Member Review: Beyonce

BPD member DivaLuva wrote:

Pop-R&B diva Beyonce lived up to her on-stage alter-ego -- Sasha Fierce -- last night, fer sure.

The 27-year-old singer, previously known for her work in Destiny's Child but now three albums into a successful solo career, including her most recent effort, I Am... Sasha Fierce, came to town packing big hair, big heels, big costumes -- courtesy of designer Thierry Mugler -- a big production, that included an impressive LED video screen and a staircase -- and a big band made up of 13 female musicians and singers and as many as nine dancers, both female and male.

Seemingly, it all went according to plan over the course of an hour and 40 minutes with nary a hair out of place on the beautiful Beyonce, despite a wind machine constantly blowing back her long mane which she liked to whip around while doing her trademark exaggerated dance moves.

Part supermodel, part drag queen, part showgirl, this girl loved her drama and the audience seemed to love her for it. Opening the show with Crazy In Love, Beyonce first appeared backlit while wearing a gold bathing suit-like costume with a big bow on her backside.

With her hands on her hips and her legs spread apart, the crowd went nuts before she even sang a note and by the time the tune had ended, white confetti rained down on the audience like it was the show finale instead of the beginning.

Now that she had gotten our attention, Beyonce segued into Naughty Girl with red lighting to emphasize the point.

At times, she came across as a sex kitten on songs like Freakem Dress, but other times, she seemed more innocent such as when she donned a full-length silver-beaded gown for the ballads At Last, the Etta James classic which she sang while portraying the singer in Cadillac Records, and Listen from Dreamgirls.

There was even a moment when she sang and danced opposite vintage footage of her former small self in a split screen during Radio. Mostly though, it all seemed to be about Beyonce with not a lot of soul behind the music itself.

When she offered up a snippet of Bootylicious from her Destiny's Child days, it was really the sample of Stevie Nicks' Edge of Seventeen guitar hook that everyone was going nuts for.

Visually, she had some interesting highlights like the crashing blue surf projected on to the LED screen behind her while she donned a white bathing suit and white cover up to sing Smash Into You, and Ave Maria, which included a bit of Sarah McLachlan's Angel. But Beyonce's best look was a black leather bustier, mini skirt and cuff, which she donned for If I Were A Boy, on to which she tagged Alanis Morissette's You Oughta Know.

The cheesiest moment came during a filmed video segment, shown while she was offstage making one of her numerous costume changes, when her face transformed into that of a leopard's during a snow storm. She then returned to the stage in a futuristic outfit that included lit-up private parts in the dark while her female dancers wore gold robot-like suits that recalled C-3PO from Star Wars.

The best video moment was a YouTube montage showing fans dancing to All The Single Ladies before Beyonce and her dancers performed the hit song much to the crowd's delight.

Another highlight was Irreplaceable as audience members sang the song's familiar refrain, "To the left, to the left," while waving their hands in the same direction. "That is so beautiful," Beyonce said.

Same to you darling.

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Member Review: Wilco

Member BeerBellyBandit sent us this:

Wilco is something of a cult band: no hit singles, no massive record sales. But the group has garnered a devoted following through albums that have ranged from straight-ahead singer-songwriter Americana to more ethereal explorations of emotional tone and mood.

Last night found the group offering up songs from its upcoming Nonesuch release simply called "Wilco" while also dipping into rarely played material to delight its most hard-core fans.

Wilco is one of the few acts on the road with set lists that change nightly and last night's two hours +, 28 song performance truly was as far-ranging as rock can get. After an amusing introductory snippet of the theme from "The Price Is Right," the band hit the stage with the title-ish track from the new album, anchored by its refrain of "Wilco will love you, baby," then shifted into the older "A Muzzle of Bees."

The driving saloon-piano triplets of the "Blue Black Nova" gave way to acid-rock tide pool of "You Are My Face," the ache-laced "I Am Trying to Break Your Heart" and bittersweet yet hopeful "Shouldn't Be Ashamed."

Frontman Jeff Tweedy, who shared 2 beers with me backstage and serves as a musical tour guide rather than a showman, didn't have much to say early on. When he finally spoke to the crowd, pitching the tour programs filled with trivia tidbits, it was all tongue-in-cheek -- a contrast to the often layered, conflicted emotional content of most of the songs.

But Wilco is one of those bands that makes up for a lack of stage patter with those musical riches. One moment the group sounds like heirs to the legacy of the Grateful Dead or the Band, then it's delving into liquid Pink Floyd dreamscapes or unleashing unhinged, blistering yet steady cascades along the lines of Neil Young with Crazy Horse. Credit guitarist Nels Cline for sinewy and spiraling leads that fueled the fire as the band built to crashing crescendos.

Off-center country rock remains among the group's strongest offerings live, including "Handshake Drugs" and "You Never Know," and the playful Southern rock of "I'm the Man Who Loves You" closed out the main set.

Encore selections featured house favorites: the rollicking "Box Full of Letters," "Misunderstood," the almost-Eurotrashy epic "Spiders (Kidsmoke)" and the darn chipper "I Got You (At the End of the Century)."

