A Wild God at Ziggo Dome in Amsterdam: An Evening with Nick Cave and the Bad Seeds
Transcendence, Humor, and Raw Emotion in a Night of Unforgettable Music
Photo by Beeld Ferdy Damman
Artist: Nick Cave and the Bad Seeds
Venue: Ziggo Dome
Location: Amsterdam, Netherlands
Date: 26 September 2024
It was a night to remember. As I made my way to the concert at Ziggo Dome in Amsterdam, I found myself surrounded by thousands of Ajax soccer fans, all heading in the same direction for their team’s championship match against Beşiktaş. Their excitement was contagious as they filled the trains and trams, en route to the Johan Cruyff Arena, while I continued on to the nearby Ziggo Dome. It was wild.
Nick Cave's performance in Amsterdam as part of his Wild God tour was nothing short of transcendent. A true master of his craft, Cave took on many roles throughout the night—preacher, showman, comedian, artist—and a wild god, all while maintaining a deeply human core. Despite the larger-than-life persona he’s often associated with, the essence of his performance was rooted in raw emotion, connection, and vulnerability. The result was a deeply spiritual and cathartic experience for the audience, who reached out to him as if trying to draw closer to a kindred spirit.
The evening kicked off with British post-punk band Dry Cleaning, whose minimalist rhythms and deadpan, spoken-word delivery set a hypnotic tone. Florence Shaw's detached vocal style over the resonant guitars of Tom Dowse created a stark contrast with what was to come but worked well as a mood-setter. In her signature monotone, Shaw’s musings on everyday life created a sense of grounded reality that contrasted sharply with the ethereal, mythic figure Cave would soon become on stage.
When Nick Cave and the Bad Seeds took the stage, the energy in the venue shifted palpably. From the first thunderous notes of "Frogs" and "Wild God," it became clear that this was no ordinary concert—it was a sermon, a ritual, with songs imbued with a gospel-like intensity. There is a poem by Tom Hirons, Sometimes A Wild God, which may not have direct connections to Cave's Wild God, but the way Hirons describes his deity mirrors how the band stormed into the arena with their opening songs. Cave commanded the stage with magnetic presence and expressive movements, his arms outstretched as if beckoning the audience into his world. The Bad Seeds, as always, were impeccable, with Warren Ellis at the forefront, unleashing a maelstrom of sound through his violin and synthesizers.
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Before performing "O Children," as with other songs, Cave briefly shared what inspired it, offering a glimpse into its meaning—this one was inspired by watching his children play. The song carried forward the same gospel-like atmosphere of the first two tracks, casting a melancholic spell over the audience before “Jubilee Street” unleashed the full power of the Bad Seeds.
What elevates Cave's performances to near-mythical status is his extraordinary ability to transform his profound emotions into music that resonates universally. Despite the deeply personal nature of his experiences, he channels those emotions in a way that feels intimately relatable to his audience. It's no surprise that countless arms reach out, yearning to pull him into their embrace.
Each song propelled us into the stratosphere, taking us on an emotional journey through life, joy, despair, love, sorrow, and heartache. It was a profoundly sentimental evening, with Nick's raw emotion and passion for storytelling drawing everyone into his world.
At times, the combination of sound, intensity, and masterful lighting turned songs that started quietly into a thunderous onslaught, as if the gates of Hell had opened and unleashed a torrent of sonic chaos. “From Her to Eternity” and “Tupelo” were perfect examples of this transformation. In a night laden with highlights, these two were a personal highlight of the night, saw Cave and Ellis unleash an almost apocalyptic energy, sending the crowd into a swaying, hypnotic trance. The former, a dark ode to desire, simmered with tension before erupting, while the latter, “Tupelo,” drew inspiration from Elvis Presley's birthplace. When Elvis was just two months old, a violent tornado ravaged the city, and Cave reimagined this force of nature as a symbolic clearing of the path for the future King of Rock and Roll.
The setlist was a delicate balance between new material and classic fan favorites. The night unfolded over an astonishing two and a half hours, with Cave maintaining an unyielding pace throughout. For a performance of this magnitude, covering a diverse and extensive discography that spans several decades, the selection of songs is vital in shaping the overall experience. The newer tracks, including “Joy,” “Long Dark Night,” and “Cinnamon Horses,” were performed with an intensity that suggested they had already become integral to Cave’s musical canon. These songs, while fresh, felt timeless—imbued with the same darkness, beauty, and introspection that has defined his work for decades.
