John Cale (with Nico and Lutz Ulbrich)
1979, February 19
CBGB, New York, NY

(early show)
1. Genghis Khan
2. Procession
3. Purple Lips
4. Janitor of Lunacy
5. Henry Hudson
6. All Tomorrow's Parties
7. No One Is There
8. Frozen Warnings
9. All Tomorrow's Parties
10. Das Lied Der Deutschen
11. You Forget to Answer

(late show)
1. The End
2. Genghis Khan
3. Procession
4. Secret Side
5. Purple Lips
6. No One Is There
7. Henry Hudson
8. Femme Fatale
9. All Tomorrow's Parties
10. Abschied
11. Valley of the Kings
12. The Falconer
13. Frozen Warnings
14. Das Lied der Deutschen
15. Janitor of Lunacy
16. You Forget to Answer

The above photograph taken by Allan Tannenbaum © and borrowed (without permission). No copyright infringement is intended - editor.

This from the New York Times February 21, 1979, Page 17 entitled Cabaret: Nico Is Back!

IT was a genuine, gale-force blast from the past Monday night at CBGB's when Nico gave her first New York
performance in years. Born in Germany around 1940. Nico was an actress, model and aspiring singer when
she arrived in London in 1965 and New York a year later. She quickly became a key member of Andy Warhol's
Factory, starred in his “Chelsea Girls” film and collaborated with the Velvet Underground, the pioneering
art-punk-rock band led by Lou Reed and John Cale. She ultimately made four solo albums, the last three
produced by Mr. Cale.

But for most of the 1970's she has lived in mysterious obscurity. One heard of underpublicized appearances in
the San Francisco area, and she toured with a British punk band in England last year, but was greeted with hostility
by some of the more impatient punks. So her first show on Monday at the home of New York's punks was both an
event and an occasion fraught with some nervousness.

The result was a triumph for her. The place was jammed, and the audience can only be called adoring: There was
a real standing ovation at the end, and the applause continued so persistently after her first encore that she really
had to come back again.

Nico's a bit heavier now; the spectral priestess of yore has become more ‘earthy. But she still walked onstage alone,
sat down at her amplified harmonium and proceeded to sing/moan her songs in her cavernous contralto. Her music
— the same when, later, she was joined by Mr. Cale on viola and Lutz Ulbrich, a German guitarist —consists of the
pulsing drone of her harmonium (pulsing both from the action of her feet pumping the bellows and from her arpeggiated
left-hand figurations), a simple right-hand melody doubling the voice and her singing. But the rich sounds and somber
harmonies that emerge from the harmonium are very individual and blend superbly with her voice.

The dirgelike songs themselves are full of girlish-Gothic imagery and spacey romanticism, however much they may
ostensibly be linked to contemporary concerns (two songs, including her wonderful version of “Deutschland fiber Alles,”
were dedicated to Andreas Baader, the West German utopian revolutionary).

In the end, both musically and dramatically, Nico has changed hardly at all. In the long run, this might pose problems
were she to perform here with any frequency, and it hints at certain timidity in the face of change. But on Monday, both
as nostaglia and as an experience in itself, it was just fine, and it made one look forward to the new album she's reportedly
about to record with Mr. Cale.