After 2 beers with Jeff and one more with Nels, I was happy as a pig in sh*t to hang backstage and enjoy all the festivities. Here's the
set list:

Wilco (The Song)
Muzzle of Bees
A Shot in the Arm
At Least That's What You Said
Bull Black Nova
You Are My Face
I Am Trying to Break Your Heart
One Wing
In a Future Age
Impossible Germany
Shouldn't Be Ashamed
Sonny Feeling
Jesus, Etc.
Handshake Drugs
You Never Know
Hate It Here
Walken
I'm the Man Who Loves You

Encores:

The Late Greats
Box Full of Letters
Misunderstood
Spiders (Kidsmoke)
Hummingbird
Happy Birthday
Red Eyed & Blue
I Got You (At the End of the Century)
Monday
Hoodoo Voodoo

This is my third time using passes from BPD. You guys are solid, man. Thanks.

You are most welcome 3B. As we enter into July and August, some great shows will be happening. Wanna see 'em from the back? Become a member today.

Member Review: No Doubt

BPD member Stace wrote:

No Doubt came in strong, opening with their 1996 hit single Spider Webs. Nothing like kicking off a concert with 20,000 people singing with you, right? Gwen Stefani, who despite being 39, looks incredible and has more performance endurance than I have seen in other top artists. Gwen told the audience that No Doubt was there to get inspired for their next album, and they just wanted people to sing and have a good time. Well, myself and 20,000 others, certainly did. Gwen also thanked the audience, saying that she has no words to express how it feels playing in front of an audience this huge, who all sang the words to each of their songs.

No Doubt clearly loves what they do and their impeccable performance really displayed what a fantastic band they are. Gwen’s vocals were incredible, and they sounded better than their albums, which is not something I have ever experienced at a concert.

They were very appreciative too, calling out to fans with signs, pulling fans up on stage, grabbing fans cameras and taking pictures with them. Gwen even pulled one guy up on stage, telling him to “shut the f#@k up!” as he had No Doubt tattooed across his back. He looked as if he might have an aneurysm after Gwen gave him a big hug. She hugged every fan she pulled up. From what I hear of their other concerts, she is like this all the time – really relating to the fans and being very appreciative of their support. She even gets down in the crowd for some of the venues that have easy access back and forth.

I was surprised how accessible Gwen was backstage. Soaking wet, spent, she still found the time to answer my questions and endure my "gawking".

All in all it was amazing to see a band that I grew up with still kicking butt and remembering who made them. I would do it all over again and I can guarantee it will not be my last No Doubt concert.

BPD: You it!

Thanks Stace. We're so happy that you're so happy. You too can get backstage and meet your faves. Join BackstagePassDirect today.

Bonnaroo Day 3

This just in from BPD member StevieBoy:

I'm already too spent for words, but I've made it to the final day: Wilco, Elvis Costello, Springsteen. I'm jacked!!

I headed to the Which Tent where Booker T and the Drive By Truckers were playing. Booker T was not actually playing with the Drive By Truckers when I was checking them out but I think he came out moments after I left the stage to go see Raphael Saadiq at That Tent. Saadiq and his live backing band were amazing and had the entire crowd under the tent signing and dancing along to all of their songs.

One of the bigger acts I wanted to see all weekend was already playing at That Tent by the time I trucked over there. The artist, Jenny Lewis, had a huge gathering checking her out, including someone who was going to play the same stage later on: Elvis Costello. He ultimately joined Lewis to perform “Carpetbaggers,” which I'd actually suspected since the two worked together on that song previously.

I had a very tough time actually seeing her on stage, though, as there were so many people blocking the view, but her voice was strong and beautiful regardless. I envy all who could see Lewis and her band play, but I still feel fortunate to have been in attendance, especially when she covered the Traveling Wilbury’s “Handle With Care.”

With the performance time slots so close together, I had to make a quick choice of who I was going to check out next, finally deciding to head over to the What Stage to watch Wilco for a couple of songs and then return to That Tent for Elvis Costello.

Wilco was amazing and I really wish I could have seen more than I did. I enjoyed hearing “Handshake Drugs” as did thousands of others who flocked to the main stage to catch their performance. After soaking in a couple of tunes I made my way back to see Elvis Costello who stated his performance would include some special guests.

He played “Radio, Radio” as well as the Beatles’ “You’ve Got To Hide Your Love Away.” And his special guests wound up being Jenny Lewis and Allen Toussaint. Overall, Costello's set was strong and all of the fans were asking for more by the time it was over. Personally, I was thrilled to have heard “(What’s So Funny 'Bout) Peace, Love, and Understanding?” and "Veronica."

The Boss and band began at around 9:30pm to a full — and loud — house. This was the first time I'd ever seen Bruce Springsteen live and so I hardly kept my eyes off the stage.

