The events of last night had me wonder what else is possible in this lifetime. Will we see flying cars, or is that still too far away? Money has been said that it cannot buy happiness, but I am sure it brought some to any concertgoer at New Era Field yesterday. Who wouldn't when a band as big as Gun's N Roses defied the odds and reunited for what may be their final jaunt to include both rock behemoths such as Slash and Axl? 'It's So Easy' to presume that it was the major force behind this spectacle, but lets focus on this night, specifically, instead of what fueled this night train's resurgence.
My subconscious has appreciated their hits that I have heard on rock radio, yet I cannot say that I was fan. It wouldn't be an incredible live show without those hits I have grown to love, but it wouldn't be the same without the songs I could not recognize, or would it? 'Pain Lies on the Riverside' and 'The Dolphin's Cry' are songs worthy of any band's canon, and strengthened Live's nine song set. They sold the drama, you could feel the energy that resonated through the stadium, it also helped that there was a livewire of a fan bringing smiles and a couple close calls to the temporary denizens of the pit.
I heard several remark about the synchronized percussion of the two drummers, which was commendable, I could see passion resonate as sweat ran down drummer Chad Gracey's chin and while I did not have a close enough view of the other drummer, I can say I believe he was not devoid of either.
At one point, Kowalczyk remarked "It's a good day when you open up for Guns 'N' Roses" and I am certain many felt the same. I knew some of their songs, and that they could rock hard, but was not certain if they could pull it off opening up for G'N'R and they did. They even played a tribute to the late, great Chris Cornell, playing the Audioslave song 'I Am The Highway' near the end.
Of course, with Axl's reputation 'Patience' is required when showtime is on the line, and if you waited until the encore you were rewarded. Their pal, Mr. Brownstone, made an earlier entrance to the stage before they ripped through two 'Chinese Democracy' cuts, one I had an inkling was the eponymous, and the following entry I remembered a little 'Better.' Five tracks in, they welcome us to the jungle and no one seemed to mind.
Their first cover, out of several, made it to the roster of their double album for a reason, yet my only gripe was that I could not hear the iconic riff in the live performance; so 'Live and Let Die' takes on a whole new meaning? Otherwise, the energy was dangerous; a warm up to the aural strut and swagger of 'Rocket Queen.' While 'You Could Be Mine' brought us into the realm of apocalyptic love, or it may be simply its presence on the Terminator 2 Soundtrack, either way we were able to see a glimpse of how terminators would appear as G'N'R impersonators.
I may be 'Estranged' to most of the names of their songs, but I have not listened to their albums in full for years, yet when I heard that opening riff, it was like reuniting with an old friend I haven't heard from in awhile.
While the visual accompaniment to 'Civil War' and 'Coma' were appropriate it was hearing the former live that enriched its value in my eyes, and it feels like a timely addition to the general set, considering how things are nowadays; similar problems, yet need to be solved in different ways. The latter described how I felt at one point in time; I was tired, but it may also had to do with the overexposure to the proficiency that every band member displayed.
I couldn't sense tension, but I could sense a "sibling rivalry" between Axl and Slash. Slash with the technicality that is sometimes overlooked and taken for granted when compared to the larger than life stage presence of Axl; he is talented for sure, and ran across stage like a madman at certain intervals in the show. There was a plus side to Axl's urge to change his wardrobe, it allowed Slash to showcase his talent with Jams and interludes. Duff even capitalized on Axl's absence singing a cover of 'New Rose' by the Damned, so that tendency benefitted everyone.
While we're on the subject of covers, we might as well mention the cover people clamored to hear, their rendition of 'Knockin' on Heaven's Door,' another cover they made their own. Slash and Richard Fortus dazzled with a duet of Floyd's 'Wish You Were Here' which segued quite nicely into their epic 'November Rain.' The last cover, pre-encore, was not the least worthy of note. Mr. Cornell was honored yet again, by one of the biggest bands in rock, not that his career or influence was anything to easily dismiss. 'Black Hole Sun' suited Axl's voice well and was a slow burning tribute, with a brooding, yet patient fury.
If you left on the 'Nighttrain' then you missed its stop to 'Paradise City,' a song which appeared that it was not going to be performed, yet it was saved for last; all it took was patience! As for the Who, 'The Seeker' became the last cover of the night.
