Josh Bradley Live

It happened to be the same night as a Grease reunion with John Travolta and Olivia Newton-John out in Tampa, that two members of the movie’s Johnny Casino and the Gamblers did their annual Ruth Eckerd Hall-exclusive Christmas reunion.

For the last twelve years, Sha Na Na’s Jon “Bowzer” Bauman has hosted a “holiday rock and roll party,” only in Clearwater, in which he hosts mini-sets from three or four iconic bands and artists from the 1960s, as well as his own music. Over the years, he’s had Johnny Maestro, The Original Comets, and The Mystics on his lineups. This year, however, was more of a supergroup than ever before. The lineup went like this: Holiday party normal Peter Noone, first-timer Mark Lindsay of Paul Revere and the Raiders, and Gary Puckett and the Union Gap, along with Bowzer and the Stingrays, and former members of different lineups of Sha Na Na.

The show started around 7:30, with Bowzer and the Stingrays, being backed by Rocky and the Rollers, kicking off with a nearly-identical cover of The Drifters’ version of White Christmas. “Can you believe I’ve been doing this for fifty years?! God bless America!” Bowzer opened with.

Sha Na Na’s Johnny Contardo came out a few songs later to duet with Bowzer, standing at a keyboard, on a cover of Del Shannon’s Runaway. Of course, most of the crowd, consisting of mainly boomers and earlier, remember seeing Bowzer and the at-the-time lineup of Sha Na Na not only on their self-titled show, but also in Grease. “We were on the big screen for exactly eight-and-one-half-seconds!” Bowzer sarcastically bragged, before going into Twistin’ The Night Away, off of the record-breaking soundtrack. Then, out came Sha Na Na’s original guitarist, Henry Gross, with a solo song of his, Shannon, which was conceived after his friend, the late, great Carl Wilson told Henry of his dog who shared a name with the latter’s. She had been hit and killed by a car only weeks prior to their talk.

“This is the point in the show where we do the Sha Na Na reunion, even though none of us were in the band at the same time!” Bowzer announced. For the record, him and Johnny Contardo both appeared in Grease as members of Johnny Casino and the Gamblers, and earlier, as members of Sha Na Na. Gross and Contardo joined the muscular bass onstage to jam to Gross’ New Year’s Eve, an homage to “the most underrated holiday this time of year,” in Bowzer’s opinion.

The rest of Bowzer’s set was split up in between the other acts. After Mark Lindsay’s set was a cover of Adam Sandler’s Chanukah Song, in which Bowzer is mentioned. But also in the mix were a few hymns from The Stingrays, since all three of them grew up with pastors for fathers.

After one hymn came the first attraction of the evening: Clearwater resident Gary Puckett and the Union Gap were set to take the stage, but were going to make their show half-Christmas songs, half hits. “We moved here from California in 2000, to get away from the politics and taxes, but anyways!” After a singalong of Lady Willpower and Over You came one of his favorite Christmas songs, O Holy Night, followed by Let It Snow, and with some help from his grandson Brandon, Santa Claus Is Comin’ To Town. Gary, sporting a black and yellow Doctor Strange-esque coat, had an abnormally short but authentically hard-worked set, closing up with Over You and of course, the band’s smash hit Young Girl. “You all went out and paid 69 cents, and made this a worldwide hit!” Puckett remarked. The song concluded with Brandon and Gary’s granddaughter Petunia wandering back out, just to be swooped up by grandpa as he walked offstage. “Glory goes to God!” he called out.

After a brief intermission, another hymn from Bowzer and the Stingrays opened for Mark Lindsay. The longtime Paul Revere and the Raiders lead singer, who would be backed by Rocky And The Rollers, mainly stuck to the Raiders songs he made famous. In 12 years, Lindsay had not once played the holiday party. But he’s graced the Ruth Eckerd Hall stage countless times: He’s coming back in June with The Turtles for the 2020 Happy Together Tour.

He also had an abnormally short set in comparison to what was to come later, only stretching about six songs, without much dialogue. That said, every song was a hit that most of the sixties-and-back babies remembered spinning on their old gramophone players. The only non-Raiders song he did was his own hit, Arizona, which was nonetheless rousing as ever.

Closing out the set with Kicks, Mark had a request for everyone. It was to remember three things: “One, my name is Mark Lindsay! Number two, this is Bowzer’s Holiday Party! Three, rock and roll keeps you young!” Damn straight, sir.

Bowzer then came back on, sat down at his piano, and did his Adam Sandler cover. Then, at last, he introduced “the greatest entertainer of all time.” “Every time I see this man perform, I just stand there and think…’How does this guy do it?!'” Bowzer remarked. He introduced the band, and down came a Union Jack backdrop with the band name in a standard black font going across it. And from the band’s keyboardist came the same introduction as always.

“They sold eighty million records. 10 top 10s, 20 top 20s, one of the top 3 bands of the British Invasion. They are Herman’s Hermits, starring Herman himself, Peter Noone!”

