The feminist music community - not to mention the rock world - was sent reeling last week after the Huffington Post published Jason Cherkis' shocking article about Runaways' bassist Jackie Fox's 1975 rape. This weekend's one-off reunion of `90s goth rock feminists Jack Off Jill in Asheville may offer some sort of catharsis to music-loving feminists like myself who were thrown for a loop that female artists who are held up as trailblazers and have continued to spin rock n' roll stereotypes on their ears since, could have witnessed or at least been privy to such a horrendous assault.
Jack Off Jill (pictured above) will play a sold out show at Asheville's Orange Peel with JD Samson of Le Tigre and Man and Minneapolis band Kitten Forever. Lori Barbero of Babes in Toyland and Allison Wolfe of Bratmobile and Cold Cold Hearts will DJ.
Saturday's event is sandwiched between an opening reception on Friday at The Odditorium featuring Los Angeles visual artist Camille Rose Garcia (who will unveil a mural she painted for the reunion) and a performance by Marilyn Manson co-founder Daisy Berkowitz and Sunday DJ sets from Samson, Barbero, and Wolfe.
Those acts may not mean much to the average reader, but if you were into `90s riot grrrl it's a pretty exceptional list. I don't know if the Runaways' ordeal will be addressed at all or if their's or Jett's music will make its way into the mix, but a gathering of like-minded females bent on nurturing ideals of equal rights and self-acceptance and combating shame can help remind us why this movement is still so important. Fox's story is a blaring example of why women's rights, equal rights and rape culture remain hot button issues. But maybe it also means we're making progress.
Like most readers I was shaken by Fox's account of how she was drugged and publicly raped in front of members of the band and other party-goers by the band's now famous (and deceased) manager Kim Fowley. The revelation rocked my world. I was furious. I couldn't sleep. I tried composing a blog in my head, but instead got out of bed and went to vent to my mom at 3 a.m.
I'm still struggling with it. Fox's story brought into question all the feminist ideals I hold dear and not only tarnished the legacy of the Runaways but altered my view on the so-called role models that grew out of that band. Beyond the news of Fowley's vile crime was Fox's replacement Victory Tischler-Blue's testimony that her bandmates later laughed off the incident and mocked Fox in her absence. You can read her post-fallout statement here.
Girls can be catty, but man that seems almost more disturbing than the actual incident itself. Maybe it's easier for me to accept the revolting actions of a man I have no love for than it is the behavior of a bunch of women I admire. I was at first disgusted with Joan Jett, who Fox and others placed at the scene yet who denies any knowledge of the incident. If she was not there as she says, I wish she'd talk about what she actually does remember because, as author of the Runaways' bio "Queens of Noise" Evelyn McDonnell writes in her statement on Cherkis' story, the tale of Fowley's public rape of a young girl after a Runaways' show isn't new. Singer Cherie Currie addressed it in her own book, but at the time she was writing it no one including Fox (pictured in her youth with the band, second from right above) was ready to admit that it happened. The victim in Currie's story remained anonymous. Surely there were whispers or as Tischler-Blue argues, jabs addressing the incident. McDonnell suggests that some of the inexperienced people in the room may not have viewed it as rape given the time period and drugs, which is somewhat believable. I imagine they'd be haunted either way.
Cherkis' writes about the bystander effect. I've tried to think of the era, of being put in a similar situation, of myself as a naive teenager, of looking the other way. There's not much I can truly compare this to. As an adult I once had a boss who would target other employees. Her behavior was mean-spirited and the damage she inflicted was psychological, but I did little to defend people that I considered my friends. It ate at me though. I wanted to keep my job and I didn't want to be on the wrong end of her ire, but I remember walking on eggshells, drinking a glass of wine everyday after work, and stewing about the things she'd say in my presence.
I don't blame those girls for standing by idly, but I would like to hear more from the other members in response to the story and particularly Tischler-Blue's accusations. I've checked Cherkis' and Fox's Twitter almost daily since, waiting for responses or news but there's still little aside from Currie's Facebook responses and Jett's brief statement. Both are fairly defensive, but I think fans just want acknowledgment and to understand. It's easy to jump into blame-mode after reading it, but as Fox says, that's not what it's about.
