THE DIRE STRAITS EXPERIENCE feat. Chris White
Agent: Georg Leitner +43 664 320 1104
Chris White, who worked with Mark Knopfler from the early ‘80s on film scores, joined Dire Straits for their record-breaking Brothers In Arms world tour in 1985. This included their performance at Live Aid and, later, the Nelson Mandela 70th Birthday concert in 1988. He went on to play on the final Dire Straits album, On Every Street, and was again part of the two-year world tour that produced the live On The Night album and DVD. Having experienced the audience response to a live Dire Straits show at the height of the band’s popularity, he speaks fondly of the fans today.
“I have been truly amazed and, frankly, humbled by the response we have had from the fans on hearing these songs again. Dire Straits have the most amazingly loyal fan base. It has been so great to reconnect with people I last saw in 1992 and see them still getting so much from this music. Also, it is fantastic to make new friends among the many young people who are now discovering Mark and Dire Straits. So many people still want to experience this live.
”And of the years playing alongside Mark Knopfler? Chris appreciates that it was always going to be an almost impossible task to bring any sense of authenticity to these extraordinary pieces of music without Mark Knopfler.
“When I was first approached to put together a band to play the Dire Straits songs at the Albert Hall, I didn’t believe it would be possible to find someone who would be able to stand in Mark’s shoes without sounding like an imposter. I was wrong.
In Terence Reis, I think we may have found the only person on the planet that is able to play and sing like Mark, but maintain his own integrity and identity. I think this is the very essence of why the fans have been so accepting of what we do. They believe in Terence as his own man. They know he is not trying to be Mark. Because of his respect for Mark, Terence is able to perform these songs in a very honest way that allows his energy and talent to come through. This is exactly what allows the performances to feel alive and fresh. Not slavish copies of a bygone time. Without Terence, this would simply not work.”