Peter Noone, the eternally young, 72-year old frontman of Herman’s Hermits, came jogging out in a navy blue tux, to kick off the show with his normal opener, I’m Into Something Good, followed by Sam Cooke’s (What A) Wonderful World. This was my sixth time being in his presence, so I pretty much knew exactly what to expect. “Good evening, boys and girls!” after two songs meant he was about to rip into Love Potion No. 9 by The Searchers, and once that ended, I knew that it was time for Peter to crack jokes about everything, from age, to people confusing him for the Geico gecko. “Best audience on this tour!” he nonetheless called out, like at every show.

“We learned a country-western tune!” he announced before displaying shades of Johnny Cash for Ring Of Fire. Per his request, the crowd sang the chorus. “See that, Bowzer? That was the first song that every single person in the audience knew tonight!” He wasn’t really wrong, because who doesn’t know Ring Of Fire?

That wasn’t his only cover of the evening, either. He joked that a security guard backstage mistook him for one of The Monkees, kicking him into Davy Jones mode during just the first verse and chorus of Daydream Believer. And of course, Peter never forgets to acknowledge his “dad,” Mick Jagger, through a cover of The Rolling Stones’ Jumping Jack Flash, in which yes, he struts about like the iconic Stones frontman.

Also included were the normal Herman’s Hermits hits. You know, Dandy, Silhouettes, and Listen People, just to name a few. One that was a surprise for some was The End Of The World, introduced as a ballad. “No one else has done one of those tonight.” Peter said beforehand. His guitarists, Billy Sullivan and Vance Brescia were dressed as Santa Claus, and an elf, so obviously, some holiday classics had to be blended in there. During Mrs. Brown, You’ve Got A Lovely Daughter, Peter started the hit by singing all of Rudolph The Red-Nosed Reindeer, and for I’m Henry VIII, I Am, it was the chorus of Jingle Bells serving as the “third verse.”

Peter wrapped up his set, as always, with There’s A Kind Of Hush, before being joined onstage by Bowzer, Rocky and the Rollers, and the little Puckett family. Bowzer was about to lead everyone in Goodnite, Sweetheart, Goodnite, before Peter and the Pucketts made their way to the merchandise table, to meet their loving fans, and sign their treasures.

If only every concert worked like this one. A killer, diverse lineup, new music for fans to walk away with, and a free meet-and-greet at the end of the show. How much better can that get?

Absolute legend Julie Andrews and her daughter Emma discussing their new book may have been better than hearing just the Hollywood legend do a whole show of just singing.

Absolute legend Julie Andrews and her daughter Emma discussing their new book may have been better than hearing just the Hollywood legend do a whole show of just singing.

Not every seat in Ruth Eckerd Hall was full Wednesday night. But the love for the Hollywood beyond-legend Dame Julie Andrews was far beyond capacity.

The 84-year old Mary Poppins star is currently on a brief tour, promoting her and her daughter, Emma Walton Hamilton’s new autobiography, Home Work: A Memoir Of My Hollywood Years, which is Julie’s 32nd book ever. No, she’s not signing copies in the lobby, or meeting fans, or even selling the book, or anything for that matter, at the merchandise table. She is, however, answering questions that audience members scribbled out in the lobby beforehand.

The two-hour-with-intermission book chat kicked off with a video montage of highlights from Julie’s career. And it was just about everything, from the poignant Fraulein Maria, to Thoroughly Modern Millie Delmount, leading all the way up to her most recent roles in the Despicable Me films, and 2010’s Tooth Fairy. Holding her daughter’s hand, the Dame walked out from stage right to the ecstatic squeals of theater geeks and folks who were probably born before, or around the time she became the youngest person to ever sing God Save The King for King George VI back in 1948.

In two directors chairs with a screen for magnification behind them, Julie and Emma sat side by side, Emma holding a massive stack of cards in her hands. Clearwater had no clue what kinds of stories, advice, and facts the two would throw out there. Obviously, the first question was about what Walt Disney was really like in person. Her first memory that came to mind was actually going to Disneyland with the icon himself, even riding around in one of the parades. “People were reaching out to him and trying to touch his jacket,” Julie recalled. She had already gotten off to a damn good start in terms of making a name for herself, but this was before Mary Poppins flew out of the pages, and Julie was still only known for her work on Broadway, and her acrobatic voice as a child.

Of course, one asked a question many have been wanting to know: Does she keep in touch with Dick van Dyke and Christopher Plummer. She does indeed! “They’re very different guys,” Julie explained. Apparently, between them are birthday and Christmas card exchanges. So while they probably don’t get together as much as they did onscreen, it was refreshing to learn that her two most famous male co-stars are still in the loop.

Oh, and in case you were wondering, no, Julie did not sing. But she got pretty close to doing so. She was asked if she’s ever forgotten her lines, and she said that the closest to her ever forgetting her lines onstage was when she saw some of her friends in attendance to see her perform in Putting It Together, which was a musical revue of Sondheim songs. She demonstrated one of the verses she had to speak out during the patter song Getting Married Today. “It took me forever to learn that!” she confessed.