My heart aches for those kids, those young girls, and especially Jackie. Maybe fans, who have been defensive of all sides, can find understanding through communities made up of women who support each other - like at this weekend's gathering in Asheville. That's something the Runaways obviously could not do.
Friday, July 17, 2015
AVL-set show seems like a good way to cope with Runaways rape news
Thursday, July 16, 2015
This week's hot concerts
Jazz Room presents the music of Thelonious Monk
Accomplished jazz pianist and Durham native Ernest Turner lends his youthful spark to the music of
another NC-native - hugely influential, innovative Rocky Mount-native and late
jazz legend Thelonious Monk - during the monthly Jazz Room concert series.
Dierks Bentley
Kicking off last year’s Riser Tour at PNC in May 2014, Bentley
proved he’s as captivating, fun, and relatable as an amphitheater headliner as
he is on record straddling his Oklahoma red dirt roots with slicker Nashville
flair. He’s back with Maddie and Tae, Kip Moore, and Canaan Smith.
Morgan Heritage
Reggae’s other favorite siblings (who join the Marleys’ Catch a
Fire Tour in August) - topped Billboard and iTunes’ reggae charts recently with
its all-star collection “Strictly Roots,” which includes appearances from
Shaggy, Rebelution, Soja, and third generation artists Jo Mersa Marley and
Jemere Morgan. Jemere Morgan is also part of the tour.
Deniro Farrar
The Charlotte rapper continues to twist hip-hop stereotypes with
his latest slice of hard-edged rap, “Cliff of Death II.” The collaborative EP
with Bay area producer Young God pits haunting tales of his checkered past with
dark, cinematic soundscapes while publicly sharing his own redemption,
retribution, healthy lifestyle and reading recommendations.
Shania Twain
The queen of `90s country returns to the live stage for her first
tour in 11 years featuring a greatest hits set that critics say is big on flash
and spectacle, but light on musical punch. Although billed as her final tour,
Twain plans to release a new album after she turns 50 in August, yet is still
looking for the right producer. Gavin DeGraw opens.
Primus/Dinosaur Jr.
The `90s alternative rock giants take a nostalgic trip, not only
through their respective catalogs, but - with Les Claypool’s bass-heavy,
funk-metal outfit’s latest album- an excursion into 1971’s Gene Wilder-starring
“Willy Wonka” film. Besides wacky Oompa Loompas and chocolate rivers, both
bands continue to put out impressive new material.
Ariana Grande
The 22 year old former Nickelodeon star’s rep was recently rocked
by the bizarre TMZ news that the future “Scream Queens’” star licked doughnuts
and made anti-American comments (a statement, she says, about America’s eating
habits). No charges were filed and it’s doubtful young fans turning out for her
Honeymoon Tour care.
Iron & Wine and Ben Bridwell
Unlike most covers album, “Sing Into My Mouth”, the new
collaboration from SC natives Band of Horses’ Bridwell and Iron & Wine’s
Sam Beam features obscure tracks by acts like Talking Heads, Unicorn, Bonnie
Raitt, Spiritualized, Sade, and Marshall Tucker Band, which gives the project a
fresher feel than your average covers set. With Susto.
Robert Earl Keen
The acclaimed Texan songwriter delves into the rootsier side of
acoustic Americana with his latest Lloyd Maines-produced album, “Happy
Prisoner: The Bluegrass Sessions,” which features covers of classics by Flatt
& Scruggs, A.P. Carter, Bill Monroe, and Richard Thompson and includes
guest spots from Natalie Maines and Lyle Lovett.
Tonight's Camila show postponed until August
Mexican pop duo Camila's concert Thursday at the Fillmore will now take place on August 16. The show was cancelled earlier today due to routing issues with a makeup originally slated for September. LiveNation announced this evening that the Latin Grammy winning group will be back sooner that first thought. Tickets for the August 16 show will be available through LiveNation outlets Friday morning.
