Bublé in Buffalo February 27th, 2019 Recollection

Due to his detestation of the classification "fan," I am allowed to call myself part of the Bublé family, and have been so for over a decade now, to which I am honored to be a part of; further context expanded upon at his concert toward the end of the show. Being part of the "family," it could cause criticism without bias to be elusive. However, the main objective is to recollect what was seen, heard and felt, and let me tell you, there is more than non-bublievers and first timers would expect, like Gia. This was the seven year old's first concert, who was probably glad that his "...all Christmas songs" setlist was a joke. I knew it was a long shot, joking aside, but I really did want to hear "The More You Give (The More You Have)" To YouTube! Later on!
Being as what follows may only interest a select few, tens of thousands people, if we consider the attendance, I'm going to suggest that you skip the next few paragraphs, if you just want to hear about the music; though there will be some more of the commentary unrelated to music further on as well.
I may not be adept at acknowledging and addressing the various types of performers out there, but I know that there are two basic approaches; artists that just focus on performing the music, and those that want to perform their music and do it well, but also give their audience something more.
There is no doubt as to which approach Michael takes, and aside from giving the audience a great show, he gave some fans low fives, selfies, a formerly unsigned can of Bubbly, and a chance to appear on "Buble's Beloved," a concert feature brought upon by his love of showers, and his profession of envisioning himself singing on "the Voice" of "American Idol." "You cannot say that there is not one song that you sing in the shower, and you kill it" Bublé proclaims, paraphrased, before he gives a fan a shot to sing that shower song. He admits the trial the night before did not fare well, and was leery when one prospect was uncertain in their ability. A testament to their being balance in the world, the next prospect requested that her husband hold the beer, to which Bublé joked "that is not always a good sign, and look at that, its almost as big as your head." Safe to say she did kill her shower song, to Michael and our amazement. The song? Leonard Cohen's "Hallelujah."  Before the next contestant, trumpeteer for the orchestra, Michael Bublé  sang the chorus of Cohen's classic in a higher register; while both performances were notable of recognition, I prefer the latter "You're Nobody Til Somebody Loves You," I cannot recall the names of the performers.
 This may be one of the first concerts where I had no fear of the artist performing some of the big songs, and only a shortlist of obscure requests. To end on a high note, in my opinion, is more important than starting off on one. First impressions can be very hard to shake, but there was nothing to worry about. People can halfheartedly state that the first song "set the tone' for the night, but this time it truly did, and continually renewed that state of "Feeling Good."
You could tell Michael was feeling "...maybe too comfortable" with the crowd; was genuinely ecstatic of the awe-dience.
"I cannot believe it, I cannot believe that you are here. I heard the forecast and it snowed all day and thought 'aw sh**! They're not gonna make it, and you came! I thought I was going to have to mold my own audience, to which I would be king" before he made a Game of Thrones reference; paraphrased from what I could remember. He was extremely grateful for the crowd, and praised Buffalo as being an "Adult Disneyland" including the best of both Canada and the U.S.
I understand that when someone may praise you, it can hamper your ability to perceive their person and what they say objectively, but I believe he was truly genuine, and it was great to be there.
Considering there may not be another place to interject this statement, I could see Bublé as a talk show host, and on the gradual rise as a comedian, because he really engaged and interacted with the crowd, interjected some monologues, and kept this aspect of his concert on the same level as the musical aspect.
 Many artists may play some of their biggest hits later on, but "I Just Haven't Met You Yet" found its place number two in the roster to the delight of the crowd, and it was as great as could be expected. "My Funny Valentine" followed with some commentary, "it sounds creepier than I remember. I love you, but I may kill you," and his rendition is not without its sense of foreboding.
 Such a Cover! Such a Song! "Such a Night!" was had by many, especially that girl who had boisterously professed her love for Michael numerous times throughout the evening. I do love the original recording, after just hearing it recently for reference, but the energy in Bublé's rendition was equitable with the enjoyment Buble and his backing orchestra, and all of its extraordinary components, some of which were from Buffalo, brought to the crowd. There was a lot of love, respect, and admiration on stage and off of it.