Many of the questions fans were dying to know are answered in Home Work, so though they were, more or less, answered, one of the most used expressions of the evening was “It’s all in the book.” Most of these were family or theater related questions. But not every question was a piece of cake for Julie to come up with answers to.

Believe it or not, a ten-year-old asked her how to overcome adversity. “You just have to face it.” Julie explained after a long minute of pondering. And then, of course, there was the infamous “what was your favorite movie you’ve been in” question, to which she also had a hard time figuring out. Julie probably didn’t want to say something obvious, like Mary Poppins or The Sound of Music, so she, totally understandably, went with Thoroughly Modern Millie, which was also listed as one of her favorite musicals. Yep, someone even asked her that. West Side Story, The King And I, and even Guys And Dolls (“Really! It’s actually a fantastic show!”) made the cut.

Julie even revealed the best advice she had been given over the span of her 7-decade long career, which was obtained from her singing teacher of countless years. “She was a wonderful soprano who gave me such an excellent technique,” Julie recalled. But the advice was as follows, and should be something more people should keep in mind: The amateur works until he gets it right, the professional works until he can do no wrong. And some advice from the Dame was to never ever rank yourself. “There are hundreds of people who do your job better.”

Emma went on to reveal some of the shocking parts about Julie. “She swears like a sailor!” she revealed, which was received with roaring belly-laughs all across the theater. Julie would then swoop in to defend herself: “Those words come in handy sometimes!”

After a 20-minute intermission came yet another montage on the screen, this time with scenes from much later in her career. Scenes from The Princess Diaries were met with those shrieks from younger fans, the 90s and early 2000s kids, if you will. Also included was the English tea party segment from Julie and Carol Burnett’s 1989 special, Together Again, which kicked off the laughter in the crowd all over again.

There was a video tribute to her late husband, director Blake Edwards. As soon as his memory was honored, it was on with the questions!

Favorite animal? The sloth. Why did she write her first book? She had to pay a forfeit to her daughter for swearing too much. Julie’s bucket listers? Sitting under a tree, quite like the ones in Florida, and just reading like crazy. Oh, and a river cruise, too. Will there ever be a tour with Carol Burnett? They still love each other very much. (Carol is Emma’s godmother. “Aww,” the crowd reacted. “You didn’t know that?!” Julie replied.) But probably not, since they need permission to perform certain songs from every single person involved with them, many of which have since passed away.

Will there be a Princess Diaries III? (Insert millennial screams) Though Anne Hathaway just had another child, her and Julie are both totally down for it, so we shall see.

What should one keep in mind during their first performance in a play? Enjoy it, but remember that it’s not all about you. And the last question, which may or may not have been staged: (I actually don’t know) Our nanny of five years just gave her notice, is Mary available?

“There are plenty of Mary Poppinses out there!” Julie reassured everyone.

That’s good to know, but how many Julie Andrewses are there?

Right.

Elvis Costello and the Imposters brought their new Just Trust tour to St. Pete’s Mahaffey Theater Sunday night, and it was a nearly two-hour affair of forgotten cuts and only some greatest hits.

Elvis Costello and the Imposters brought their new Just Trust tour to St. Pete’s Mahaffey Theater Sunday night, and it was a nearly two-hour affair of forgotten cuts and only some greatest hits.

Elvis Costello and the Imposters brought their new Just Trust tour to St. Pete’s Mahaffey Theater Sunday night, and it was a nearly two-hour affair of forgotten cuts and only some greatest hits.

Elvis Costello and the Imposters brought their new Just Trust tour to St. Pete’s Mahaffey Theater Sunday night, and it was a nearly two-hour affair of forgotten cuts and only some greatest hits.

Elvis Costello and the Imposters brought their new Just Trust tour to St. Pete’s Mahaffey Theater Sunday night, and it was a nearly two-hour affair of forgotten cuts and only some greatest hits.

Keyboardist Steve Nieve has been with Costello from the beginning of The Attractions.

Elvis Costello and the Imposters brought their new Just Trust tour to St. Pete’s Mahaffey Theater Sunday night, and it was a nearly two-hour affair of forgotten cuts and only some greatest hits.

I walked into Elvis Costello and the Imposters’ first show in the Tampa Bay Area in four years last night not knowing what exactly to expect. Not only because I’m still a newbie to the Rock And Roll Hall Of Famer’s extensive catalog. This tour is called Just Trust, which means that in terms of the setlist, anything is possible. Hits? Deep cuts? Only those gracing the stage knew. It’s almost like a Springsteen tour, except no requests or anything.

The Everyday I Write The Book rocker came onstage almost a half hour late, but started energetically no less, by speeding right into 1981’s Strict Time. Two of the three original members of Elvis Costello’s Attractions are still spending their time backing Costello up, as members of The Imposters. Yeah, it’s basically The Attractions, minus original bassist Bruce Thomas.

“We never get to play palaces like this!” Costello remarked before telling a story of his early days touring. “All of this luxury and attention, I have to confess, went to my head” The luxury stopped for awhile, though, because he, later on, found himself falling in love with his cab driver, and later argued with her about the radio. That anecdote lead him to get a hit, Accidents Will Happen, out of the way early on.

