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GRTR!'s Andy
Nathan made an enviable pilgrimage to the USA in July for a month of
serious gigging. The first of his four reports starts in
Milwaukee...
SUMMERFEST, Milwaukee, 3-8 July 2012
Milwaukee's Summerfest, the world's largest music festival, this year
celebrated its 45th anniversary. Normally it is a festival I attend
every few years as a treat, but having enjoyed the time of my life
on my previous visit last year, and cemented many good friendships, I
needed no excuse to return.
On this
occasion I could only attend for the second week of an 11 day festival
but the luck of the draw meant that I could still see a number of bands
I wanted to, including two of the large shows in the 23,000 capacity
Marcus Amphitheatre which is at the heart of the festival site (and the
only one of the 11 stages where a ridiculously cheap general admission
is not valid).
Tuesday
3 July 2012 - Joe Walsh
Within 4
hours of hitting terra firma in nearby Chicago, it was straight off to
the Fest, to soak in the atmosphere, and catch up with friends from
previous trips, then in the evening to catch Joe Walsh on the Miller
Lite stage.
The Eagles
guitarist reached pensionable age this year - though he has already been
portraying a doddery image for many years - but his blues influenced,
yet always creative, guitar playing can never have sounded better while
his facial grimaces are always entertaining to watch.
Despite a
slow start with the likes of the acoustic driven 'Life Of Illusion', the
set choice was excellent and covered most of the bases of his long
career - solo material like 'Rocky Mountain Way' - surprisingly early in
set with his trademark bottleneck slide guitar and a talk box solo - and
the epic 'Turn To Stone', James Gang favourites like 'Walk Away', the Led Zep like
'The Bomber' and 'Funk 49' and Eagles songs associated with him
like 'In The City'.
Surprisingly, given that right down to his T shirt he was promoting his
first album in 20 years, Analog Man, only two songs were played from the
album. Moreover, his voice throughout was rather thin and drowned out,
so, on both the title track and 'Lucky This Way', people would have been
unable to make out some of his trademark witty self deprecating lyrics.
A lengthy
'Life's Been Good', Joe departing his position to charge from one side of
the stage to the other, and 'Life In The Fast Lane', where the trio of
backing vocalists in a surprisingly large band supplied the choruses,
got the atmosphere cooking.
As for the
encores, 'I Love Big T*ts' is not much of a song and the joke long ago
wore thin, but the party anthem 'All Night Long' sent us all away singing
it into the night after an enjoyable set.
Wednesday
4 July - Iron Maiden and Alice Cooper
What
better way can there be to celebrate 4th July than a show with my fellow
Brits Iron Maiden? To add to the sense of occasion, Alice Cooper
provided support in the city whose history he famously explained to
Wayne and Garth in Wayne's World.
Given only
a 50 minute set, he and his primarily young band tore through a set of
classics across the years- from Black Widow to Brutal Planet, but with a
bigger emphasis than you might expect on his late 80's and early 90's
hits with 'Poison', 'Hey Stoopid' and 'Feed My Frankenstein' all going down
well.
We still
got most of his props too, including the dollar bills, a giant
Frankenstein, guillotine and giant balls floating around the
amphitheatre as Schools Out generated its usual party atmosphere.
...this
was a vintage Maiden show not far short of their 2008 Twickenham show
which sets the benchmark for me.
Unfortunately my top price seat in the front block was right at the
point where the seating curves beyond the front of the stage and my view
was mainly of a speaker tower, but as the lights dimmed and Iron
Maiden came on stage I spotted some unoccupied seats and sneaked
into a slightly better position.
Maiden's
summer USA extravaganza sees them recreating the Seventh Tour of a
Seventh Tour, complete with its ice blue stage set. Ironically, Bruce
Dickinson explained that despite this being the world's largest music
festival, the stage was too small to fit the full range of stage effects
(although telling punters who had spent up to 90 dollars to go to
Chicago to see the full show may not have been tactful).
Maiden
have always prepared elaborate stage sets and this still looked pretty
spectacular to me, even if we were deprived of Eddie's customary
appearance during set closer Iron Maiden.
The band
deserve great respect for moving forward and having faith in their newer
material, but as a seasoned fan I will admit to preferring to hear a set
of oldies, so this setlist was right up my street and I hope, maybe in
vain, it reaches their home country.
All the
Maiden trademarks were in place, from the three guitar attack –
typically with Dave Murray playing first solos within a song, Adrian
Smith following suit and Janick Gers a bit of a spare part at times, to
Steve Harris with his foot on the monitors machine gunning the front
rows with his bass, though oddly it seemed lower in the mix than usual
at a Maiden show.
The energy
with which Bruce hurtles from one side of the stage, across the walkway
and down to the other to work the crowd is little short of incredible
for a 50 something man, yet his voice is in as good shape as ever, even
if these days he avoids reaching for the highest notes that used to give
him the nickname the human air raid siren.
Opening
with a Seventh Son of a Seventh Son duo of 'Moonchild' and 'Can I Play With
Madness', the album naturally featured heavily including the rarely
played title track, although until a frenzied guitar climax it is one of
the less interesting of their epic songs.
