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He can leave out classics such as Do The Strand and Dance Away, plus all his Dylan covers, without resorting to filler.
Even the lesser-spotted album tracks – Zamba from Bête Noire, Stronger Through The Years from Manifesto – pack a personality.
When the backing is just piano or rhythm guitar, her voice glows.
Can someone get her a copy of that book about decluttering?
But the award for best supporting player goes to Jorja Chalmers, the young Australian mum on a mission to make the saxophone sexy.
With David Bowie and George Michael gone, Ferry is now the honorary president of the Sax Appreciation Society, and he takes his duties seriously, handing Chalmers several solos.
And this may be the last time she plays a tiny venue.
More than just a slinky figure, she can go from assertive to elegiac in the same breath, which pretty much covers Ferry’s whole oeuvre.
Like a visit to Madame Tussaud’s, it’s sinister but effective. His astonishing three-octave voice was sent to give us the shivers, and it would be a stony spine that didn’t tingle when the Royal Philharmonic Concert Orchestra launches into In Dreams or It’s Over.
The crowd react much as normal, clapping along and chuntering when the hologram leaves the stage.
Signature dishes such as Avalon and Slave To Love are joined by a few specials: this time it’s Where Or When, the Rodgers & Hart gem that brings out the bruised grandeur in Ferry’s voice, and Windswept, the ballad from the Boys And Girls album that oozes off-kilter beauty, reversing into your heart and staying there.
It’s partly that, at 72, he has decades of well-crafted songs to draw on, whether with Roxy Music or solo.
This live album swerves most of the Eighties hits in favour of imperious, chilly recent material, while applying similar shadings to a handful of older songs.