Immediately following was super-deep cut Charm School, which has not been played on tour since its release in 1983. The slightly-less recently dusted off Tears Before Bedtime took us back to a harder time in Costello’s career. “I was trying to rid the world of alcohol…by drinking all of it.” he recalled. A song or two later, some roadies lightened the mood by running onstage, to prop up a different mike for Costello to belt into, which would make the same sort of distorted 1950s sound, like he was doing rockabilly, which he was basically about to. Mystery Dance, off of his 1977 debut album My Aim Is True, was the banger he selected to dust off, in that vocal rockabilly style.

After a rousing rendition of Watching The Detectives, Costello, with backup singers Kitten Kuroi and Briana Lee right beside him for the rest of the show, sat down at Steve Nieve’s piano. He’d plink out The Greatest Love, which was dedicated to his dear friend Allen Toussaint, who passed away four years ago to show-date. Next came an ever-so-slightly more upbeat Blood & Hot Sauce, from his upcoming musical, A Face In The Crowd (of which the title track would be played next.) “It’s a good campaign song, for if you need to run…from anything.” he expressed.

Costello got back up, and the rest of the band finished the set in overdrive, starting off a (mostly) early Attractions-era set with This Year’s Girl. A few other smashers were included: An all-hands-in Beyond Belief, the setlist regular High-Fidelity, and obvious crowd-pleasers Pump It Up, and What’s So Funny ‘Bout (Peace, Love, and Understanding).

The Imposters closed out the show with Alison, along with Costello introducing the band for the third time, and part of The Supremes’ I’m Gonna Make You Love Me. So yes, there were a number of hits that were notably missed. But would I loan my trust to Elvis Costello in this way again? Most likely. There were some moments during the show that a decades long die-hard fan of his would kill to be a part of. And there are certainly moments that many of those die-hards have seen that I’d kill to be in his presence for.

But look: After Costello’s very brief cancer scare last year, it’s a blessing that he still performs, even more so with two of the people who were there to watch him revolutionize his genre.

Alice Cooper and his hotshot band did close to two hours of head-bangin’ hits and rarities Thursday night.

Alice Cooper with his bride of 43 years, Sheryl Cooper

Alice Cooper and his hotshot band did close to two hours of head-bangin’ hits and rarities Thursday night.

Alice Cooper and his hotshot band did close to two hours of head-bangin’ hits and rarities Thursday night.

Alice Cooper and his hotshot band did close to two hours of head-bangin’ hits and rarities Thursday night.

Alice Cooper and his hotshot band did close to two hours of head-bangin’ hits and rarities Thursday night.

Alice Cooper and his hotshot band did close to two hours of head-bangin’ hits and rarities Thursday night.

Alice Cooper and his hotshot band did close to two hours of head-bangin’ hits and rarities Thursday night.

Alice Cooper and guitar maestro Nita Strauss

Alice Cooper and his hotshot band did close to two hours of head-bangin’ hits and rarities Thursday night.

Alice Cooper and his hotshot band did close to two hours of head-bangin’ hits and rarities Thursday night.

I hardly recorded any audio or video during Alice Cooper’s grand return to Clearwater last night. Why? There was no need to. Not only do I like to remember the experience based on what my eyes viewed, but judging based on Coop’s last show ’round here, there were no mind-blowing speeches or amusing anecdotes to be told. Just the legendary hard rock, theatrics, and guillotines that got him to where he is today.

These days, the Billion Dollar Babies rocker puts on a show that has zero dialogue from him, other than when he goes over the repertoire of his backing band, near the very end. Beasto Blanco’s Chuck Gerric, and Nita Strauss, ranked by Guitar World as the #1 Female Guitarist You Should Know, just to name a few, travel the world with the king of shock rock.

Though having cracked age 70 and arriving to the stage over 15 minutes later than expected, everyone rose to their feet as those lights came down, preparing to spend an evening in “Alice Cooper’s nightmare castle.” Coop, wearing his trademark top hat and black regalia, came onstage though a castle door, to open with Feed My Frankenstein. Yep, just like in Wayne’s World.

Coop didn’t only conduct his bang-on band through his hits: He didn’t sing a single line of the No More Mr. Nice Guy chorus on his own, commanding his loyal fans to fill in for him. Bed Of Nails was a remarkable surprise for those who likely remembered the Trash album for other songs besides Poison. Coop went through all eras of his especial career. 2017’s Fallen In Love had many of the older fans confused, not knowing he still recorded albums, and was just living off of the old tunes. But the nostalgia hit them again, though, when the poppy sound from He’s Back (The Man Behind The Mask) was omitted, and Muscle Of Love saw Coop break out black maracas.

The fists then began to pump for a consecutive trio of greatest hits. I’m Eighteen made an abnormally premature appearance in the setlist, immediately followed by the title track to Billion Dollar Babies, capping up with Poison. Nita Strauss then hopped up the stairs to the castle backdrop, and did her thing for two and a half minutes, while everyone else either changed outfits, or took a breath. Immediately after her rip-roaring solo, the band came back out to dust off another hardly-played-until-this-tour banger, Roses On White Lace. That one featured a full-on kiss to a woman dressed as a bride. Of course, who else could it be but Coops’ real-life bride, Sheryl Goddard?

