Just witnessed your
best live gig?.. send us a review!
Classic
Rock Heaven? Summerfest in the USA makes all festivals seem rather tame:
although not specifically classic rock there was enough there to entice
Andy Nathan back after a break of 6 years...
SUMMERFEST Milwaukee, Wisconsin
29 June - 11 July 2011
Review and
photos by Andy Nathan
Pop quiz
for you. What is the world's largest music festival? Glastonbury? The
South by South West that has the whole industry flocking to Texas? One
of the big European festivals like Roskilde?
Wrong -
according to the Guinness Book of Records, that honour belongs to
Summerfest, on the shores of Lake Michigan. With a history of over 40
years, the festival plays host to a remarkable 700 bands over 11 days on
11 different stages.
Milwaukee
incidentally is a much underrated city, relaxed, easier to walk around
than many US cities and with a plethora of bars, reflecting its history
as a city where Germans settled and made it America's brewing Capital.
I had only
really stumbled across Summerfest by accident in 2005 when I wanted to
catch the John Mellencamp and John Fogerty tour, but I enjoyed the time
of my life then, and so was excited to return for the first time in four
years, meeting many friends both old and new in the process.
It is not
a rock festival as such, hosting the full gamut of popular music genres,
but by picking and mixing everyone can assemble a line up that reflects
their own tastes, and one of the stages is designated as the Classic
Rock stage.
The 'name'
acts only tend to appear in the evenings, so the 700 figure does in
fairness include a huge roster of local bands who play during the day.
Probably a majority are cover or tribute bands but, as an obsessive for
American rock from the seventies and eighties, that was still a delight
for me, especially as their musicianship and presentation is in my
opinion superior to their British counterparts.
A few
words about the set up of Summerfest - the site occupies about a mile
long strip not far from downtown on the Milwaukee lakefront, lined with
music stages and stalls from the city's traders selling food, a
surprising variety of beers and clothing and jewellery. A sky ride even
offers the chance to rest those legs and get a bird's eye view of the
site.
Within the
site is the 23,000 capacity Marcus Amphitheatre, which hosts a major
concert each night by a variety of rock, pop and country acts, for which
standard prices are charged. Not interested in the likes of Britney
Spears, Toby Keith and Katy Perry, this time the only show I saw there
was Def Leppard and Heart.
Every
other stage is covered by general admission, which costs a maximum of 15
dollars but an obscenely cheap 8 dollars before 4pm - and indeed deals
are usually to be had to get in cheaper than that! The stages have
unreserved bench seating, leading to races to put towels down (I told
you of Milwaukee's German origins!) and it pays to get there early.
The 'name'
acts only tend to appear in the evenings, so the 700 figure does in
fairness include a huge roster of local bands who play during the day.
Probably a majority are cover or tribute bands but, as an obsessive for
American rock from the seventies and eighties, that was still a delight
for me, especially as their musicianship and presentation is in my
opinion superior to their British counterparts. However this review
concentrates solely on original bands.
HALL AND OATES - 29 June
You could
not move on the first night, when the city turns out in force to mark
the opening of the Fest and enjoy some spectacular lakeside fireworks.
However I grabbed a spot between the beer tent and the Classic Rock
stage to catch Hall and Oates for the first time in my life (ironically
they cancelled when I was due to see them at Summerfest in 05).
Barely
changed from their heyday, they made a great start with 'Maneater',
complete with sax solo, a rocky 'Family Man' and 'Out of Time' all
bringing back memories of listening to Paul Gambaccini's American chart
show in the early eighties.
The blue
eyed Philly soul period I was less interested in, with the exception of
'She's Gone'. It was a no frills and rather short set, but a lengthy 'I
Can't Go For That' got the crowd dancing, and during the second of two
encores, I joined mass singalongs to 'Kiss on My List' and 'Private
Eyes' to get the adventure off to a good start.
It's
easy to see them as a 'guilty pleasure' but I have never left an REO
show less than thoroughly entertained and uplifted, and this was one of
the most enjoyable.
REO
SPEEDWAGON- 30 June
Summer
after summer, REO Speedwagon tread the outdoor circuit in the States,
and their Mid-West home territory is as good a place to see them, Kevin
Cronin in typically breathless fashion repeatedly describing the crowd
as awesome.
There were
a couple of surprises - as part of an opening segue of songs to mark the
30th anniversary of 'Hi Infidelity' (and yes the classic ballads 'Keep
On Loving You' and 'Take it On the Run' were present) , Bruce Hall sang
the very rarely played 'Somewhere Tonight'.