It wouldn't be right if I had not mentioned the rest of the crew. I mentioned Duff, but I loved the fact he was sporting a sign of 'the purple one' on his guitar.
It's unfortunate that Dizzy Reed has been with the band nearly as long as Axl, but he doesn't seem to mind. He has played an integral, yet not as celebrated role in the band, and for that I must make an extra nod.
Even though she has been with the band for roughly a year, I see that her fate might be similar, though Melissa Reese's talent, energy, and beauty, were not unnoticed; with those giants, it is easy to miss others not in the forefront. Just because they remain out of the spotlight, does not mean they are without merit.
Richard Fortus, who has seen his place as both rhythm and lead guitarist, and that energy and passion that I saw him express was noteworthy.
Last but not least, was a pillar of the rhythm section, Frank Ferrer; the stamina, energy, and passion that he showcased also gave me another reason to "rock out" as I would have with the usual suspects.
Thursday, August 17, 2017
Thursday, August 3, 2017
Scott Stapp gone Solo! (Riviera Theatre-May24th2017)
I would be remiss if I had failed to mention the opening performance of Jeremy Willet, it was short yet sweet, uplifting and heartfelt, unexpected and engaging. All four songs were worthy of note, yet "Empty Grace" was the only title that I remembered. Unfortunate, but the praise was not full of empty words and the result was a fuller heart; It was a great way to start of the night.
I have heard of the second band, by name, but not by their aural identity, and finally I heard their brand of modern hard rock. Their sound is perfectly suited for the acoustic avenue, and I will do the "Best I Can" to present them in a positive light, not difficult, without bias, and without saying "Sorry," which unpologetically injected a tribute to Chris Cornell with a few verses from Temple of the Dog's "Hunger Strike," which was one of their finest moments. The setting also brought their harmonies, akin to Alice in Chains, to prominency, on songs such as "Die Trying" and others, which tend to be buried under their studio-electric counterparts. One of my favorites had to be "Tear Down The Wall," one of their more assertive entries, in the acoustic vein.
As much as I love the opener, I was not ready for the loading of the gun in the query, and the "Bullets" that followed. The latter is one of their heaviest songs, sonically, and didn't expect to hear it in this performance. I watched some performance videos before hand to see how this acoustic treatment would work, but it still took me by surprise that it was on the set.
Stapp would introduce most songs with a little known fact or story regarding the next entry whether it was when they reflected on their rise to fame and how the haters are formed out of human clay with "What If" or how the denouement of their debut would have been under a different name; how they questioned if this piece was in alignment with their identity; how it was stressed that they have it on the record, and so they closed the album with one of their most engaging, popular, and complementary entries on this document of life. There were many, but of all performances of the night, this was another "One" to remember.
The majors such as "My Own Prison," "Higher," "Arms Wide Open," "My Sacrifice" and "One Last Breath" were all performed , the last of which was preceded by a universal call to arms in renouncing and eradicating the stigma of mental illness and the isolation that it presents, especially when the one suffering is too afraid to seek assistance because they feel they will not be understood.
The life of a successful rock band present opportunities for each member to improve or belittle themselves, as well as memories. "There were many good times" Stapp reminisced about his six consecutive daily jam sessions with The Doors and Woodstock '99, and how his love for the band, and his budding interest in music of his own design, began; due to the fact that Jim Morrison had indirectly convinced Stapp to enroll in his alma mater. "Roadhouse Blues" was an uplifting, enthralling, and complementary break from the grittier and darker material that had preceded it.
With their rising fame, a conflict of egos began brewing as they had completed molding their Human Clay tour, and writing sessions for their third album had found a perfect description of the state that the band was in with "Weathered." It was a song I was hoping to hear, and heard it twice!
Scott had remarked how his career came Full Circle. First, going to parties with his pal and colleague of awesome, Mark Tremonti, and playing acoustic for anyone that would listen to find himself with a wider audience willing to listen and sing along.
