dressed like angels? No, it was probably jiujitsu clothes.

    They started with “Tiger”. Continued with old song numbers from the albums, “Waterloo” came quite early and got disturbed applause. Then the girls took off the silver caps and it helped a little. The big blush only emerged later when they came in white swimsuit.
    Björn and Benny fought, one could not and the other was too thick, they said. The girls sometimes stretched out one arm, and in turn they turned and showed their tails. At the Gentleman’s head sat Crown Prince Harald and his princess.
    It was surprisingly quiet on the stage: no great or graduated gestures. The three girls in the choir tore some assertions some time.
    ABBA is primarily aimed at girls around 15 years, all the time in the most special and adventurous years. At the breathtaking threshold between children and adults. They sing about a girl who dared to kiss her teacher, about the queen of the dance, teasing the guys, lighting them up and sticking.

    Actually, it’s not music they sell without the dream of success, the big lift that at one time is going to provide a seaside villa or at least a twosome on the 8th floor with its own key.
    They sing about the girl who hopes to snuggle a rich man, so their advice sounds. If you do not get it, you can travel to Las Vegas and win the luck at the casino. The same kind of songs Git Gay and Anita Lindblom sing.
    The song “Money, money” has an effective and unexpected melody, and events have contrasts. I think that many of the hundreds of Swedish groups that are better than ABBA have a lot to learn from them in terms of dramatic effects.
    They revealed a dream: to put their music in a context. Then came a 25 minute cavalcade of melodies that told the story of an unknown singer from the country who became famous and had to do tours all over the world but became a puppetry.

    This game was made with magnificent effects of smoke and flashing lights in different colors, but stupid and lifeless, as if they did not actually see the game about them stealing.
    It became extra mechanically, because ABBA’s sound is very tight. Although I heard several albums and now heard them in reality, I do not know how they sing. You hear a few poignant voices in the distance, inside a thick drunk. They make sense of being natural and showing themselves open, but just telling slogans.
    And about kindness. They send out songs about patience and hiding behind bodyguards called gorillas. They think their audience is in enough uncertain age to be corked. It is a human disorder so amazingly great and pretentious that you swallow it by pure genius.
    This was the most political music I've ever heard.
    Ingemar Glanzelius, Dagens Nyheter, January 29, 1977 – Original text

    Recordings

    Not available.

    Links

  • 1977, January 29 – Gothenburg (Sweden)
  • 1977, January 30 – Gothenburg (Sweden)
  • 1977, January 31 – Copenhagen (Denmark)
  • 1977, February 1 – Copenhagen (Denmark)
  • 1977, February 2 – Berlin (Germany)
  • 1977, February 3 – Cologne (Germany)
  • 1977, February 4 – Amsterdam (The Netherlands)
  • 1977, February 5 – Antwerp/Deurne (Belgium)
  • 1977, February 6 – Essen (Germany)
  • 1977, February 7 – Hannover (Germany)
  • 1977, February 8 – Hamburg (Germany)
  • 1977, February 10 – Birmingham (United Kingdom)
  • 1977, February 11 – Manchester (United Kingdom)
  • 1977, February 12 – Glasgow (United Kingdom)
  • 1977, February 14 – London (United Kingdom)

Inreoduction

ABBA The Concerts
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The tours & concerts

1970-71
1973
1974-75
1975
1977
1979
1980
1981

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