Browse 74318 Reviews & Comments (Page 3118)

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 Doll Wendy Stocking 1st time seeing the mighty CUD CUD Mar 04, 2023
 Jon Ward Support from chappaqua wrestling Sports Team Mar 04, 2023
 IsolatedBliss Muse 16 Kraftklub 25 end of 2022 Mar 04, 2023
 IsolatedBliss NCT Dream, Kai and MONSTAX are done Mar 04, 2023
 Terrell Yes KR Mar 04, 2023
 Jeffrey Lee <b>The Rockin' Roles of David Bowie</b> By Richard Harrington - 29 August 1983 - The Washington Post For David Bowie, pop is intrigue, and he is a restlessly imaginative shamus searching out his own clues. His concert at the Capital Centre Saturday night was a triumph of the will, but there were few apparent flashes of the heart as pop's reigning technocrat skillfully paraded through his multi-impersonalities. Situating himself mostly on the proscenium of a gorgeously lit stage, Bowie condensed the fascinating chapters of his decade-plus career into two hour-long sets, moving from station to station with considerable e'lan and consummate professionalism. He also offered his fans a slightly revisionist pop history, dressing his quirky past as a prologue for today's hip-smooth guise. No longer taking as many chances as he did in the past, Bowie appears to be consolidating and smoothing down the edges. Looking like one of Hollywood's mythical bronzed matinee idols — lean and lithe as a rubber band, loose in his baggy '40s suits and studied liquidity — the flaxen-haired Bowie spent the night starring in his own mini-productions. As father and child of the rock video revolution, Bowie is intensely video-conscious and so the show was — unsurprisingly — very much a high-tech production: tightly choreographed (including background scenarios on several numbers), impeccably lit, cleverly staged. In fact, the whole thing was paced and cut like a Cinemascope video. Unfortunately, the Capital Centre's telescreen seemed woefully inadequate, since it could capture only segments — mostly Bowie profiles — of each spectacular scene. Having revived his nascent film career in the glossy but anemic "The Hunger" and the upcoming "Merry Christmas, Mr. Lawrence," Bowie is happily torn between two careers. And if the film world has finally decided to capitalize on his translucently tortured good looks and charismatic personality, Bowie is reaping equal rewards from his current celluloid fixations as well as his long-ago involvements with mime and motion. His Capital Centre concert Saturday was a catalogue of studied movements. He gave a second concert there last night. Bowie, of course, is an actor, certainly as much as he's a singer and songwriter. There's no other way he could have so convincingly assumed so many personas in such a short period of time, but where fans might have expected Bowie's Greatest Bits — Ziggy Stardust would have been certainly welcome from the Lon Chaney of rock — Bowie instead gave them his greatest hits, concentrating his newer material in the first set, the early and middle years occupying the second set. Bowie once posited himself as his generation's Frank Sinatra. Both are certainly survivors of the vagaries of pop fashion, though Bowie has always tended to anticipate trends, whereas Sinatra seemed overwhelmed by them. There were plenty of other shared characteristics on Saturday: the professional recapitulation of old hits, the cool distance between performer and audience, and, most of all, the brilliant manipulation of a hard-driving big band. Bowie's ten-piece band was tightly wound and obviously drilled to perfection, like Count Basie with an '80s bottom, but where Basie would swing an arrangement, Bowie's boys rocked it. As a precision-tuned ensemble, the band provided muscular texture — high-tech rock-funk propelled by a superb three-man horn section led by Lenny Pickett, powered by the twin guitars of Carlos Alomar and Earl Slick and paced by the powerhouse drumming of Tony Thompson. The drawbacks were a tendency to provide the same framing energy for songs from various stages of Bowie's career: thus, "Cat People," "Sorrow," "Jean Genie," "Life on Mars," "China Girl" and "Rebel Rebel" all emerged with the same detailed but homogenized crunch that obscured historical perspective. And Slick's guitar histrionics seemed all the more obnoxious next to Alomar's straight-ahead virtuosity. Some have called Bowie the Great Pretender, and there were times on Saturday when he seemed to reinforce the suggestion. Particularly during the first set, every gesture seemed theatrically defined without being fully integrated into the music. There were times when it got downright silly — "Crack'd Actor" played out "Hamlet" style, with cloak, skull and director's seat. Yet on a classic song like "Ashes to Ashes," Bowie managed