13th December 1997 (second show)
From the New York Times dated 17th December:
“Seated on a swivel stool in the middle of a dim Bottom Line stage on Saturday night. . .Robert Fripp made sounds with his guitar. One could say he played his guitar, but that phrase hardly applied to Mr. Fripp's performance. He did not deliver searing solos, head cocked back like a heavy metal rocker; nor did he let loose tasty power chords like Keith Richards. The only way the King Crimson founder resembled rock's leading instrumentalists was that he placed fingers to frets, touched strings and waited for music. To the untrained ear, that music was a long swoosh of reverberating chords punctuated by unexpected noises. Using tape loops, sequencers, pedals and an enormous amount of sustain - making notes last until they pour into one another like an elements in a chemical compound - Mr. Fripp created a tone poem that sought to redefine his instrument.”
From the New York Times dated 17th December:
“Seated on a swivel stool in the middle of a dim Bottom Line stage on Saturday night. . .Robert Fripp made sounds with his guitar. One could say he played his guitar, but that phrase hardly applied to Mr. Fripp's performance. He did not deliver searing solos, head cocked back like a heavy metal rocker; nor did he let loose tasty power chords like Keith Richards. The only way the King Crimson founder resembled rock's leading instrumentalists was that he placed fingers to frets, touched strings and waited for music. To the untrained ear, that music was a long swoosh of reverberating chords punctuated by unexpected noises. Using tape loops, sequencers, pedals and an enormous amount of sustain - making notes last until they pour into one another like an elements in a chemical compound - Mr. Fripp created a tone poem that sought to redefine his instrument.”
