Here's a somewhat (as good as it gets) translation of a Danish review from the Danish Magazine called Gaffa: http://gaffa.dk/anmeldelser/view.php/mreview_id=31458
(Only review I've been able to find in the Danish press by the way):
Zappa Plays Zappa
Falconer Salen, Copenhagen
(5 stars out of 6)
Glorious homage to Franks musical hocus pocus
As a homage to his father, Dweezil right now is traveling with his Zappa Plays Zappa show. Spiced with members from Franks original line-up, Dweezil humble presents 3 solid hours of musical Zappatisms.
Dweezil Zappa had chosen to start the show with 30 minutes of so far unseen footage from a Frank Zappa concert at the Roxy in Hollywood 1973. It gave the show a soft start, but became somewhat too nerdy.
After 28 minutes dad Frank began to tune his guitar up on the screen, and at the same time Dweezil's band, as shadows, entered the stage and tuned along. Slowly Frank slipped in the background, and the concert started for real. During the next five quarters, the eight piece band on stage loyally reproduced Franks old songs, making the connoisseurs in the venue falling into nostalgia over the departed musicmaker.
The compositions from Frank Zappa's curly cerebrations are a wonderful tangle of multirythmic im- and expressions. At the same time borderseeking as a challenged youngster, and banal during odd lyrics about everything from sweedish cookies to dental floss and hotdogs.
From the opening movie Frank Zappa's old tenorsaxplayer Napoleon Murphy Brock, living and alive stepped out of the screen, entered the stage somewhat 33 years older, but in no way oppressed by the time. As a Funky and in good form wag and singer, he was the most energetic and vivid musician on stage during the first part of the show. Unfortunately. One missed some of Franks untamable wildness.
Dweezil though had done his homework to in the best possible way, match the expectations from the crowd. "King Kong" was adduced to show why each of the multi-instrumentalists on stage had ended up in Dweezil's band. It became an instrumental playground a la Zappa senior, complete with handsignals og musical blends.
First part of the show was influenced by a somewhat stiff and solemn mood. This though quickly dissapeared after the break. The second part started a bit too early, to which result the thirsty souls from the long queues from the bars, only just in time, reached their seats with splashing plastic mugs.
The rythmwonder Terry Bozzio had brought a smaller version of his normally huge drum set, and Dweezil started off by shortly interviewing Bozzio about his time in Franks band. After that the second part aggressively started with "I'm So Cute" with Bozzio on vocal. Both on stage and in the crowd the mood now was a lot more unrestrained.
After some more songs with the drumwizzard in front, it was time for one of the evenings highlights. "This song was first written as a drum solo," Dweezil teased, resulting in the dedicated shouting and preparing their ears for "Black Page #1". There's also a #2, which the guitar phenomenon Steve Vai masters, but Dweezil thought that the band should start with #1 and then see what would happen from there. Right on, come on.
As expected long thin Steve Vai entered the stage to "Black Page #2" - as had he never done anything else. A superiour soundtrip from maybe the worlds longest guitarfingers. And there they were, the master and the pupil. When Dweezil was 12 years old, he thought, that what his father was doing on the guitar, was way too complicated for him. Then Frank convinced Steve Vai to give his son a couple of guitar lessons, and soon the lad was well on his way. "And now we're standing here, so many years later on the same stage and playing Franks songs together." Dweezil dwelled at the moment.
Bozzio left the stage, and Vai magicspelled the audience with "Zomby Woof", where the guitar-acrobatic-equilibrist played tricks with the possible in a supernatural solo of another world. Nothing less.
"Sofa #2" ended the second part and the band left the stage to wild applause and standing ovations. The show had developed to more than just a homage to Frank Zappa. The bands, by saying, three months rehearsel had coined to a musical triumph, which gave new and old fans the possibilty to once more hearing the old Zappa classics competent performed on a stage.
The encore offered, among other things, a drumparty between Bozzio and regular drummer Joe Travers, who also is responsible for the huge vault of Frank Zappa's studio- and concert recordings from all of his career. Together the two drummasters displayed a show of rhythmic beauty and sustained effort - and then it was all over.
Dweezil and his nine musicians bowed and thanked for a great night: "It's been great to play this music again." Judging from the respond the audience completely agreed.