I recognized a couple of songs but it became clear that I'm a novice when it comes to Springsteen’s catalog. I enjoyed hearing “Youngstown” as well as one particular track I never thought I would hear live in my life. Actually, it was a sign request — albeit an improbable one — but Springsteen apparently saw the humor in it and proceeded to play “Santa Claus Is Coming To Town.” It was more than I could have asked for.

People of all ages soaked in the almost three-hour set with some singing along and even more dancing and enjoyment of the cool evening. Springsteen admitted that Bonnaroo was only the second festival the band had ever played, their first being in Norway recently. Festival or not, The Boss played a full show complete with an encore as well as a great cover of Steven Foster’s “Hard Times Come Again No More.”

I laughed when Springsteen would ask the crowd if they were “all Bonnaroo’d out yet”. I was sure getting there, but I didn't let my heavy eyes prevent me from enjoying other tunes like “Glory Days,” “Dancing In The Dark,” and “Rosalita.” I later heard that it was quite rare to hear all three songs played live during the same show and I consider myself lucky to have done so.

Nine Inch Nails were another act I was pumped to see and apparently so was a major portion of the crowd who made it to the Which Stage before I did. I stood further away than I would've liked but I still enjoyed their awesome set, which included songs like “Terrible Lie,” “March Of The Pigs”, "I'm Afraid Of Americans,” “Burn,” and “Gave Up.” The showstopper, though, would have to be when Dillinger Escape Plan joined NIN on stage for “Wish.”

I'm outta gas. What a show!

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Member Review: Face 2 Face with Elton John and Billy Joel

Sufu wrote us:

First off, the bad news: I didn't get to meet Elton John. The good news? I got about ten minutes one-on-one with Billy Joel.

He told me what it was like touring back in the 70s and how so much has changed since then. This was great for me since my band wants to go out on the road and he helped me understand what we should and should not expect. BJ was really, really great.

But on to the show.

It was everything I could hope for, a sing along to a barrage of timeless rock classics.The voices of both performers are as strong as ever, and the musicians behind each of them were equally worthy of the massive applause that each song received. With a total performance time of over three hours.

The cheering grew loud at 7:45pm as BJ made his way on from stage right, and EJ from stage left. Their pianos slowly emerged from underneath the stage, and for the next 20 minutes the two were seated across from each other as they played a brief, but intimate set of songs. EJ took the reins shortly after, breaking into crowd favorites like “Crocodile Rock” and “Rocket Man”. Elton’s set was of course largely piano driven, but there was plenty of guitar to be heard from Davey Johnstone, a great player who stole the set away into several periods of intricate solos. Drummer Nigel Olsson was all smiles as he pounded the skins with all the vigor of a man half his age. The positive energy and the feel-good mood that was so prominent on the stage didn’t take long to penetrate into the crowd; most fans were on their feet and there was plenty of dancing in the aisles and elsewhere to be seen. Elton’s piano licks were impressive to say the least, at times it seemed as if something was bound to explode. As for his attire, it was kept rather low key – low key for EJ, that is. Gold shoes, his trademark glasses, and a dragon embroidered jacket were all part of the evening’s wardrobe, but there were no flashy hats or constant changes in dress.

The crowd’s applause for EJ’s electric performance merged with the applause of greeting as BJ walked onto the stage and opened up the piano and keyboard driven instrumental half of “Prelude/Angry Young Man”. Starting his dialog with the crowd by introducing himself as his own father, BJ took the crowd for a wild ride of memorable hits, delivering each one with a deep passion in his voice. He took to his feet and played guitar during the catchy “We Didn’t Start the Fire”, and gave a particularly energetic performance of “It’s Still Rock and Roll to Me” by tossing his microphone stand clear above his head and later aiming it into the crowd in order to let one lucky female fan sing the final words to the song.

BJ departed the stage, but before too long both performers re-emerged and finished the evening off with an extended set of with vocal and piano harmonies. The stage was almost crowded as the backing bands for both musicians shared the platform, providing a very full and rich sound. Alternating each other’s hits and sharing the lead vocals of each song, both EJ and BJ enjoyed themselves as much as the crowd. Just when it felt like all the hits had been played, the two would rip into another sing along classic – a true testament to their enduring legacy as musicians. Finishing off with Elton’s “Candle in the Wind” and Billy’s “Piano Man”, the evening ended with the performers in a warm embrace to an effusive applause. It was a truly heartfelt performance, and by its end the entire arena was singing along and feeling the passion of the songs. Years have passed since EJ and BJ first made it big, but the music they created is timeless.

All words fail to express my gratitude to BPD for giving me this experience of a lifetime.

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Member Review: Leonard Cohen

BPD member SuzieCalifornia recently wrote:

From the moment he ran onto the stage to the moment the last echoes of the sound of the band, crew, and him singing from the "Book Of Ruth" faded into applause and bows, Leonard Cohen held our hearts and souls in the palm of his hand. As a poet, singer, novelist, and song writer, Cohen has always delved into deep emotional waters, but when you see him in concert he not only tells you about those experiences, he becomes your guide through them.