In
contrast, to mark their origins in nearby Illinois, they also played
some really early, more progressive material like 'Son of a Poor Man'
and 'Golden Country', before the traditional favourites - 'Time for me
to Fly', 'Back on the Road Again', 'Roll with the Changes' and the
encores 'Ridin the Storm Out' and '157 Riverside Avenue'.
I've said
it before, but although 'Cant Fight This Feeling' was exquisitely
delivered as the model of how a power ballad should sound live, REO
really come alive as a hard rocking live band.
Dave Amato
was constantly pulling back his whammy bar and cranking out aggressive
solos, while he and Bruce charged from one end of the stage to another
like men a quarter their age. It's easy to see them as a 'guilty
pleasure' but I have never left an REO show less than thoroughly
entertained and uplifted, and this was one of the most enjoyable.
STYX -
1 July
After
seeing the edited highlights of a 40 minute set with Journey on their UK
tour, it was great to witness a full length Styx set so soon afterwards.
There was major demand for their show, too much so in fact as some
people arrived late and tried to push to the front, causing tempers to
fray in this normally laid back part of the world.
Styx have
to be one of the most entertaining live acts around, not only with spot
on harmonies, but their stage movement and sense of enjoyment, and
certainly I found them one of the most rewarding sources of photographs
all holiday. However the less said about Tommy Shaw's ladies blouse the
better!
Of course
the favourites were all there - 'Blue Collar Man', James JY Young's solo
slot 'Miss America' , 'Fooling Yourself' with original bassist Chuck
Panozzo (looking worryingly like Henry Kissinger in his suit and thick
glasses) making an appearance and some fantastic synthesiers and
harmonies, and 'Come Sail Away', Lawrence Gowan teasing with snippets of
other songs before sending the crowd wild and the song ending in an
explosion of multi-coloured confetti.
But, not
having seen them for a few years, the highlight for me was hearing three
late seventies classics I'd never heard live before - 'Castle Walls',
'I'm OK' but best of all a brilliant version of 'Man in the Wilderness',
with Tommy working overtime, singing, playing acoustic guitar, then
swapping twin leads with JY.
Lawrence's
version of 'I Am The Walrus' I could have done without, but as usual
Renegade signed off another top class set by these enduring entertainers
who I hope come back to the UK soon.
HINDER
- 2 July
For some
bizarre reason the classic rock stage hosted a country act on Saturday
night, so I made my one trip to the Rock stage at the opposite end of
the grounds, which has a much better appointed set up, but focuses on
the newer generation bands. Of them, Hinder are one band I have grown to
like, with their mix of Motley Crue/Buckcherry style sleaze and
surprisingly big commercial hooks.
With a set
culled from all three albums and about half from latest album 'All
American Nightmare', they went down well with the crowd but I was
slightly disappointed.
A lot of
the hooks and melodic sensibilities of the likes of How Long were lost
by a band that was far more aggressive and punky live, while I have
reached the time of my life when I cease to be impressed by the constant
swearing of too many of these bands.
Their big
US hit 'Lips of an Angel', and 'Better than Me' did though result in
mass singalongs before the encores of sleazy rock classics 'Put That
Record On' and 'Get Stoned' created a great Saturday night party
atmosphere for a younger crowd.
DON
FELDER - 3 July
In
contrast I was spoiled for choice on the Sunday, with Blue Oyster Cult
and the influential and recently reformed alt-country rockers The
Jayhawks on my shortlist. However the memories of a wonderful night at
Moondance Jam last year hearing Don Felder play a set almost entirely of
Eagles classics that he played on swung it for me to see him again.
Unfortunately the atmosphere did not match that magic night: for one
thing, most of the crowd were out behind the stage watching some
spectacular lakefront fireworks which overlapped with his set, doubly
unfortunate as he opened with 'Hotel California' and then the covered
Potawotomi Casino stage was far from full, and most of the crowd at the
front stayed seated.
It was
nearly the same set as at Moondance - right down to the anecdotes about
waking up with Mr Jose Cuervo before playing 'Tequila Sunrise'. Other
than covers of 'Pride and Joy' and 'Superstitious', and his own 'Heavy
Metal', the whole set comprised Eagles songs, though his average voice
needed augmenting by ex Whitesnake keyboardist Timothy Drury and a
bassist who hit all the high notes. A young second guitarist Ben Mauro
also showed his paces on 'The Long Run'.
Despite
being a bit of an anti-climax, you can still hardly fail to enjoy his
timeless, economical guitar work, particularly on slide, on the likes of
'Already Gone', 'Victim of Love', 'These Shoes', 'Life in the Fast Lane'
and 'Heartache Tonight', nor sing along to the final song 'Take it
Easy'.