Coop then headed backstage for awhile, as the rest of his band ripped into a few jams from the incomparable Welcome To My Nightmare album from 1975. This included a drum solo from Glen Sobel in the middle of an instrumental rendition of The Black Widow.

Then, while restrained by two man-sized babies, out came Coop in a straitjacket, to rasp out Steven. Not long after, the usual happened: He was executed and beheaded in the guillotine, the band rocked out to the chorus of I Love The Dead, an inflatable Billion Dollar Baby waddled around the stage with his head, etcetera etcetera. Suddenly, out came a regenerated Coop, from a coffin that had been standing onstage the whole night, to wrap up his main set by ripping off his straitjacket during Escape, and keeping a part-inflatable ghoul under control, during Teenage Frankenstein.

Two staples in his songbook, Under My Wheels and School’s Out served as his encore. Just like during tours past, School’s Out featured fans getting onstage to throw oversized balloons into the crowd to bump around, as well as a snippet of Another Brick In The Wall (Part 2). “This is the part of the show…where Alice actually talks to you!” he called out only minutes before leaving the stage and introducing everybody, including his wife.

His final remarks to Clearwater? “May all your nightmares be horrendous!”

You too, Alice. Your fans aren’t going anywhere. Hopefully, you aren’t, either.

Elton John pounded out his hits and rarities during his extravagant, extremely sold out Farewell Yellow Brick Road stop in Tampa.

Elton John pounded out his hits and rarities during his extravagant, extremely sold out Farewell Yellow Brick Road stop in Tampa.

Elton John pounded out his hits and rarities during his extravagant, extremely sold out Farewell Yellow Brick Road stop in Tampa.

Elton John pounded out his hits and rarities during his extravagant, extremely sold out Farewell Yellow Brick Road stop in Tampa.

Elton John pounded out his hits and rarities during his extravagant, extremely sold out Farewell Yellow Brick Road stop in Tampa.

Elton John’s band, featuring members who go back to the late 60s, is full of true perfectionists of sound, yet folks willing to follow their boss in musical improv.

Elton John pounded out his hits and rarities during his extravagant, extremely sold out Farewell Yellow Brick Road stop in Tampa.

Almost two years later, the time had come. Monday night, it was finally time for Tampa to say farewell to the legend himself, Sir Elton John. It was almost a year ago when he was forced to postpone the original sold-out extravaganza at Amalie Arena, due to an ear infection. That was announced at his Orlando show the night before, when people were actually seated and waiting for 25 minutes.

The Rocket Man said he’d be back, and would make sure that Tampa got an incredibly special show. And boy, did we.

This was Reggie’s third time in Florida on this tour, but he nonetheless made the night more bedazzling than anyone in the hip-to-hip sold out crowd could imagine. Though Elton being Elton, it was really no surprise. The show began at 8:05, five minutes after what was promised on the ticket, and his presence was confirmed as he struck the opening chord to Bennie And The Jets five times, while the stage lights flickered along to it.

“We hope you enjoy what you see.” Captain Fantastic announced, before plinking his way into a sentimental I Guess That’s Why They Call It The Blues. That wasn’t even the most sentimental part of the nearly 3-hour glittery extravaganza. In spite of that, this did not feel like a farewell tour: This was more like a 50th anniversary tour, that would turn out to be one last hurrah.

He introduced Border Song, off of his self-titled album from 1970 with a lucky anecdote about when him and partner-in-crime Bernie Taupin learned that someone had covered the song, only months following its release. “In those days, we were struggling songwriters and anyone recording our songs would be an incredible thrill…and it was Aretha Franklin! Wow!” he reminisced. If not for the Queen Of Soul, this show may not have happened. In fact, Aretha’s last ever live performance before her passing last year was actually at an Elton John AIDS Foundation gala in 2017.

An indistinguishable-from-the-original Tiny Dancer brought tears to all eyes, and Philadelphia Freedom got everyone down on the floor on their feet, with their flashing glasses from the merchandise table blinking blue and red. An album track off of Madman Across The Water, Indian Sunset, was dusted off as well. For that one, only Elton and longtime percussionist Ray Cooper were onstage, and the rest of his band, featuring musicians going as far back as his original band, took their longest break of the show. He’s had many of these people with him since before he was world-renowned, including drummer Nigel Olsson, who drummed with Elton’s original band. Lead guitarist, and musical director Davey Johnstone, who has been with Elton since Honky Chateau is there too, and is always prepared for Elton to abruptly arrive from England for rehearsals. “I just swan in, and…they’re ready!” he praised.