Cohen's first book of poetry, Let Us Compare Mythologies was published in 1956 and his first recording,Songs Of Leonard Cohen, was released in 1967. Since then has released twelve books, fourteen albums, and been in front of audiences almost continually either reading or singing his work.

Last night, Cohen performed songs from nearly his entire repertoire of recordings for an audience that clung to each word he said and every note he and his band sang or played. Eager as a child and humble as a supplicant, Cohen stood before us with hat in hand (literally and figuratively) asking us to join him in celebrating something most of the world would have us deny - our emotions. He coaxed, teased, joked, and cajoled us into breaking down the walls the world builds around our hearts, while simultaneously providing the reassurance required to allow us to do so in public. Unlike those who would manipulate you with their music in order to make you react in a specific way, Cohen offered the audience the opportunity to feel whatever it was we needed in whatever amount we required.

You'd think that after months on the road performing the same songs over and over again they would reach the stage where the material becomes somewhat stale. Well, if it was the case, you couldn't tell it by the performance I saw as they attacked each song with a joy and enthusiasm that brought the audience to their feet time and time again. Songs like "Suzanne", "Bird On A Wire", "Famous Blue Raincoat", "Closing Time", and "Dance Me To The End Of Love", which audience members must have heard many a time before, sounded as fresh as if we were hearing them for the first time again.

Some concerts you attend you may remember a song or two in particular as highlights, while others are just a blur of excitement and noise. However once in a while you are fortunate enough to be part of an experience. Watching Leonard Cohen was one of those occasions. There were moments when the impulse to surrender to the wash of emotions being generated by listening to the music was so great that it was impossible not to just sit back and close my eyes and let myself go.

Leonard Cohen is seventy-five now, so who knows how many more times he's going to be motivated to tour again.......... and the 15 minutes he spent with me backstage were so filled with warmth, that I had to check to see if my feet were touching the ground.

None of this could have happened without the great people at BackstagePassDirect; kudos.

Suzie, you're most welcome.

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Member Review: The Boss

Member 80303 checks in:

Familiar name, new face...................... Jay Weinberg, the teenage son of longtime E Street Band drummer Max Weinberg. He and dad have been sharing timekeeping duties on the current Bruce Springsteen tour, and with the younger Weinberg in the drum chair for the final two-thirds of the three-hour show, the band’s chemistry was slightly unsettled for the better. Jay Weinberg hits just as hard as his father, and is touch looser, less predictable. His fills during “Radio Nowhere” kicked the song, and the concert, into a higher gear, and galvanized a band that was starting to pace itself.

Springsteen smiled in approval. He had to love the kid’s energy.

Springsteen is about as consistent as a performer gets. You pay, he plays until he drops. You may not love all the songs, you may wish he’d play "Glory Days" or that obscure B side no one else knows except you, but Springsteen always works his tail off.

All of that was still true, but his longtime E Street Band is in transition. They’re a band of pros, and they do their jobs well, but they lack the physicality, the sustained urgency of their prime. Slowly, the band is being retooled. Stellar organist Danny Federici died last year, and has been replaced by Charles Giordano. Patti Scialfa, Springsteen’s wife and backing vocalist, was back home in New Jersey with their three children. Violinist Soozie Tyrell, a relative newcomer, has assumed a larger role, and longtime saxophonist Clarence Clemons a smaller one, in part because he’s been hobbled by ailing hips (he had double hip replacement surgery in 1998).

Springsteen has always played his band like a small orchestra, and their versatility allowed him to explore the widest contours of his catalog. He ranged from the stark blues of “Seeds” to the Celtic celebration of “American Land.” The E Streeters expertly negotiated the ebb and surge of Jimmy Cliff’s “Trapped” and the gospel drama of “The Rising.” And they figured out the chord changes for Tommy James and the Shondells’ 1968 garage-rock classic “Mony, Mony” during the audience-request portion of the concert.

“Doesn’t it have some weird bridge?” Springsteen asked guitarist Steve Van Zandt. It did, and they crossed it unscathed, in one of those smile-inducing moments that echoed the band’s early days, when Springsteen used to shout out impromptu covers with mischievous regularity.

If there was a disappointment, it was that Springsteen didn’t make a stronger case for his latest album, “Working on a Dream.” I’m not a fan of the album, but I always look forward to how the singer reinvents his studio work on the stage. In this case, however, he barely touched the new material, which was a shame, because he did a marvelous job of turning “Outlaw Pete” into a theatrical, Old West showpiece while doffing a black cowboy hat with Spaghetti Western guitars, Tyrell’s campfire fiddle and Grand Canyon reverb on the vocals.

As usual, Springsteen divvied up the show into thematic sections. Among the strongest was the topical trinity of “Seeds,” “Johnny 99” and “The Ghost of Tom Joad,” a seething commentary on blue-collar citizens brought to the brink of desperation by hard times. Each was punctuated by nasty guitar solo: Springsteen channeling the mantra of “It’s gone, gone, it’s all gone” on “Seeds” with a vengeance through his instrument, then Van Zandt riding hard with “Johnny 99” and Nils Lofgren spinning out from Max Weinberg’s surging drums on “Joad.”