Throughout the night, Cave maintained an intense closeness with the audience, often stepping down onto a narrow platform that ran along the barricade, bringing him within inches of the crowd. This physical proximity mirrored the emotional connection he sought. At times, Cave would hold a fan's hand or stare into their eyes, giving the impression that he was singing directly to them. In a venue as large as the Ziggo Dome, such intimacy felt almost surreal.
There were lighter moments as well, where Cave’s humor shone through. At one point, an audience member threw him a frog doll, which he accepted but humorously remarked that he wouldn’t be able to perform while holding it, so he placed it on the piano instead. When he stumbled over the lyrics to "Red Right Hand," he quipped, "I missed the lyrics; I haven’t watched Peaky Blinders in years," eliciting laughter from the crowd. This exchange highlighted Cave's talent for seamlessly blending gravitas with levity. In the moments between the intensity of his musical performance, Nick Cave reveals his comedic side. Quick-witted and spontaneous, he effortlessly flows with the evening's energy, delivering off-the-cuff humorous remarks that keep the audience engaged and entertained.
Some of the most poignant moments of the night unfolded during “I Need You,” a solo piano piece delivered with heartfelt vulnerability, and in the performance of “O Wow O Wow (How Wonderful She Is),” which was dedicated to the late Anita Lane. Videos of Lane played on the screens, casting a melancholic spell over the audience. It was a tender tribute that resonated deeply, particularly given the loss and grief that have so often shaped Cave’s work in recent years. His ability to channel personal tragedy into art was once again on full display, with songs from Ghosteen (Bright Horses) and Skeleton Tree (I Need You) reminding everyone of the immense emotional weight Cave has carried in his later years. It’s hard not to be moved by these songs.
As the concert approached its conclusion, the intensity only grew. “The Mercy Seat” and “White Elephant” were thunderous, leaving the audience breathless as Cave and the Bad Seeds closed out the main set. The energy in the room was electric, yet it was clear that the crowd wasn’t ready to let go just yet.
For the encore, Cave and the band surprised the audience with a cover of “Palaces of Montezuma” from his Grinderman project. Although it took two attempts to get through the song due to a false start, Cave’s good-natured recovery only endeared him further to the crowd. The encore continued with a stirring rendition of “Papa Won’t Leave You, Henry,” which he humorously noted was inspired by rocking his son to sleep thirty years ago when he was born in Brazil. Now a grandfather, he reflected on how that intimate moment influenced the song's movements and energy.
The encore culminated in a heart-wrenching performance of “Into My Arms,” where the audience swayed in unison, many visibly moved to tears. Before the song began, he invited the audience to join him in singing the chorus, saying it would feel good to do so. It was just him, the piano, and a choir of 17,000 voices. Unprompted, the crowd gently harmonized beneath the chorus, understanding the delicate nature of the moment. Their soft, whisper-like contributions complemented Cave’s voice, creating a sensational and fittingly wondrous finale.
But the audience wasn’t ready to let him go just yet. As some attendees began to exit, Cave unexpectedly returned for a poignant rendition of "Weeping Song," during which he invited the audience to clap along. It was a fitting finale to a great night.
Anyone who has attended a Nick Cave and The Bad Seeds concert knows it’s an experience like no other. He has a remarkable ability to turn small moments into a theatrical piece, with all the plot twists, making me feel emotions I didn't even know I possessed. The night at Ziggo Dome was one of the best concerts I've ever attended. The explosive energy on stage, the uniquely close interaction with fans, and the incredible journey through the artist’s vast catalog are worth every penny.
While I can't compare it to Cave's other performances I've witnessed in the past at the Exit Festival in Serbia—each of which was fantastic and ecstatic in their own right— during last night’s show, a Wild God came at Ziggo Dome, arriving like a tempest—awkward yet powerful—turning the familiar into the extraordinary and reminding us of the dark secrets and profound emotions we often try to keep hidden. I went home to Utrecht alongside thousands of Ajax fans, who were clearly also having a great night as they sang at the top of their lungs.
Well, for sure I'm jealous. I haven't stopped listening to Wild God since it was released -- I think it's one of those albums like Townes van Zandt's Live at the Old Quarter or Cowboy Junkies Trinity Session or anything, really, by Cohen post-1980. That sort of album.
We no longer have Townes or Leonard, but praise be to God we still have Nick Cave.