Yes, he kept Rocket Man in the rotation, and like what was to come, he improv’d on the keys like crazy near the end, for the same amount of time the main song ran for. Levon was a 12-minute musical showcase of improv and solo moments from all band members, and Elton smashing those keys, with and without accompaniment. Candle In The Wind cleared the stage so Elton could pay tribute to Marilyn Monroe for probably the millionth time in his career. His piano, which was on a cloud-like platform the whole night, then did something I hadn’t seen it do before, anywhere: It started rolling across the stage. It eventually turned back around, so the people on the stage-right side of the venue could actually get a quick view of his face, rather than the back of his head, of which they got all night while he played. Stage left saw the back of his head for a few minutes…just to get the front of it again in a matter of minutes.

A life-sized thunderstorm broke out Funeral For A Friend, as Elton left the stage to change out of one of his custom made Gucci outfits, into one of his trademark flowery tuxes, to belt out Love Lies Bleeding. Even his die-hard favorable LP, Tumbleweed Connection, wasn’t neglected. Burn Down The Mission was his selection to dust off that era of his life.

A recent rarity was presented, too. As heard in the new biopic, Rocketman, I Want Love, only played once before on this tour, was presented as “a song about love,” reminding us how divided not only the US currently is, but the world in general. Another elephant in the room was the Elton John AIDS Foundation, founded in 1992, from his dining room table. “It’s 2019, and people still have it. That’s ridiculous.” Elton lamented.

His main set ended with some more of his bigger hits. If you didn’t feel all gooey inside during Don’t Let The Sun Go Down On Me, or didn’t la-la-la-la-la along during Crocodile Rock, you might have to do some soul searching. Thankfully, most everyone banged their heads to The Bitch Is Back and Saturday Night’s Alright (For Fighting) until the stage went dark, and was cleared of all musicians.

Elton came back out a few minutes later in what must have been a sweltering hot, blue kimono so he could do his generous encore of Your Song. The last song he’d ever play in Tampa was, appropriately, Goodbye Yellow Brick Road. Oh, there were tears on all sides of the dome as Elton gestured his goodbyes, while flying away on a lift to behind the breathtaking stage.

But the real question is this: Was this really the Rocket Man’s final show ever in Tampa? Maybe in the sense of being on tour, it was. If he still plans on performing for charity events and such, they’re most likely going to take place in more close-to-home areas, such as England or California.

Then again, we still have another year or two until Elton plays his final show, and retiring beyond the Yellow Brick Road. While the chances are slim, who knows? Maybe we will get one more view of Captain Fantastic. But even if this was indeed his final stop here, he most certainly did not leave us with a whimper.

The drum circle between Nic and Phil Collins, and Richie Gajate Garcia blew the venue up.

The moves aren’t there anymore, but Phil Collins’ voice, and music, certainly is.

The moves aren’t there anymore, but Phil Collins’ voice, and music, certainly is.

The moves aren’t there anymore, but Phil Collins’ voice, and music, certainly is.

Phil Collins and Genesis touring bassist Daryl Stuermer

In 1992, Phil Collins cancelled a Genesis show at Tampa Stadium, only two songs in, due to illness. No new date was announced, and not only was that the first Genesis show in Tampa: It was the only Genesis show in Tampa.

27 years later, without Tony Banks and Mike Rutherford, Phil hobbled onstage 10 minutes late, with a walking cane, and sat right down in front of a long sold out Amalie Arena Thursday night. “Thank you for coming, cause I know that you had a choice, you know?” Phil basically meant we could either stay at home watching TV (specifically “CNN, and watch Trump make a fool of himself.”) or come and see the Rock And Roll Hall Of Famer. He indeed would be sitting down the whole night, but his set was nothing short of breathtaking.

Against All Odds (Take A Look At Me Now) was his opener, which made a ton of sense. I mean, for real, take a look at him now. It’s been nearly fifteen years since Phil’s first farewell tour, and that was back when he was still walking around stage, and drumming for ten minutes straight. Now, here we are, and though both of those aspects of his performing are more or less gone, he’s still got the voice, and was willing to bring it with him on his comeback tour.

Another Day In Paradise saw the curtain behind Phil rise to reveal the glorifying band that would be backing him up tonight. Two drummers, including his eighteen-year-old son Nic, a four piece horn section, and Genesis’ touring bassist, Daryl Stuermer, just to name a few, were involved. Most of the people in the band have actually been playing with, or have at least known Phil for years on end. Even bassist Leland Sklar, who has played with almost any big name artist you can imagine, has known Phil since 1986’s No Jacket Required. 

“About 3 or 400 years ago, I was in a band called Genesis!” he rasped. “We were around for quite awhile, so the chances of me choosing a couple of songs you want to hear are pretty slim, I’d say.” The odds were actually more in our favor than we suspected. Throwing It All Away, back to back with Follow You Follow Me, were his selections. And much later, the former drummer even dusted off Invisible Touch.

If you’ve been a follower of Phil’s for years, you probably remember when he did the duet Separate Lives for the movie White Nights with Marilyn Martin. Standing in for Marilyn during this show was one of Phil’s backup singers, Bridgette Bryant, who crooned out Marilyn’s part flawlessly, in front of a night-sky draped stage backdrop. When the song ended, something you wouldn’t expect at a Phil Collins show today happened: Nic and Richie Gajate Garcia began a drum duel/duet. But why isn’t that normal? Well, a drum duel, or solo anyway, can be seen at many concerts. But when Phil Collins, who noticeably did not sit behind the drum kit at all, starts tapping his hands on a slap-top cajon, that’s when things get crazy.