The show started to settle a bit after the midway point, but Jay Weinberg took care of that problem. During “Waitin’ on a Sunny Day,” one of his more enthusiastic fills brought an arched eyebrow and a smile from bassist Garry Tallent. The newcomer wanted to run, and the band had no choice but to rise to the challenge.

The set list:

1 Badlands
2 Spirit in the Night
3 Outlaw Pete
4 She’s the One
5 Working on a Dream
6 Seeds
7 Johnny 99
8 The Ghost of Tom Joad
9 Raise Your Hand

Audience request
10 Trapped (Jimmy Cliff)
11 Candy’s Room
12 Mony, Mony (Tommy James and the Shondells)

13 Waitin' on a Sunny Day
14 The Promised Land
15 The Wrestler
16 Kingdom of Days
17 Radio Nowhere
18 Lonesome Day
19 The Rising
20 Born to Run

Encore
21 Hard Times Come Again No More (Stephen Foster)
22 Jungleland
23 Land of Hope and Dreams
24 American Land
25 Dancing in the Dark
26 Rosalita

I spent most of my backstage time with Nils, who I've known since our high school days in Bethesda. He's traveled quite a distance since Grin, yet he remains a truly stand-up guy.

It doesn't get any better than backstage with the Boss. Spend time with your faves; request your passes today. Not a member? It's not to late; join now.

Member Review: Slipknot

Member No Pretense wrote:

When Slipknot played last night, we got a view of a demented circus in which the animals are all rabid and the clowns wear make-up made from crushed bone dust and human blood.

With their 1999 self-titled debut, the nine Halloween-masked members of Slipknot enjoyed almost immediate success, riding the cresting popularity of the freshly minted genre of ‘nu-metal’. Of course, this brought along an inevitable backlash from some metalheads, who viewed nu-metal’s mix of alternative music with funk basslines, hip hop elements, and the canned aggression of X-Games ad campaigns as overly commercial. Add the fact that Slipknot’s popularity appeared nearly instantaneous, seemingly arriving without being earned through years of releasing forgotten split 7-inch records with bands like Mgla, and you have a tough sell to some purists.

But truth be told, the Iowa-based band owes less to hip-hop than they do to alternative metal. Essentially, they’re a very angry Tool without the math, or a less lethargic Acid Bath. Creating what could be described as high-octane grunge for kids with behavioural problems, their angst-ridden lyrics continue to strike a chord with disillusioned teens, who feed off the band’s nihilism and near boundless aggression.

That aggression was out in full force last night, as the band took the stage to a nearly packed house, dressed like nightmarish, serial killing GI Joes, and basked in the crowd's adulation.

Though Slipknot can sound generic on recordings, their stage show is something to behold. Not only are songs like Eyeless and the profanity-laced Get This absolutely crushing in a live setting, but the band is a fountain of bizarre, chaotic energy. With nine members, including a DJ, sampler, and two custom percussionists on top of super-drummer Joey Jordison, not everyone is constantly occupied with their instrument. Yet there were no idle moments, with members constantly roaming the stage, thrashing wildly or engaging in elaborate Punch and Judy style pantomime.

Between songs, singer Corey Taylor worked the crowd into a frenzy that matched his own spastic convulsions. But despite his manic energy, Taylor managed to keep his vocals tightly controlled, alternating between furious screaming and melodic passages in tracks like Wait and Bleed, Duality, or Before I Forget.

Equally ferocious were guitarists Jim Root and Mick Thomson, who thrashed their way through a down-tuned crunch of sound, though some of the solos drifted away from Root towards the end of the band’s nearly 2-hour set.

Surprisingly, Slipknot didn’t seem particularly interested in playing tracks off their new record, though they did make the token effort to play singles Sulfer, Psychosocial and the morose Dead Memories. Instead, the focus was on their earlier, heavier work, and some of the more experimental tracks from 2004's Vol 3 (The Subliminal Verses) and 2001’s Iowa. The chiming guitar intro of Vermillion, for example, brought to mind Twilight Zone music cues. And the marching band rhythms of The Blister Exists were aggressively martial, particularly in light of the group’s current uniform of tight jeans, tattered military-style jackets, and Converse sneakers, which gave them the appearance of a homeless hipster army.

Exhaustingly intense, all the sound and fury finally built to a grand crescendo of chaos. By the time final song Spit it Out was played, Jordison was drumming at a 90 degree angle on his movable drum riser. The percussionists were throwing beer kegs at the sampler, and DJ Sid Wilson was essentially swinging from the rafters. Quite a circus and certainly memorable as the whole quaking mess was viewed from backstage.