Thursday, July 9, 2015
This week's hot concerts
Floetry
Friday
8 p.m., Knight Theater, 430 S. Tryon St., $44.95-$69.95,
www.blumenthalarts.org
After reuniting at Funk Fest in Atlanta in May, oft-Grammy
nominated duo Marsha Ambrosius and Natalie Stewart are touring together for the
first time since the Brits’ spoken word poetry and hip-hop laced R&B duo
parted ways in 2007. Reviews indicate the pair hits on solo work individually
as well as past Floetry favorites.
Although the thought of a 13-year-old-led family band conjures
images of the Partridge Family, this New Jersey foursome rocks a lot harder.
With daughter Eilee backed by dad, mom and drumming brother Evren, the
punk-edged indie quintet’s new EP “Gold Glitter Shoes” sound more like the
Donnas, Letters to Cleo, and Juliana Hatfield than Kidz Bop.
Mail the Horse/Pullman Strike
This Brooklyn quintet, whose new album “Planet Gates” has drawn
the attention of Spin and Brooklyn Vegan, mix the carefree blues of `60s and
`70s Stones, the Southern rock key and harmonica-laced jams of the Allman Bros,
and the NYC garage rock of the Strokes. Charlotte’s Pullman Strike and the
Loudermilks fill out a roots-rocking bill.
Benefit for Joe Borruso
Taking Back Sunday’s Adam Lazzara and John Nolan, who play an
acoustic set, are among Charlotte musicians pitching in to cover visual artist
Borruso’s medical costs. He was hit by a car on Parkwood, which resulted in a
partial leg amputation and other serious injuries. Paint Fumes, Animals, MTHR,
Modern Primitives, Aswell, Shadowgraphs, Fat Geoff, Bo White Y Su Orquestra,
Cabron, DJ Elon, and Buckmaster also perform.
Anni Piper
A towering bass player and sultry vocalist that plays up her sex
appeal, this Australian transplant mixes soul-spilling electric blues-rock, raw
Southern-steeped hill country acoustic blues, gritty hard rock, and jarring
slow burners approaching it all like a seasoned torch singer that’s conscious
of her instrument’s lack of limitations.
Kid Rock/Foreigner
Who would’ve thought Detroit’s cobbler of American music and
Southern culture would be the picture of integrity when it comes to ticket
prices? Yet he’s at it again, charging $20 for a helping of classic rock
(courtesy of Foreigner), bluegrass (from the Packway Handle Band), and his own
high energy hit-heavy swagger.
Stephen Stills
The Rock n’ Roll Hall of Famer and one third of Crosby Stills
& Nash, returns to play two sets - one solo acoustic and one full band.
He’ll reveal new tunes - at least one from his upcoming Rides’ album with Kenny
Wayne Shepherd and Barry Goldberg - as well as hit on old favorites.
Cusses
The Savannah rock trio, who enjoyed a boost from play on MTVU in
2013, roars with confrontational vocals
and a hard blues edge. All three members contribute charisma and a unique
musical spark while frontwoman Angel Bond captivates with a mix of aggression
and vulnerability. Its fittingly paired with locals Hungry Girl and Grown Up
Avenger Stuff.
Tedeschi Trucks Band/Sharon Jones & the Dap Kings
Wednesday 6:30 p.m., Uptown Amphitheatre, 1000 NC Music
Factory Blvd., $32.50-$99.50, www.livenation.com
The husband and wife duo have made a go of this traveling family
affair that fans of both longed for. The Wheels of Soul lineup boasts the
couple’s 11-piece band and support acts retro soul showstoppers Sharon Jones
& the Dap Kings and guitarist and current tabloid magnet (Renee Zellweger’s
recent flame) Doyle Bramhall II.
Camila
The Latin Grammy winning pop group led by one of Mexico’s most
prolific hit songwriters Mario Domm - who has written hits for Paulina Rubio,
Thalia, Yuridia, and Alejandra Guzman - released its long-awaited third album,
“Elypse” in 2014. It picked up the Latin Grammy for best contemporary pop vocal
album last fall.
Daddy Issues
Apparently daddy issues are so prevalent that at least three bands lay claim to the name online. The best may be this Greensboro
quintet who trade in gentle vocals, winking feminist lyrics, and surf guitar
that would been at home opening for Speedy Ortiz. It’s joined by fellow female
trio Faye and newish locals Banda Suki.