HEART - 5
July
My sole
gig in the Marcus Amphitheatre was to catch Def Leppard and Heart's
joint US summer tour, which sadly was curtailed shortly afterwards when
Joe Elliott's father passed away and a number of shows were cancelled
including one on my schedule at Rock Fest in Cadott, Wisconsin. In doing
so I had to pass up the chance to see Cinderella and Paul Rodgers in the
main grounds.
After a
short opening set from very White Stripes influenced solo guitarist Evan
Watson, Heart came on stage playing under rather dark lighting. They
opened with a curveball in 'Cook with Fire', complete with Ann Wilson on
flute, and 'Heartless', but their set was different as Ann admitted this
was a night to celebrate the eighties. So their most successful era, but
one which at times they disown, was well represented with versions of
'Never' and 'What About Love'.
'These
Dreams' had ageless sister Nancy singing, though I could have done
without the dance loop-influenced backbeat, while it was a bit cheeky to
imply that John Farnham's 'You're the Voice' was a song they had
written. Given full use of a walkway out into the crowd, Ann's
passionate, lung-busting voice is still a thing of wonder at 60 and was
showcased to melodramatic effect on 'Alone'.
New song
'WTF' was an unmelodic sonic mess, but returning to the seventies, the
gig just got better and better with a closing trio of 'Magic Man' on
which both keyboard player Debbie Shaer (but pigtails on a grown up -
please!) and guitarist Craig Bartok shone, 'Crazy on You' and
'Barracuda' with Nancy and Craig jamming on guitar. However for me yet
another Led Zeppelin encore, of 'What Is and What Should Never Be', was
an anti climax to their hour long set.
DEF
LEPPARD - 5 July
As for
Sheffield's finest, well their set was of less interest to me than their
Download gig last month, being an hour and a half at tops and focused
almost exclusively on the greatest hits with few surprises.
But the
good news was that this resulted in a truly cooking atmosphere with a
20,000 crowd on their feet, punching the air and singing out every word,
once new song 'Undefeated' had been got out of the way.
The set
took a familiar turn - crowd pleasers early on like 'Let's Get Rocked',
'Animal' and 'Foolin', Rick Savage's tedious bass solo and cover of
'Rock On', and the band coming out into the audience for an acoustic
sequence of 'Two Steps Behind' and 'Bringin On The Heartbreak'.
After the
guitar jousting of 'Switch 625' gave Joe a chance to rest his voice,
from then on in it was one hit after another from 'Pyromania' and
'Hysteria' -and with 'Hysteria', 'Armageddon It', 'Photograph' and 'Pour
Some Sugar on Me', plus sole encore 'Rock of Ages', the amazing crowd
response got louder and louder.
The other
reason to love a Leppard live show is that their stage set and light
show is always immaculately constructed and perfectly suited for the
grand gestures that are needed to make a show work in arenas this size.
The band
make full use of the space available and Joe, whatever any reservations
about his technical ability, is a master at working a crowd. It is easy
to be snobbish, especially with a greatest hits set, but they do the job
of giving you a big fat stadium rock show perfectly.
PETER
FRAMPTON - 6 July
It was
back to the Classic Rock stage after a few days away to see another of
my fellow 'limeys', one Peter Kenneth Frampton, mark the 35th
anniversary of his platinum multi-seller 'Frampton Comes Alive' by
playing the album in its entirety. The posters for the UK leg of the
tour in the winter state he will also play other career highlights, but
on this occasion an hour 50 minute set featured the album and nothing
more, and made for a more concise set than his March show at Shepherds
Bush Empire which did meander on a bit.
A very
well constructed backdrop kept flashing images of old photographs and
album covers, although the 'Comes Alive' cover shot drew attention to
the change between his massive 1970's perm and today's thinning silver
hair.
Nevertheless one of his endearing qualities is his ability not to take
himself too seriously and he changed the lyrics of 'All I Wanna Be is By
Your Side' to 'I don't care, now that I've lost some hair', not to
mention his appearance on The Simpsons being included in the backdrop.
Fairly
early in the set, 'Show Me the Way' woke the crowd and he played his
famous talkbox for the first time, and 'It's a Plain Shame' kept up the
momentum, but after a series of acoustic numbers the pace had probably
dropped too much.
Nevertheless it picked up with the likes of 'I Wanna Go to the Sun' and
'I'll Give you Money', which developed into an incredible extended jam
between him and second guitarist Adam Lester who achieved the unlikely
feat of out soloing him, while it was a pleasure to hear songs that
might not otherwise have made it into the set like 'Nowhere's Too Far
for My Baby'.