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Member Review: John Prine

Member 90210 wrote:

John Prine has a story he likes to tell about the time he thought he had finished recording a new album, only to find that the record producer wanted him to write one more song for the disc.
“I thought, ‘I’ll show him – I’ll write the worst thing he’s ever heard,’” the 62-year-old singer-songwriter remembered during his concert on Saturday night at the Warfield.
The fact that the resulting effort was “Fish and Whistle,” an unbearably catchy country-flavored tune that has since become a true fan favorite, only confirms my longstanding suspicion: Prine simply can’t write a bad song.
Oh, but he sure can pen some great ones, and that’s all that fans heard during the folk-rock star’s 24-song, two-hour set.
Prine’s tunes come in three distinct flavors: funny, sad and sad but funny. It’s hard to think of another singer-songwriter on the planet that handles both heartbreak and humor as convincingly as this former mailman from Maywood, Illinois.

Whenever there is talk about the greatest singer/songwriters in rock history, the usual suspects are always named: Neil Young, Bob Dylan, Brian Wilson, Smokey Robinson, etc. Any such discussion, however, is incomplete without the mention of John Prine.
During his performance, Prine, now almost 62, gave the capacity crowd 23 excellent reasons for why he should be ranked among popular music's all-time great wordsmiths. Kicking off the show with the sing-along favorite "Spanish Pipedream," Prine proceeded to mix humor and sorrow, joy and frustration, as naturally in his songs as they blend in real life. That ability is the No. 1 thing that separates Prine from most other folk-rockers. There's not another guy (or gal) on the planet, with or without a guitar in hand, that can take a listener from being teary-eyed one moment to giggling the next as quickly, and as convincingly, as John Prine.

Play List

1. Spanish Pipedream
2. Bruised Orange (Chain of Sorrow)
3. Souvenirs
4. Far From Me
5. Please Don't Bury Me
6. Fish and Whistle (great story about how he wrote that song)
7. Glory of True Love
8. Crazy as a Loon
9. Angel from Montgomery
10. Long Monday
11. Donald and Lydia
12. Bottomless Lake
13. Mexican Home
14. Dear Abby
15. Sam Stone
16. Bear Creek
17. That's Alright By Me
18. She Is My Everything
19. Ain't Hurtin' Nobody
20. Hello in There
21. Lake Marie
22. People Putting People Down

encore
23. Paradise.

Hopefully I got all the titles right because Bottomless Lake and That's Alright by Me were new to me. We spent about 10 minutes talking backstage and he told a few great stories of days gone by. He jokingly told me “I don’t know why, in my early songs, I always killed off the main character................There goes the sequel.”

Thanks to BackstagePassDirect for comin' thru for me.

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Member Review: The Pretenders

Member "NewMom2B" wrote:

Chrissie Hynde and the Pretenders, with drummer Martin Chambers the only other remaining original member, rocked us on Mardi Gras night with a mixture of tunes old (“Talk of The Town,” “Message of Love,” “Back on the Chain Gang”) and new (“Don’t Cut Your Hair,” “Rosalee, “Love’s A Mystery”) in promoting their ninth and most recent album, the terrific Break Up the Concrete.

Hynde, an American girl (Akron, Ohio) who formed the group with three British males in 1978, is still going strong at age 57 even while flecks of gray start appearing among those trademark black bangs. She refuses to sit on her Rock and Roll Hall of Fame laurels (Class of 2005, with U2) or turn into a bland nostalgia act that winds up playing in casino bars and hotel lounges.

The Pretenders hit the stage to the recorded sounds of “On the Street Where You Live” from My Fair Lady. Still looking as cool as she did on the cover of Pretenders II in 1981, Hynde, wearing a dark tie and a coat with tails over a striped vest and black top, worn but slim-fitting jeans showing a gaping hole just under the top right pocket and knee-length boots with high heels, tore into “Boots of Chinese Plastic,” the energetic opener to Break Up the Concrete that coulda been a Top 40 contender back in the day.

Introducing the album’s second track, “Don’t Cut Your Hair,” Hynde snarled, “Here’s one for all the gentlemen in the house ... if there are any,” then shimmied and swayed across the stage.

And the Pretenders were off and running, while the full house occupied mostly by Middle-Aged Crazies ate it up, most of them standing on their feet for much of the show. Hynde, notorious in her heyday for telling unreceptive, unruly or unappreciative audiences where to go, was gracious throughout most of the 90-minute set. She smiled and bowed often, looking happy to be working with a group that has gone through enough personnel changes to keep Wikipedia working overtime.

She gave shout-outs to her boys in the band (past and present), calling the white-haired Chambers (with mutton-chopped sideburns and muscle shirt while sitting behind a clear plastic device that resembled a splash guard on a buffet table), “the world’s greatest drummer.” While those red locks are nevermore, he appeared as vibrant as he did back in 1981.

In introducing “Kid,” Hynde honored the memory of the band’s first guitarist, the extraordinary James Honeyman Scott, and bassist Pete Farndon, both of whom died of drug overdoses in the early '80s. “Without them, we wouldn’t be here,” she said.

Her love of country music is evident with the addition of steel pedal guitarist Eric Heywood, formerly of Son Volt, who was featured on “Love’s a Mystery” and “The Nothing Maker,” the latter a song Hynde said is “about a guy who has less ambition than all you guys put together ... and that’s why I love him.” And while bassist Nick Wilkinson has been a constant touring companion in recent years, the addition of lead guitarist James Walbourne has given the Pretenders a renewed vigor.