Wednesday, July 8, 2015
Imagine Dragons proves captivating arena headliner at TWC Arena
While you can argue that a concert is always a shared experience, the ability to create the sort of unity Imagine Dragons captured Tuesday at Time Warner Cable Arena remains a rarity. U2 has been pulling it off for years. A Coldplay show is the closest thing I've experienced to a secular revival - and I'm not even a big fan. Imagine Dragons has that gift.
Tuesday's concert felt like a participatory event from the moment the Las Vegas band (with the addition of multi-instrumentalist Will Wells) hit the stage with the uplifting anthem "Shots."
The group reveled as much in its performance as the crowd did. Frontman Dan Reynolds (above) spent most of the show on the catwalk that extended into the audience and raced into the crowd at one point. Bassist Ben McKee (below) may be the jolliest performer I've ever seen. He mimed the words along with Reyolds, rallying the crowd with a toothy smile glued to his face. No one in the building looked happier than McKee singing along to songs like "Trouble" and the hit "It's Time."
Drummer Daniel Platzman and guitarist Wayne Sermon enjoyed themselves as well whether diving in on backup vocals, stepping from behind the drumkit or, in Sermon's case, shredding like Eddie Van Halen. This is not a band that's so self-serious it's afraid to smile on stage.
The only time Reynolds stopped long enough to speak other than to address opening bands Metric and Halsey and thank the crowd, it was to draw attention to the recent highs and lows America has experienced in the wake of the Charleston shootings and last week's Supreme Court decisions. Reynolds noted an audience that covered a diverse cross-section of races, ages, genders, and the like. He was right. There was a middle-aged mom and her grown son to my left and an Asian girl still learning English on my right, not to mention several parents with young children in tow. As Reynolds began Alphaville's "Forever Young" backed only by bass and synth he shared that he thought this generation would be the one to truly embrace diversity and see past all those divisive lines.
Cellphone lights circled like fireflies as the full band segued into "Smoke and Mirrors," the title track to its latest album. An exercise in dynamics, the drums kicked in like cannon fire (the sound engineer did such a flawless job this was the only point that I actually thought about it).
"I'm So Sorry" proved the highlight of the show outside of the driving pre-encore finale. The band got to show off its classic rock instincts with mid-song falsetto harmonies and Sermon again shredding like a maniac while drums and bass rumbled the floor. Those moments in particular illustrated Imagine Dragons' ability to merge disparate styles without sounding like a completely different band. There was world music, shades of stomp-and-shout Americana, bursts of dub step, hip-hop-inspired delivery, and singalongs that bordered on spirituals. The future is a place where electric guitar theatrics are at home with pop singalongs and electronic music.
"Friction" with its Muse-meets-Nine Inch Nails-meets-hip-hop vibe repeated the thundering urgency of "Sorry." The mood escalated as the crowd exploded for the homey anthem "I Bet My Life" and the showstopping monster hit "Radioactive," which saw every band member pounding a drum beneath a maze of red lasers. I saw no one scampering up the stairs to make a quick exit during the encore of "The Fall."
All three bands benefited from stunning lights shows from opener Halsey's dub step-aided light blasts to the wall of LEDs that flanked Metric to Imagine Dragons' vertical screen towers and lasers.
Twenty-year-old Halsey opened the show by mixing fantasy (castles, ghosts) and contemporary. Her most memorable track, "New Americana," focused on the "now" Reynolds later spoke of - a generation raised on Biggie and Nirvana, legal marijuana and a growing intolerance for inequality. The song seemed the most relevant and current statement of the night.
It's also nice to see a young woman wearing an oversize t-shirt and jeans. With cropped Kool-Aid blue hair, the diminutive singer looked more 14-year-old tomboy than your average fledgling pop singer. Plus, her voice is like Dido-meets-Sinead O'Connor.