Yes, this tour may be in support of love, and not just the album either, but much more. There were some touching tributes, especially when it comes from someone performing with passion, and the first was dedicated to his best friend, to which he addressed "age is just a number, sometimes you have that connection with someone and that gap doesn't matter," paraphrased, his Grandfather who would have been 93 this year, had he not passed during the Christmas season.  He reminisced about sitting in his grandfather's room and listening to Sinatra, Bennet, Martin, Fitzgerald, to name a few. "But one of our favorites, was Bobby Darin," which served as the Segway for his performance of "(Up A) Lazy River."  He remarked that albeit sad, it is better that the late Darin wouldn't be able to see that only four people raised their hand when Michael asked who had heard of him before. Michael hoped that he did Darin justice and that he had made his best friend proud remarking how  he would bring him on tour with him forty more years if possible.
The next tribute I must mention was that to his wife, to which the night before was really difficult to perform, but he managed to pull it through to perform his more recent original "Forever Now."
 While it was nice to hear songs I recognized such as "Sway" and "When You're Smiling," the latter a favorite Louie Armstrong song of mine, originally recorded by Seger Ellis,  songs like Louis Prima "Buona Sera Signorina" and "Just a Gigolo/Ain't Got Nobody" opened my ears to some new classics to love, and another artist to explore, and in honor of Michael's grandfather I may give more of Darin's music some eartime. The latter medley perfectly led into another Michael Bublé original from the preceding album, that wasn't even on my radar of expectations, it was a favorite from that record and the title track; who else would declare it a hippin-hop tinged tune? Who else would remember one of their favorite songs after hearing it live? "Nobody But Me," that I know of.
There were more touching moments to be had, the one I may mention now is more personal to me because this song was one of my aunt's favorite dances, and it was said at her funeral that nobody they knew could do it better; it was also the first time I heard it in full, and not just live, but I thought about my Aunt Karole the whole time Buble and Co. performed Chuck Berry's "You Never Can Tell."
One of his biggest songs was initiated with a dedication to all of the heroes we may never see, or know their name, but are heroes regardless, whether on the home front or in the same neighborhoods you or I may reside: to the heroes that must wait months and years, to those that may only have to wait hours and/or days to return "Home." A visual accompaniment was playing on the screen behind Bublé that showcased the multitude of heroes he was dedicating the song to.
There was more that I could talk about when it came to Bublé and his stage presence, more humor or monologues he decided to present to us, or the fact that a lot of the songs he is performing are not his own, and when that is the case, then what are you really contributing to the world of music? It certainly causes complications to make a name for oneself when one's career involves "competing" or honoring legends of yesteryear by recreating those songs and presenting them in a new light. We are both cognizant of the fact that he will not be able to replace, compete with, or be Frank Sinatra, or even Bobby Darin, to name a few, but that is not the intent; he is aiming to be the best version of Michael Bublé he can be, and performing songs he loves and bringing them to a new audience, and he is succeeding. His personality and his charisma also differentiate himself from other artists who perform songs of yesteryear and pay tribute to those classic icons and their songs.
The best scenario would be to end the show as well as one begins it, and when it came to the traditional finale, he dedicated to bold and hearty Buffalonians with the bombastic and Bond-esque rendition of Julie London's "Cry Me A River," certainly a song I have Crazy Love for, and an unexpected surprise.
You can bet that there was an encore, and while I did enjoy the covers of "Where or When," and "Always On My Mind" by Rodgers and Hart, and Brenda Lee, respectively, it was his 2007 original that was "Everything" a good percentage of the audience wanted to hear; a favorite song of my brother and his wife when they were dating.
So it ends, and I have little more to say, and no, there was no heartache tonight, and that is fine with me. However, there is a question that comes to my mind: how can you build a career on critiquing others for how they perform and what they create, or recreate, and not fade into the nameless? This is not what I plan to pursue, but if I do, I would write honestly, candidly, and interject some traces of my own personality in what you may read. When it came to performing, it works for Bublé, and when all is said and done I would do it my way.