Walbourne’s rapid-fire riffs on “Rosalee” and “Thumbelina” were scorchers that set the stage for a frenetic finish that included four encores off their 1980 debut album, highlighted by the fast and furious “The Wait,” "Tattooed Love Boys," and “Precious”.

Yet Hynde and the Pretenders didn’t make this a predictable setlist. She and Walbourne actually shared a laugh after she prematurely moved Ray Davies’ “Stop Your Sobbing” (with a quick reference to the “Muswell Hillbilly,” who’s the father of her first child) up in the order.

A couple of times in the set Hynde even took requests, although she shot down one lame choice by growling sarcastically, “At least make it a Pretenders song.” For the most part, though, she appeared relaxed and in a festive mood, watching fans throw Mardi Gras beads on the stage and almost placing a cheap green, gold, and purple wreath made of tinsel around her neck. "How come Stevie Nicks gets cuddly dolls and hats?" she wondered aloud.

She didn’t disappoint anyone who was wondering if her mean streak had completely vanished. All it took was an asshole who sneaked in a cellphone camera, despite the highly visible postings at the entrance that they were not allowed.

On two occasions she got visibly annoyed, including in the middle of “Day After Day,” when Hynde, tambourine in hand, snapped “Can you stop it?” then continued like nothing ever happened.

Okay, so Chrissie isn’t always Little Miss Sunshine. Isn’t that part of her appeal? Yet, in the back before going on, she stood with me and shared stories of motherhood (I'm at 6 months and HUGE!!), remembering how thrilled she had been to be able to get back in her “cool jeans” only months after giving birth.

That's the yin-yang of Chrissie as she keeps playing for legions of Hip Chicks and Rock Jocks everywhere, continuing to challenge her band, her fans and anyone else who dares to come between them. No pretending or pretension about it.

Definitely, being backstage at great shows is where its at. Become a member of BackstagePassDirect and get your dreams made real.

Member Review: The Killers

BPD member BabaluBabe writes:

This evening had it all. There were very good moments, some bad song choices and sound problems that had to be overcome. One audience member enjoyed themselves too much and a full crew of police officers showed up.

The concert started out simply enough. There were no confetti drops at this Killers’ show, but the stage was set up Las Vegas-style, with lights in the shape of a palm tree and lots of other glittery designs.

This time around, the Killers crowd wasn’t totally filled with young indie-rockers. In fact, a large chunk of the audience was 30-to-50, well dressed and looking like they were easily able to afford the $50 ticket price.

Maybe that’s what inspired the Killers’ set. Instead of kicking into the raw, indie-rock numbers the band’s become famous for, the Killers decided to show off their new pop tunes off of Day & Age. Perfect music for a Top 40 radio crowd — not so much fun for indie-rock fans.

The Killers kicked off the night playing new songs such as “Human,” and frontman Brandon Flowers did warn the audience that they were in for a barrage of new tunes. “We hope you like the new album,” Flowers said. “We’re going to be playing a lot of it for you tonight.”

That’s where things started to go wrong.

The Killers pounded out track after track of new material from Day & Age, only pausing to throw in a song or two from band’s two earlier CDs. That’s when musical karma hit the band.

In the midst of the Killers’ new, overly-poppy tunes, the sound went out. Seems the Killers brought in their own sound system, but the crew was having trouble bringing it up to high quality. Watching this chaos from the back gave new meaning to the term "Chinese fire drill". For a few moments, the music just stopped and everyone appeared lost and noticeably frantic.

Fortunately, they finally realized how to make the band’s stage sound become crystal clear, and it was all uphill from there.

The group suddenly switched gears and pulled out crowd pleasers such as “Read My Mind” and “Mr. Brightside.” The songs energized both the band and the crowd.

It proved that when the Killers have the right material, they can be a brilliant band.

IMHO, the Killers have talent, chops and songwriting ability, but the group’s too busy chasing Top 40 radio for now. I’d like to see the Killers again when they decide to return to their musical roots.

Keep sending those reviews in, members. Those who haven't ever seen a show from backstage or those who would like to do it again, visit us at BackstagePassDirect.com and become a member today.

Member Review: Metallica

JGrunge wrote to us:

I remember the day that I read about the Metallica passes on your blog. I went nuts. Two months later, there I am backstage and out of my mind.

The show opens with “Broken, Beat & Scarred.” Hetfield screams “This song is about you, and it’s about Metallica”.

“Show your scars,” .......................everyone is up and yelling “We die hard!"

The Mighty Met flowed seamlessly from Death Magnetic’s “The End of the Line” to Kill ‘Em All’s “The Four Horsemen” and played for a solid two hours without a break before a three-song encore. And when it seemed like they couldn’t possibly top the power of “The Day That Never Comes,” Hetfield rose from his knees slowly and smashed into the opening chords of “Master of Puppets,” the first part of a brutal two-front aural assault that featured “Battery” at the back end.