However
the moment the crowd had all been waiting for was obvious the moment a
massive cheer went up for the opening bars of 'Do You Feel Like We Do'.
Extended to a 'mere' 18 minutes, we of course had him messing about with
the talkbox with a few lines about his history in Humble Pie.
After
encores of 'Shine On', rolling along to Rob Arthur's Hammond organ,
'White Sugar' and his cover of 'Jumping Jack Flash' with a typically
fluent solo, I left for the night richly entertained by a man with
plenty of fire still left in him, and with 'Doo-oo you, feel like I do'
on my brain.
KANSAS
- 7 July
Summerfest
gave me a rare opportunity to see Kansas, who have only hit UK shores
briefly in 2005. The formula remains the same of some incredible
musicianship and interplay between lively, centre stage violinist David
Ragsdale, tastefully restrained guitarist Richard Williams and
keyboardist Steve Walsh.
Looking
somewhat scruffy in grey beard, baseball cap and ponytail, the latter is
also one of melodic rock's greatest ever vocalists and though a bit
quivery in places there was still some of that magic in evidence.
It was a
bit distracting though the way he would emerge from the keyboard to
deliver a few lines, then turn on his heels and return, while bassist
Billy Greer acts as the compere and occasional co-vocalist and Phil
Ehart beat the hell out of the largest drum kit seen all weekend.
Highlights
for me included the sparky instrumental 'Musicatto' (from my favourite
album of theirs, 1986's 'Power') 'Point of Know Return' with some great
70's keyboards, the relatively rarely played 'On the Other Side', and
the classic 'Hold On' with a great solo from Richard, even though 'Dust
in the Wind' was over too soon. Those with a taste for the band's more
progressive side will have been delighted by a suite of songs from the
'Leftoverture' album to mark its 35th anniversary.
Dedicated
to the troops, 'Fight Fire with Fire' was a disappointment, not suiting
Steve who was away from the band when it came out in 1983, but a
stonking 'Carry On Wayward Son' ended things on a high note, showing off
that great musical interplay which I never wanted to end.
Founder
members Gerry Beckley and Dewey Bunnell may have the look of 6th form
geography teachers breaking out the guitars after a hard day's field
trip, but are responsible for a back catalogue of songs that they admit
lead people to say 'I never knew they wrote that one as well'!
AMERICA
- 9 July
After a
day's record shopping in Chicago, my final name act was another enduring
legend in America, who have passed 40 years together. Founder members
Gerry Beckley and Dewey Bunnell may have the look of 6th form geography
teachers breaking out the guitars after a hard day's field trip, but are
responsible for a back catalogue of songs that they admit lead people to
say 'I never knew they wrote that one as well'!
Sensitively backed by a backing band of long-time cohorts Willie Leacox
on drums and Sid James lookalike Michael Woods on guitar, and bassist
Rich Campbell who also supplies high harmonies, the likes of 'Tin Man',
'Daisy Jane', 'Ventura Highway' and 'Lonely People' had people singing
along. As for me, I was delighted to hear two of their more AOR classics
from the early eighties, 'You Can Do Magic' and 'The Border'.
There was
also a twist as they played a few songs from a forthcoming album of
covers that they wish they had written, ranging from oldies like
'Woodstock' to the Gin Blossoms' 'Till I Hear it From You'. Like the
Eagles they define the term soft rock, but can rock out when the mood
takes them, as on 'Hollywood' where Michael was allowed to stretch out,
and 'Sandman', as with the volume suddenly turned up he and Dewey shared
heavy distorted guitar riffs in the manner of Neil Young.
Like Peter
Frampton, Gerry in particular is also a dry wit (I hope their upbringing
at a US air base in West London helped!), giving people his internet tip
that googling 'America' would not be profitable and saying 'these are
not oldies, they are classic rock - there is a difference'!
'Sister
Golden Hair', with its melody on slide guitar, and final encore 'Horse
With No Name' were the perfect close to a warm summer's evening by the
lakefront and to my main action at the festival.
A huge
variety of bands at rock bottom prices, and great food, drink and
atmosphere, all in a handy location - Summerfest must be not only the
world's biggest music festival, but one of the best. I can't wait to
return and you should sample this heady Milwaukee brew for yourself if
you possibly can.
Review and
photos by Andy Nathan
GRTR!'s
World Explorer Andy Nathan. Not wishing to miss any action, and
showing the true diligence of a GRTR! Hack, he managed just 11 hours rest during a
mammoth 11-day festival.
Moondance Jam 14-16 July
|
Print this page in printer-friendly format |
|
Tell a friend about this page |
|