Nic and Richie stepped away from their kits and joined Phil with their own cajons. The venue absolutely erupted in cheers of approval.

The 10 minute drum trio segued into Something Happened On The Way To Heaven, seeing the four-piece horn section make a grand return to their corner of the stage. Later came a father-son duet of You Know What I Mean, with Nic on piano, and Phil on vocals. “He decided to listen to my albums,” Phil explained. “And he said to me, ‘I found one I like.'” It’s a pretty brief piece, but it hasn’t been played on tour since the 80s, so why not dust it off?

Then, Phil stood up from his seat, and In The Air Tonight was orchestrated behind him. The venue erupted all over again. The cameras came out, and that iconic drum lick in the middle of it all caused claps, stomps, and air-drumming from all around the dome. Later came his critically acclaimed cover of The Supremes’ You Can’t Hurry Love, and his confetti-vandalized main set ender, Sussudio. Phil hobbled offstage with his cane once again, just to come back on moments later for a 10-minute encore of Take Me Home.

For the health problems he’s faced in the last few years, it’s a wonder that Phil still performs. But even if he didn’t, thank God he’s still not dead. Hopefully, it’ll stay that way.

Beware of Todd Rundgren’s water gun!

Yacht rock legend Christopher Cross

Chicago’s Jason Scheff

Yacht rock legend Christopher Cross

Micky Dolenz of The Monkees

Todd Rundgren

Joey Molland of Badfinger

“How do you pick your favorite Beatles album?” Monkee Micky Dolenz asked a sorta-packed Ruth Eckerd Hall Tuesday night.

The It Was Fifty Years Ago Today Tour is a celebration of The Beatles’ legendary White Album, which released fifty-one years ago this year. The lineup of this show isn’t any ordinary lineup. You’re basically getting a Ringo Starr All-Starr Band show, minus the Beatle. Todd Rundgren (an actual All-Starr), Christopher Cross, and Dolenz, as well as Badfinger’s Joey Molland and Chicago’s Jason Scheff, are gracing stages around the United States with their own tunes, and White Album jams every night.

All five were present to vocalize and shred during The White Album’s, and the show’s, opener, Back In The USSR, appropriately followed by Dear Prudence, sung by Jason. Todd had leads on Everybody’s Got Something To Hide Except For Me And My Monkey, and Micky even walked out for a brief moment during the chorus, when the word “monkey” was said. Most everyone in the audience got the joke, I hope.

Each guy on the bill got their own two-song set, revisiting their careers outside this tour. Micky was up first, with I’m A Believer and Pleasant Valley Sunday, back to back. “It’s so good to be back in this…beautiful venue.” he commented. “I’ve screwed up many songs on this stage!” He’s not wrong: Last time he played this stage was in 2016, with the late, great, Peter Tork.

Joey Molland was next. Joey is the last surviving member of Badfinger, so understandably, he had to pay tribute to his fallen bandmates with Baby Blue, and No Matter What. “What do you think?! So far, so good?” he asked before getting showered in roars of approval and standing ovations.

Jason Scheff sat behind the piano for Hard To Say I’m Sorry, and on bass and vocals again for 25 Or 6 To 4. He was onstage pretty much all night playing bass, so he didn’t get as little stage time as the others.

Todd Rundgren’s set was opened with a Jason comment about how he was “one of the first, multi-instrumentalist, amazing rockers.” And sure enough, the Utopia frontman still plays his own guitar licks. Or, he did for I Saw The Light, anyway. Hello, It’s Me triggered him to wander around stage with the mic.

He later ripped into a larger-than-life rendition of While My Guitar Gently Weeps, with him doing Eric Clapton’s iconic solo, on a replica of Clapton’s Fool Gibson. He had apparently claimed this song when the tour was being planned, because he performed it flawlessly on a 2003 George Harrison tribute album, entitled Songs From The Material World.

After a brief intermission came just about everything else on the beloved White Album. Todd singing leads on Revolution One, Chris on a “very poignant today” Blackbird, among tons of others, and Micky killing Happiness Is A Warm Gun. Unfortunately, Joey was onstage for hardly any of the second part, but Jason was up there throbbing that bass, damn near close to full time.

Now, Todd is known for his outlandish style in the prog world, so it’s totally believable that he wanted to work some costume changes into the show. For example, he was firmly walking around barefoot in white jammies, during Sexy Sadie, and later, during The Continuing Story Of Bungalow Bill, he came out in hunter-style regalia, and a large water gun, of which he sprayed into the audience many a time.

My only (very slight) complaint about the show was that Micky’s acrobatic voice didn’t get to flex at all during Helter Skelter. That went to Todd, who still knocked it outta the park. “He’s got blisters on his fingers.” he, in a monotone voice, ended the song, pointing to the backing drummer.