The human will can surprise more than just the self, but any onlookers, disbelievers, haters, etc. As band's relations disintegrate, they can also regain traction with absence, and so I describe the polar opposite when it came to the need of Creed, individually and as a whole, to "Overcome" their differences, mute their egos and create the album that never was; but promised before they compiled their Greatest Hits. The song itself has a passionate and energetic frontman breathing life into the words and listener, in alignment with air-guitar and head-bang worthy fury of Tremonti, Phillips and Marshall, whispers to the will, and a universal and timeless message. The value was only reinforced with this dynamic rendition of the song; the majority utilized the, due to artistic liberty or ignorance, "Drum Stool" until the aggressive climax where we saw the drum kit at large and every member on point; but that occurrence was not rare, considering Ron Thal was part of the band.
I had my doubts when I had heard that the show would be acoustic, but after checking a few clips, they subsided. I feel that the acoustic was even better than a full electric, devoid of the excessive noise and volume, that dependent on venue, can really drown the vocals. You could hear every member playing their part, literally, in a full sound.
I have heard of the second band, by name, but not by their aural identity, and finally I heard their brand of modern hard rock. Their sound is perfectly suited for the acoustic avenue, and I will do the "Best I Can" to present them in a positive light, not difficult, without bias, and without saying "Sorry," which unpologetically injected a tribute to Chris Cornell with a few verses from Temple of the Dog's "Hunger Strike," which was one of their finest moments. The setting also brought their harmonies, akin to Alice in Chains, to prominency, on songs such as "Die Trying" and others, which tend to be buried under their studio-electric counterparts. One of my favorites had to be "Tear Down The Wall," one of their more assertive entries, in the acoustic vein.
As much as I love the opener, I was not ready for the loading of the gun in the query, and the "Bullets" that followed. The latter is one of their heaviest songs, sonically, and didn't expect to hear it in this performance. I watched some performance videos before hand to see how this acoustic treatment would work, but it still took me by surprise that it was on the set.
Stapp would introduce most songs with a little known fact or story regarding the next entry whether it was when they reflected on their rise to fame and how the haters are formed out of human clay with "What If" or how the denouement of their debut would have been under a different name; how they questioned if this piece was in alignment with their identity; how it was stressed that they have it on the record, and so they closed the album with one of their most engaging, popular, and complementary entries on this document of life. There were many, but of all performances of the night, this was another "One" to remember.
The majors such as "My Own Prison," "Higher," "Arms Wide Open," "My Sacrifice" and "One Last Breath" were all performed , the last of which was preceded by a universal call to arms in renouncing and eradicating the stigma of mental illness and the isolation that it presents, especially when the one suffering is too afraid to seek assistance because they feel they will not be understood.
The life of a successful rock band present opportunities for each member to improve or belittle themselves, as well as memories. "There were many good times" Stapp reminisced about his six consecutive daily jam sessions with The Doors and Woodstock '99, and how his love for the band, and his budding interest in music of his own design, began; due to the fact that Jim Morrison had indirectly convinced Stapp to enroll in his alma mater. "Roadhouse Blues" was an uplifting, enthralling, and complementary break from the grittier and darker material that had preceded it.
With their rising fame, a conflict of egos began brewing as they had completed molding their Human Clay tour, and writing sessions for their third album had found a perfect description of the state that the band was in with "Weathered." It was a song I was hoping to hear, and heard it twice!
Scott had remarked how his career came Full Circle. First, going to parties with his pal and colleague of awesome, Mark Tremonti, and playing acoustic for anyone that would listen to find himself with a wider audience willing to listen and sing along.
The human will can surprise more than just the self, but any onlookers, disbelievers, haters, etc. As band's relations disintegrate, they can also regain traction with absence, and so I describe the polar opposite when it came to the need of Creed, individually and as a whole, to "Overcome" their differences, mute their egos and create the album that never was; but promised before they compiled their Greatest Hits. The song itself has a passionate and energetic frontman breathing life into the words and listener, in alignment with air-guitar and head-bang worthy fury of Tremonti, Phillips and Marshall, whispers to the will, and a universal and timeless message. The value was only reinforced with this dynamic rendition of the song; the majority utilized the, due to artistic liberty or ignorance, "Drum Stool" until the aggressive climax where we saw the drum kit at large and every member on point; but that occurrence was not rare, considering Ron Thal was part of the band.
I had my doubts when I had heard that the show would be acoustic, but after checking a few clips, they subsided. I feel that the acoustic was even better than a full electric, devoid of the excessive noise and volume, that dependent on venue, can really drown the vocals. You could hear every member playing their part, literally, in a full sound.