Veteran Canadian indie rockers Metric (above) had to work a little harder despite a few alt-rock hits ("Stadium Love," "Help I'm Alive"). Frontwoman Emily Haines was up for the task, prancing and jogging in place in short shorts and legs that beckon for a Nair commercial. She donned a flowing sheer cape which swayed in the air behind her during the new single "Cascades" as the three men in the band sported neon glasses. Metric put on one of the best shows I've seen as a headliner at Neighborhood Theatre in 2010 and the Juno winning band can bask in the brighter spotlight. By the end the crowd was with her.
All three bands benefited from stunning lights shows from opener Halsey's dub step-aided light blasts to the wall of LEDs that flanked Metric to Imagine Dragons' vertical screen towers and lasers. The entire bill made for a consistent night, but Imagine Dragons demonstrated why they're one of a handful of young rock bands touring at this level. .
Tuesday's concert felt like a participatory event from the moment the Las Vegas band (with the addition of multi-instrumentalist Will Wells) hit the stage with the uplifting anthem "Shots."
The group reveled as much in its performance as the crowd did. Frontman Dan Reynolds (above) spent most of the show on the catwalk that extended into the audience and raced into the crowd at one point. Bassist Ben McKee (below) may be the jolliest performer I've ever seen. He mimed the words along with Reyolds, rallying the crowd with a toothy smile glued to his face. No one in the building looked happier than McKee singing along to songs like "Trouble" and the hit "It's Time."
Drummer Daniel Platzman and guitarist Wayne Sermon enjoyed themselves as well whether diving in on backup vocals, stepping from behind the drumkit or, in Sermon's case, shredding like Eddie Van Halen. This is not a band that's so self-serious it's afraid to smile on stage.
The only time Reynolds stopped long enough to speak other than to address opening bands Metric and Halsey and thank the crowd, it was to draw attention to the recent highs and lows America has experienced in the wake of the Charleston shootings and last week's Supreme Court decisions. Reynolds noted an audience that covered a diverse cross-section of races, ages, genders, and the like. He was right. There was a middle-aged mom and her grown son to my left and an Asian girl still learning English on my right, not to mention several parents with young children in tow. As Reynolds began Alphaville's "Forever Young" backed only by bass and synth he shared that he thought this generation would be the one to truly embrace diversity and see past all those divisive lines.
Cellphone lights circled like fireflies as the full band segued into "Smoke and Mirrors," the title track to its latest album. An exercise in dynamics, the drums kicked in like cannon fire (the sound engineer did such a flawless job this was the only point that I actually thought about it).
"I'm So Sorry" proved the highlight of the show outside of the driving pre-encore finale. The band got to show off its classic rock instincts with mid-song falsetto harmonies and Sermon again shredding like a maniac while drums and bass rumbled the floor. Those moments in particular illustrated Imagine Dragons' ability to merge disparate styles without sounding like a completely different band. There was world music, shades of stomp-and-shout Americana, bursts of dub step, hip-hop-inspired delivery, and singalongs that bordered on spirituals. The future is a place where electric guitar theatrics are at home with pop singalongs and electronic music.
"Friction" with its Muse-meets-Nine Inch Nails-meets-hip-hop vibe repeated the thundering urgency of "Sorry." The mood escalated as the crowd exploded for the homey anthem "I Bet My Life" and the showstopping monster hit "Radioactive," which saw every band member pounding a drum beneath a maze of red lasers. I saw no one scampering up the stairs to make a quick exit during the encore of "The Fall."
All three bands benefited from stunning lights shows from opener Halsey's dub step-aided light blasts to the wall of LEDs that flanked Metric to Imagine Dragons' vertical screen towers and lasers.
Twenty-year-old Halsey opened the show by mixing fantasy (castles, ghosts) and contemporary. Her most memorable track, "New Americana," focused on the "now" Reynolds later spoke of - a generation raised on Biggie and Nirvana, legal marijuana and a growing intolerance for inequality. The song seemed the most relevant and current statement of the night.
It's also nice to see a young woman wearing an oversize t-shirt and jeans. With cropped Kool-Aid blue hair, the diminutive singer looked more 14-year-old tomboy than your average fledgling pop singer. Plus, her voice is like Dido-meets-Sinead O'Connor.