Right after, all musicians on the bill reported to the stage to share vocals on the joyous finale of Ob-La-Di, Ob-La-Da. These guys know well that they could be out doing their own things now. Todd could be out with Utopia or solo. Maybe Micky is pondering doing another leg of The Monkees Present: The Mike & Micky Show, or Joey Molland may want to start a solo tour, saluting his fallen bandmates.

But nope, instead, this is no doubt the year to pay tribute to unarguably the most iconic band of all time.

The Who sounded breathtaking with an orchestra. And, the new music from their new album sounds like nothing has changed.

Special guest opening act Reignwolf.

Roger Daltrey

Roger Daltrey

Pete Townshend

Roger Daltrey

The Who sounded breathtaking with an orchestra. And, the new music from their new album sounds like nothing has changed.

Pete Townshend

Pete Townshend

A broken fingernail from doing windmills, and allergic reactions to pot, both happening at separate shows at Madison Square Garden, this year alone, can’t stop these old guys from rocking.

Ever since Keith Moon’s death in 1978, every tour by The Who has been dubbed as their farewell one. Flash forward 40 years: Surviving members Pete Townshend and Roger Daltrey are in the midst of their extravagant, orchestral Moving On! tour, announced earlier this year. Also, the word on the street is that a new Who studio album is in production right now. Actually, it’s not really a rumor- WHO has already been set for a November 22 release.

Before the Hall Of Famers graced Tampa for the first time in four years, the jam-packed arena, with fans from before and after Keith Moon’s death, got to rock out to Canadian indie group Reignwolf. “We’re breaking stuff up here!” lead singer Jordan Cook confirmed during a slight technical issue. “Pete [Townshend] taught us how to do that.” They sounded pretty solid, too. Their new album Hear Me Out was being promoted. A song called Alligator was low-key dedicated to the fact that Reignwolf were rocking Florida, for the first time, too. “I think we’re in the right place!” Cook said after introducing the song.

Once the new group’s half-hour set came to a close, it took nearly another half hour for the crew to set up for Pete, Rog, and The Who circa 2019. The audience was kept entertained, though. Photos of the band’s two fallen members, along with the two still living, as well as a tribute to a fallen friend of the band’s, and a humble warning from Rog to not smoke any pot (he’s allergic) scrolled across the side screens. There weren’t any big screens or what-have-you behind the band either. It was a white curtain, with a background that changed colors throughout the show, that also had the fancy lights built into them. Those side screens were only there for magnification for people all the way back.

At 8:25, following a brief video promotion of the guys’ Teen Cancer America Foundation, the lights flicked off and all at once, the band walked out. “When we walk out, I can hear it getting louder.” Pete remarked.

The orchestra, some members having sat onstage since Reignwolf finished their set, launched into the Overture from Tommy, followed by 1921, and Amazing Journey. There was to be an entire set of selections from Tommy. Pinball Wizard sounded far more extravagant with the strings and horns similar to the ones it received in the London Symphony Orchestra recording back in 1972, as did We’re Not Gonna Take It, in its entirety.

Eminence Front was one of the best-received tunes of the evening, and immediately after the electrifying smash hit was wrapped up, Pete Townshend went right into deep cut mode. Imagine A Man, off of The Who By Numbers, has never been played on tour until this year, and though it was transposed, the die-hards out there were certainly pleased.

“I thought we were gonna play Desert Trip and South America, and that would be the end,” Pete admitted. But he wasn’t quite ready to stop the windmills from blowing, and writing new music is what kept him motivated. And so, this year, after spending 2018 on honeymoon with his new wife, Pete called Rog into the studio, and they laid down some tracks, which will be the first new album of Who material since 2006’s Endless Wire.

Hero Ground Zero, which had a similar riff to many post-Moon tunes, was their first preview at the new album. If the album recording resembles the live performance, with the orchestra and everything, it’s going to be probably The Who’s most extravagant album since Quadrophenia. Later on came Ball And Chain, which is already available to stream. Pete even gave a totally unnecessary apology before ripping into the latter. “I know, it’s weird, hearing all these songs you’ve never heard before. I’m not sure if anybody gives a fuck.” I did, anyway.

Roger expressed many a time how hard the nearly 50-piece symphony orchestra backing everyone up works to make everything sound ideal. They even got a break to “get their massages,” Pete later joked. An electric set, featuring a few earlier hits, such as Substitute (“This has got the best line in rock, ever: ‘I was born with a plastic spoon in my mouth!‘” Roger recalled) and an acoustic, original-members-only Won’t Get Fooled Again. Unfortunately, there was no sign of Roger doing any sort of legendary screech at the end of the intimate affair.

Then the orchestra came back on, and everyone present did a best-of-Quadrophenia set, closing with Love Reign O’er Me. He took a shot of water, spit it out, and we got the screech we wanted. “Looooooooove!” he howled. And it was just as powerful as it sounded some 45 years ago. As was their obligatory finale of Baba O’Riley.

Screw what the guv’nor says about the next five years, his voice may not be youthful as it once was, but it’s here to stay.