to compete with his superb video clip by singing inside a shimmering cage of light. The subsequent segue into his first hit, "Space Oddity," was effective, but the symbolism got a little heavy (or dopey) when Bowie kicked a huge inflated balloon — The World — into an audience willing to set it spinning topsy-turvy. In his closing set, Bowie seemed considerably looser, and the passion surrendered to gesture in the first set seemed given over to emotion in the second. Then Bowie sang with the kind of zest and energy not usually associated with him. His voice — resonant, authoritative and clear, and really more suited to cabaret than to rock — dated some of the older material, investing those songs with a weight that was in turn amplified by the churning band. But on the newer songs, it seemed just right. Among the best moments were the segues from "Fashion" to Bowie's current hit, "Let's Dance," and from "Young Americans" to "Fame." The dance rhythms were compelling, but oddly resistible. As theatre, Bowie's concert was boffo. As music, it tended to fall back on power, rather than passion. He remains one of the truly fascinating personalities in today's pop world, continuing to renew himself, hungry like the wolf. David Bowie Mar 03, 2023
 Jonathan P with Arc Angels Bryan Adams / Arc Angels Mar 03, 2023
 ChipLuna Thanks Dayne for tape of concert. Never hear it. Got too drunk in RS parking lot. Missed great show. The Allman Brothers Band / Grinderswitch Mar 03, 2023
 ChipLuna Concert was originally Saturday before but torrential rain pushed it to following Tuesday. Great show. Emerson, Lake & Palmer Mar 03, 2023
 ChipLuna Pretty sure "Nixon Resigned" was announced by Nash. CSNY wanted to do acoustic set during show but had to abbreviate it due to crowd being too loud and CSNY not being able to hear themselves. Crosby, Stills, Nash & Young / The Band Mar 03, 2023
 ChipLuna This concert was abbreviated by ABB because some fans kept trying to climb on to the stage. I remember roadie pouring oil on stage flap so fans could not get on stage. It was funny at time but I would have rather seen a longer show by ABB Muddy Waters / The Allman Brothers Band Mar 03, 2023
 budgie-72 I’m 50 and I hope I’m not losing ma marbles but I was positive me and 4 or 5 of my friends went to barrow lands on a cold and snowy December evening in 1989 my first ever concert,yet no mention of it here.Can someone please reassure me I’m not losing it.I think it might even have been lead singer Ricky Ross birthday Barrowland Ballroom Mar 03, 2023
 Julie Bruyninckx Early Entry, on stage during Kool Kids :) Måneskin Mar 03, 2023
 Brucefan24 Richard Lloyd Trio with David Leonard (bass) & Kevin Tooley (drums) The Loft $20 general admission Richard Lloyd Mar 03, 2023
 Phrank 1962 Had Ric Agnew sign a Christian Death album. Radolescents Mar 03, 2023
 SarahG Best show of theirs yet!! Pinky And The Floyd (Tribute to Pink Floyd) Mar 02, 2023
 Roberto April 19, 1981 - London Lyceum VIC GODDARD AND THE SUBWAY SECT supporting John Cale, after The Book and Modern English. Setlist: 1. Stool Pigeon 2. What's Your Name? 3. Be Your Age 4. Moving Bed 5. Stamp of a Vamp 6. Stop That Girl 7. Love for Sale 8. No Style 9. Mr. Bennett 10. Crazy Crazy 11. Nicola's Saloon 12. Anything Goes Vic Godard - vocals Rob Marche - guitar Dave Collard - keyboards Chris Bostock - bass Sean McCluskey - drums John Cale / Subway sect / Modern English / Mo-Dettes Mar 02, 2023
 Free Range Human Set list 1. No Surrender 2. Ghosts 3. Prove It All Night 4. Letter to You 5. The Promised Land 6. Out in the Street 7. Candy’s Room 8. Kitty’s Back 9. Trapped (Jimmy Cliff cover) 10. Burnin’ Train 11. Johnny 99 12. The E Street Shuffle 13. Last Man Standing 14. Backstreets 15. Because the Night (first released by the Patti Smith Group) 16. She’s the One 17. Wrecking Ball 18. The Rising 19. Badlands 20. Land of Hope and Dreams 21. Thunder Road 22. Born to Run 23. Rosalita (Come Out Tonight) 24. Glory Days 25. Dancing in the Dark 26. Tenth Avenue Freeze-Out 27. I’ll See You in My Dreams Bruce Springsteen & The E Street Band Mar 02, 2023
 Christopher Stahl You don't happen to have any pics of The Ataris set from this warped stop, do you? I managed to get pulled up on stage to play San Dimas with them at the end of their set. Vans Warped Tour Mar 02, 2023
 Christopher Stahl Well your entire concert list brings back some crazy nostalgia. I am not even sure how I came across this page; I was trying to find out when a band called Fenix TX played at a venue called Jillians in Louisville. I just spent the past 30 minutes scrolling through your concert list and I was at so many of the same shows all the way back to 2001. Thanks for keeping such a record of all these great shows! Vans Warped Tour Mar 02, 2023