Veteran Canadian indie rockers Metric (above) had to work a little harder despite a few alt-rock hits ("Stadium Love," "Help I'm Alive"). Frontwoman Emily Haines was up for the task, prancing and jogging in place in short shorts and legs that beckon for a Nair commercial. She donned a flowing sheer cape which swayed in the air behind her during the new single "Cascades" as the three men in the band sported neon glasses. Metric put on one of the best shows I've seen as a headliner at Neighborhood Theatre in 2010 and the Juno winning band can bask in the brighter spotlight. By the end the crowd was with her.
All three bands benefited from stunning lights shows from opener Halsey's dub step-aided light blasts to the wall of LEDs that flanked Metric to Imagine Dragons' vertical screen towers and lasers. The entire bill made for a consistent night, but Imagine Dragons demonstrated why they're one of a handful of young rock bands touring at this level. .
Thursday, July 2, 2015
This week's hot concerts
Sinners & Saints with Elonzo Wesley
Friday 6 p.m., Fountain Plaza, NC Music Factory, $10, www.ncmusicfactory.com
This Charlotte acoustic duo celebrates the release of "This Ain't No Country Song" - its split 7 inch record with songwriter Elonzo Wesley whose beautifully sparse tune gives the EP its name. He's on the bill with Everymen and Megan Jean and the Klay Family Band.
USNWC July 4th Celebration
The US National Whitewater Center’s annual Independence Day
festivities includes cornhole tournaments, fireworks and live music by
acoustic, folk, and roots acts the Shook Twins, the Honeycutters, and Greensky
Bluegrass Friday and Kansas Bible Co., Stokeswood, and Donavon Frankenreiter
Saturday.
Squirt 4th of July Bash
Snug Harbor makes it an all-day affair with two shows - first
it’s a matinee with female emcee Gangsta Boo of Three 6 Mafia with locals
Rapper Shane and Elevator Jay followed by an evening lineup of local rock acts
Hungry Girl, Serfs, and the Business People with Knocturnal host and resident
DJ Justin Aswell.
Warped Tour
With few true old timers on the bill Pierce the Veil, We Came as
Romans, Matchbook Romance, Escape the Fate, blessthefall, Family Force 5, the
Wonder Years, Metro Station, Black Veil
Brides, Juliet Simms, August Burns Red, Beartooth, Riff Raff, Asking Alexandria,
Silverstein and Miss May I are just some of the acts making for a decidedly
newer school Warped Tour.
Barenaked Ladies
Wednesday 7 p.m., Uptown Amphitheatre, 1000 NC Music
Factory Blvd., $29.50-$69.50, www.livenation.com
It’s hard to think of three quirkier, nerdier bands than
Barenaked Ladies, Violent Femmes, and Men at Work. Each holds the same sort of
slot for a generation charmed by unlikely, infectious radio hits. Ladies and
Femmes are joined by Men frontman Colin Hay, who has enjoyed the attention of a
new generation thanks to Zach Braff and “Scrubs.”
Stu Hamm
Wednesday 8 p.m., Neighborhood Theatre, 511 E. 36th
St., $20-$25, www.neighborhoodtheatre.com
With a sideman adept enough to keep up with both Steve Vai and
Joe Satriani, guitar geeks will want to tune in as this innovative bass guitar
giant is joined by Testament’s Alex Skolnick and Al Dimiola drummer Joel Taylor
for a mind, ear, and string bending (no doubt) musical exercise.
Freddy Jones Band
It’s not easy for a band to duplicate the success of its
first-run after a lengthy break, but the Chicago roots-rock band is making a
play to recapture the glory it enjoyed in the mid `90s as a peer to Hootie and
Dave Matthews with its new single “Those Diamods and the July release of “Never
Change” - its first full studio album since 1999.