Maren Morris "GIRL"

There are several words that electrify the interest of the person on the fence as to whether they should check out that album or not, aside from the singles released; this applies to other media as well, but that is besides the point. While the overuse of "epic" has diluted its initial effects, there is still at least one word that may convince that person to do so. While I liked the singles, it was this word that shocked this kat , who fell in a well of appreciation for the album. The word? "Iconic."
Hearing this word to describe the album before its release by her husband, Ryan Hurd,on an interview stuck with me until I dove in.  Words such as this sets a certain expectation, although they may vary slightly from person to person, there is a general foundation, and the bones are good.

This audio "Girl" is a bombshell and accurately addresses some of the stresses, which transcend eras, or at least the weight, of being a young woman, and the inevitable comparisons made to others, and "The Feels" that can hit harder than a freight train; for some more than others. The emotions the following song refers to are a lot more positive, and the song nearly as catchy.

It is true, there is "A Song For Everything," you may not have found it yet. Nods to Springsteen, Katy Perry and Coldplay are made, as well as the notions that certain songs can take you back to some of the worst or best times in your life. It is a moderately catchy song that steers you in the direction of the emotional gravity of what follows.
While we all have our differences and use those to divide ourselves, or claim superiority over another, by race, religion, belief system, gender or sexual orientation, physical state, IQ, etc. the next song states that we have too much in common to be engaging in derision and violence; with all of the problems that we may have, why create more by accentuating differences or what makes us "better" than another?
While I am not claiming to be original, I agree with the sentiment that it can take awhile, and I applaud her intent, because I attempt to create my own flavor with whatever I create, while remaining true to myself.
The two lines at the outset of "Make Out With Me" clearly state that the second half of the record has begun, and while the details are not as explicitly stated in the "RSVP," you know where they both may lead.
To have found your significant other in life is something of great magnitude, and cannot occur without its positive effects; the content of the final eight songs refer to her relationship with Ryan Hurd. I will not say "better half" or the "person that makes another whole" because that should not be the case; finding that person will help improve your life and improve you as a person, and she acknowledges it best by singing "think I finally discovered/ you're my perfect shade" in the finale of this declaration of womanhood. She expresses her gratitude and appreciation for her husband in songs "To Hell and Back" and, one of my favorites, "Gold Love." Yet she is confident enough in herself and her place in the relationship, I would not call it arrogance, to write a song called "Good Woman." The strength of their relationship is addressed in her hit song, "The Bones" and "Great Ones," both noteworthy tunes.
It would be remiss to fail to mention  Bros. Osbourne and Brandi Carlisle's appearances on " All My Favorite People" and "Common" respectively.
As mentioned before, a word such as "Iconic" sets the foundation for certain expectations, and may vary slightly between two different people, but I cannot say it meets those expectations; simply because that is not a word to be used lightly. However, the record is a very consistent and enjoyable album, as her debut was, maybe even better.

St. Vincent "Masseduction"

Take one look at the cover of the album, and you can assume that Masseduction may reel in a whole slew of new fans. The music can be quite sexy, if you aren't intrigued by the lyrical aspect of  "Pills" and its subtly suggestive nature, the title track's production, refrain and Clark's vocal delivery ooze sensuality and visions of love being made. Mass Destruction? Only for the weak.
You don't need to be a 'Sugarboy" to question the collaborative reference of Queen and Ghostbusters  but soon enough it would make sense.
There was proclamation of Mass Destruction, but it may not be on as grand a scale as we presume, or as simultaneous as we expect, but the answer lies in "Los Ageless." The mind might be hidden there as well.
Sentimentality and Slink can make strange bedfellows, the former of which sees Clark in a multitude of roles in "Savior," as she professes she isn't; she cannot save her lover from the fantasies and desires which may evolve into something more outrageous. or from this scenario she has found herself in, "Love you to the grave and farther," and with that maybe there is some sentimentality too. "Happy Birthday, Johnny" and "New York" leave me with little to comment, but not without a heavier heart.  Do I "Fear the Future" of St. Vincent's music? Clark can go in a completely different direction and she can still be just as engaging as long as she remains true to herself. Pop music has a bad rep, but that didn't stop Clark from diving into a genre of music that some may classify as "derivative" of those that came before it, and upping the intelligence quotient while keeping it fun.

Jonas Brothers "Happiness Begins"

While I am a fan of an engaging swan song, or a valiant attempt at one, whether the aim and concept were too high to express in music or just overblown, I am a sucker for an effectual comeback.