The setlist was heavy on material from Death Magnetic — six out of the ten total tracks from the album were played, and each one of them went over better than the previous one. It was obvious the boys took great pride in playing the new album. Alot of St. Anger and Load and Reload was AWOL, surely by design.

Hetfield's guitar was as crisp and devastating as ever, and Kirk Hammet’s notoriously sloppy soloing was unusually tight. Rob Trujillo’s thundering low-end bass and Lars Ulrich’s righteous double-bass drums drove the signature groove that sets Metallica apart from the overblown metal acts that have tried so hard to follow in their footsteps. The boys called up the house lights and turned the focus to the raucous crowd for a revelatory rendition of “Seek and Destroy” to finish the show. Black beach balls emblazoned with the iconic “MetallicA” logo rained from the ceiling as the veterans revived their thrash glory days. Two and a half hours later, their sound still echoed. Louder, faster, and harder than ever.

Do they belong in the Rock and Roll Hall of Fame? Dumb question!

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Members Review: Billy Joel

BPD members "Ralphie and Alice" wrote:

Billy Joel and his eight-man band showed up in full force. The 59-year-old didn’t show his age for a moment during the lively 22-song concert, which started with “Miami 2017 (Seen the Lights Go Out on Broadway),” followed by “The Entertainer.”

He sprinkled in some light banter and a few anecdotes here and there, but the night was all about high-energy, up-tempo hits like “Keeping the Faith,” “Movin' Out (Anthony's Song),” “The River of Dreams,” “We Didn’t Start the Fire” and “Only the Good Die Young.” He also threw in a couple more obscure songs for good measure: “Zanzibar” and “Stiletto” (“We haven’t done this in a while, but, if we screw up, at least we’ll have a bond,” BJ said). While gyrating across the stage, twirling the mic stand and throwing it in the air, it was pretty obvious that this entertainer loves his job more than ever.

Thanks to his rotating piano, BJ never had his back to one half of the crowd for too long. And, although he was always center stage, BJ generously shared the spotlight with band members for solos, like saxophonist Mark Rivera; flugelhornist Carl Fisher; and even a roadie named Chainsaw who sang AC/DC’s “Highway to Hell.”

He wrapped up the show with perhaps his greatest hit of all, “Piano Man,” which turned the 5,500-seat arena into an intimate piano bar, with strangers swaying in unison, cell phones and lighters glowing in the darkness and everyone singing along. BJ didn’t contribute at all to the last chorus—and the audience compensated well.

He exited with this reminder to the audience before leaving the stage. “Don’t take any shit from anybody.” You said it, Billy!

Backstage, we were allowed to watch the final soundcheck and then were introduced, one by one, to the band. Finally, BJ himself appeared and graciously shot the shit with us for about 15 minutes. He was friendly and easy to be around, not like some other jerks we've had the "pleasure" to meet in the past.

This was not the first time that we've seen a show from the back, but it's always something very special.

Great job, BPD; you've delivered the goods.

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Member Review: Bob Dylan

BPD member RoyBoy wrote:

For years, Dylan has been known to keep to himself during shows, often only speaking between songs in order to introduce his band members. But on this special night, Dylan spoke.

"I was born in 1941," he said in his scratchy voice. "That was the year they bombed Pearl Harbor. I've been living in darkness ever since."

He turned back to his keyboard and led the band in an almost unrecognizable rendition of "Blowin' in the Wind." Dylan opted to keep his voice low and sparse throughout most of his set, as he half-sang, half-coughed the words into the microphone, but at the end of "Blowin' in the Wind" he strained his voice to hit the high register of the original melody and held onto the words in the chorus as long as he could. When his voice couldn't bear any more, he picked up his harmonica and practically skipped to the center of the stage. Dylan was in to it, and it only served to further ignite the fired-up crowd.

As the sold-out audience rose to its feet, Dylan and his bandmates lined up at the front of the stage to take a bow. In his tight tuxedo pants and white wide-brimmed hat, Dylan danced around like a marionette doll, waving his pointer fingers in the air like guns. It was surprisingly charismatic and endearing moment, and it had the whole room roaring.

The set list:

Cat's in the Well
The Times They Are A-Changin'
Summer Days
This Wheel's on Fire
Tangled Up in Blue
Masters of War
Stuck Inside of Mobile With the Memphis Blues Again
John Brown
Beyond the Horizon
Highway 61 Revisited
Shooting Star (with Dylan on guitar -- another rarity)
It's All Right Ma (I'm Only Bleeding)
Under the Red Sky
Thunder on the Mountain
Ain't Talkin'

Encore:
Like a Rolling Stone
Blowin' in the Wind

As unbelievable as this will sound, I arrived late and almost didn't get to meet Dylan at all. Am I stupid or what?

I did get to watch the show from backstage and that was a real hoot. Dylan apparently had someplace to be after the show, so I pretty much only got to shake his hand and tell him how much he meant to me before he was whisked away.

That'll have to be good enough for this idiot!

Don't be an idiot..............Join BackstagePassDirect today and experience what so many other satisfied members like RoyBoy experience.