The Temptations and Four Tops
Mirroring the short Broadway run the Motown legends did this
winter, the `60s two biggest vocal acts reunite for a friendly, if a tad
competitive, stroll down memory lane led by founders Otis Williams and Abdul
“Duke” Fakir the respective bands’ only surviving original members. It’s also a
perfect prequel to August’s Motown: The Musical at the same theater
Wednesday, July 1, 2015
Def Leppard remains a consistent crowdpleaser at PNC Tuesday
Def Leppard's story is one of overcoming and soldiering on be it through the loss of drummer Rick Allen's arm, the death of guitarist Steve Clark, or in the wake of news of guitarist Vivian Campbell's returning cancer little more than a week before the band's US tour was to kick off last week.
Yet Tuesday night at PNC Music Pavilion (where the venue's name has changed three times since Def Leppard started playing there in the early `90s) Campbell was back on stage, having only missed the first two dates of the tour.
Singer Joe Elliott introduced him as "healthy and happy" earlier in the set (pictured above), but the warmth and spirit of band brotherhood and achievements well beyond massive album sales came to a head later in the set during "Hysteria." Following Allen's crowd rousing drum solo which ended with his face contorted in elation, the band broke into the mid-tempo pop hit as a homage to Clark, whose image flashed on the screen. For a moment as they cruised into the second verse Campbell smiled, took his hands from his guitar and clasped them together as if in thanks that he could join his comrades on stage. The meaning of the band's perseverance was wrapped in that shared moment with Clark's photos and the gracious guitarist that replaced him over 20 years ago.
The other side to Def Leppard's appeal is a knack for rousing pop-metal anthems that have been in radio rotation for so long the words are seared in fans' minds. That was the case for much of the night as the British hard rock giants shifted from the opener "Rock Rock (Til You Drop)" and "Animal" to later era Leppard "Promises" and "Paper Sun." The latter weren't the monster hits that "Love Bites" and closer "Pour Some Sugar On Me" were, but many of the fans still knew all the words.
Styx (guitarists Tomy Shaw, back and James "JY" Young, front, above) did a lot to rally the crowd early in the night. Following a set of Tesla's bluesy hard rock, which included its own monster hits "Love Song" and cover of "Signs," Styx proved youthful, bombastic showmen most comfortable utilizing the sprawl of the amphitheater stage (they've also played the smaller Fillmore and Uptown Amphitheatre). Styx's production consisted of a revolving keyboard platform for animated vocalist Lawrence Gowan and four sets of stairs leading to a walkway running the length of the stage above drummer Todd Sucherman's kit. The set-up was slightly more elaborate than Def Leppard's, which - like last year - made more use of LED screens than tiered levels and height.
After an hour-long set that peaked with "Come Sail Away" and encores of "Rockin' the Paradise" and "Renegade," the standing ovation was worthy of a headliner.
Def Leppard, who held Styx's spot as a big band in a support slot opening for Kiss at PNC last summer, played a set similar in look and songs to that tour. The video backdrops for "Rocket" and "Armageddon It" were the same, but those were some of the highlights of last year's show so the inclusion makes sense. I could always do without a cover of "Rock On" (my point of reference is soap star Michael Damian's version). I'd rather hear a side 2 "Hysteria" album track (side 2 gets no love). "Rocket" on the other hand has turned into one of the highlights of the set despite its 6 and a half minute length and sort of trippy, psychedelic chant-feel. Even as a kid I found it an odd choice for a single, but over 25 years later it works maybe even better than it did then.
The sound wasn't pristine. Elliott doesn't hit all the high notes as regularly as he once did and the lack of clarity and singing crowd helped cover that fact. He doesn't swipe at notes like some veterans his age, but seems to know when and where to push it. He may not reach for the peaks on "Love Bites" or "Animal," but he soared on "Foolin'."
He was playful, tossing a Union Jack stiletto to a fan whose high heel somehow ended up on stage and bassist Rick Savage and guitarist Phil Collen (with Elliott above) remain consistent, charismatic players.
Between last summer's Def Leppard show and Tuesday's concert, I've gained a greater appreciation for the group's history through my 6-year-old's interest in them. There was a time in my life when Def Leppard wasn't cool. An avid Headbanger's Ball and MTV Top 20 countdown viewer during the band's height when I was 12, boyfriends and peer groups eventually steered me toward "alternative" fare. But a fondness for bands like the Pixies and the Smiths, shouldn't have negated my love of Def Leppard. I thought about that as I was singing "Rock of Ages" with my son during the encore.
I'm so glad that adolescent time has passed. I - like the audience Tuesday - still find a lot of joy in Def Leppard.
Yet Tuesday night at PNC Music Pavilion (where the venue's name has changed three times since Def Leppard started playing there in the early `90s) Campbell was back on stage, having only missed the first two dates of the tour.
Singer Joe Elliott introduced him as "healthy and happy" earlier in the set (pictured above), but the warmth and spirit of band brotherhood and achievements well beyond massive album sales came to a head later in the set during "Hysteria." Following Allen's crowd rousing drum solo which ended with his face contorted in elation, the band broke into the mid-tempo pop hit as a homage to Clark, whose image flashed on the screen. For a moment as they cruised into the second verse Campbell smiled, took his hands from his guitar and clasped them together as if in thanks that he could join his comrades on stage. The meaning of the band's perseverance was wrapped in that shared moment with Clark's photos and the gracious guitarist that replaced him over 20 years ago.
The other side to Def Leppard's appeal is a knack for rousing pop-metal anthems that have been in radio rotation for so long the words are seared in fans' minds. That was the case for much of the night as the British hard rock giants shifted from the opener "Rock Rock (Til You Drop)" and "Animal" to later era Leppard "Promises" and "Paper Sun." The latter weren't the monster hits that "Love Bites" and closer "Pour Some Sugar On Me" were, but many of the fans still knew all the words.
Styx (guitarists Tomy Shaw, back and James "JY" Young, front, above) did a lot to rally the crowd early in the night. Following a set of Tesla's bluesy hard rock, which included its own monster hits "Love Song" and cover of "Signs," Styx proved youthful, bombastic showmen most comfortable utilizing the sprawl of the amphitheater stage (they've also played the smaller Fillmore and Uptown Amphitheatre). Styx's production consisted of a revolving keyboard platform for animated vocalist Lawrence Gowan and four sets of stairs leading to a walkway running the length of the stage above drummer Todd Sucherman's kit. The set-up was slightly more elaborate than Def Leppard's, which - like last year - made more use of LED screens than tiered levels and height.
After an hour-long set that peaked with "Come Sail Away" and encores of "Rockin' the Paradise" and "Renegade," the standing ovation was worthy of a headliner.
Def Leppard, who held Styx's spot as a big band in a support slot opening for Kiss at PNC last summer, played a set similar in look and songs to that tour. The video backdrops for "Rocket" and "Armageddon It" were the same, but those were some of the highlights of last year's show so the inclusion makes sense. I could always do without a cover of "Rock On" (my point of reference is soap star Michael Damian's version). I'd rather hear a side 2 "Hysteria" album track (side 2 gets no love). "Rocket" on the other hand has turned into one of the highlights of the set despite its 6 and a half minute length and sort of trippy, psychedelic chant-feel. Even as a kid I found it an odd choice for a single, but over 25 years later it works maybe even better than it did then.
The sound wasn't pristine. Elliott doesn't hit all the high notes as regularly as he once did and the lack of clarity and singing crowd helped cover that fact. He doesn't swipe at notes like some veterans his age, but seems to know when and where to push it. He may not reach for the peaks on "Love Bites" or "Animal," but he soared on "Foolin'."
He was playful, tossing a Union Jack stiletto to a fan whose high heel somehow ended up on stage and bassist Rick Savage and guitarist Phil Collen (with Elliott above) remain consistent, charismatic players.
Between last summer's Def Leppard show and Tuesday's concert, I've gained a greater appreciation for the group's history through my 6-year-old's interest in them. There was a time in my life when Def Leppard wasn't cool. An avid Headbanger's Ball and MTV Top 20 countdown viewer during the band's height when I was 12, boyfriends and peer groups eventually steered me toward "alternative" fare. But a fondness for bands like the Pixies and the Smiths, shouldn't have negated my love of Def Leppard. I thought about that as I was singing "Rock of Ages" with my son during the encore.
I'm so glad that adolescent time has passed. I - like the audience Tuesday - still find a lot of joy in Def Leppard.
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