They did
not stick too closely to the script, with two tracks from 1992's Fear of
the Dark - the title track which has become the song they dare not omit
from the live set, and one of my favourite ever Maiden songs 'Afraid To
Shoot Strangers', whose stately military beat, twin guitar solos and
anti-war theme make this a son of Wishbone Ash's Throw Down The Sword.
4th July
or not, Bruce was still brandishing his giant Union flag during 'The Trooper', and the way
'Number of the Beast' and 'Run To The Hills' - with a
giant soldier battling the band on stage - were slipped into the middle
of the set shows the strength of the catalogue of Maiden's peak years.
Other
interesting moments included the return of 'The Prisoner', a superb
version of 'The Phantom of the Opera' once the epic they always had to
play but not in the live set for a long time, and 'Wasted Years', the
reaction suggesting that was one of their biggest hits in America.
As a bonus
the first encore was 'Aces High', a rollicking tune which it is surprising
has not been more of a live mainstay over the years, before 'The Evil
That Man Do', the one '7th Son' song that has consistently stayed in the
set, with the band joyfully messing about, and finishing in more
traditional style with 'Running Free', complete with band introductions
and singalongs.
Surprisingly
'Hallowed Be Thy Name' was omitted but,
missing props aside, this was a vintage Maiden show not far short of
their 2008 Twickenham show which sets the benchmark for me.
Thursday 5 July
Wall to wall music from noon to midnight on the 11 different stages is
the order of the day at Summerfest and my original plans for the
following day were to see Burton Cummings, former lead singer of the
Guess Who, who had been very enjoyable at last year's Moondance Jam.
However
seeing a covers band called the Barbeez play, I was carried away living
the dream of a British based AOR fanatic and never made it out of the
tent they were playing, rocking out to a diet of Styx, Aldo Nova,
Journey The Outfield , The Cars, Eddie Money and others.
A genuine original, verging on eccentric, DDY provided one of the shows
of my American trip and I left thinking it is a shame that too much
water may have passed under the river Styx bridge to make a reunion
possible.
Friday
6 July - Dennis De Young: the Music of Styx
In
previous years most of my Summerfest business was conducted at the
Classic Rock stage at the far end of the site. However as the stage with
the most basic facilities it was ripe for reform, and has been replaced
by a new facility, the BMO Harris Pavilion.
With
around 5000 mainly covered seats, a perfect sound and ships sailing Lake
Michigan visible behind the stage, the facility is excellent but it now
covers all musical genres with the result that classic rock has been
marginalised somewhat.
However
the Pavilion did play host to one of the few names on my list I've never
yet seen, Dennis De Young. Founder member of Styx and lead singer on
many of their biggest hits, he parted company with them after musical
and personal differences but is on a mission to lay claim to his legacy.
Veteran
Milwaukee Legends Bad Boy, who are a fixture at these festivals, warmed
things up nicely with an enjoyable set of timeless melodic hard rock,
with Steve Grimm and original Cheap Trick singer Xeno working together
nicely, sharing lead vocals and guitar duties.
From the
moment he comes on stage, his silver bouffant matched by being dressed
head to toe in white, DDY cuts a singular character, and his style was
drawing comparisons to Barry Manilow or even Liberace.
He also
has a sardonic wit, introducing himself by saying he lived in a southern
suburb of Milwaukee - Chicago - and bantering about the fortunes of the
rival sports teams and even the US election.
His band
were excellent, including a full time keyboard player, allowing Dennis
either to sing out front or take a turn at his organ or synthesiser as
the occasion demanded.
The gig
was billed as 'the music of Styx - the grand reopening' and indeed the
opening trio of Grand Illusion, Lady and Lorelei occupy a similar
position as staples of Styx's live set.
The two
guitarists even looked superficially like the Styx pair and indeed the
peculiarly named August Zadra does a fine, if somewhat less high
pitched, job singing the Tommy Shaw songs so that the likes of 'Blue
Collar Man' and 'Too Much Time On My Hands' make for a more balanced set.
However
the real pleasure was hearing songs not part of the current Styx setlist,
and the likes of 'Show Me The Way' were sung in crystal clear fashion by a
man whose voice has barely changed at 65, while one of the highlights of
the set was his solo US hit 'Desert Moon', leading to a long but
mellifluous solo by the more impressive of the two guitarists, ex John
Waite cohort Jimmy Leahey.
'Mr Roboto'
got one of the best reactions of the night, though Dennis's surreal
conversation with a corpse of said character ('whats that? - he says its
Miller Time'!) was taking his eccentricity too far. For my part, the
relative obscurity 'Born For Adventure' was a particular treat, introduced
by some spot on vocal harmonies and with the twin guitarists rocking
out.
Both that
and 'Rockin The Paradise' proved he could still belt out rockier numbers,
then after saying how 'Babe' had been written as a birthday present for
his wife Suzanne and originally not intended for recording, he shocked
the crowd by introducing the backing singer afterwards and it was her!
After
Suite Madame Blue and Fooling Yourself, Dennis taking to his synthesiser
for a marvellously over the top solo, channelled the great pomp rock of
the mid seventies, 'The Best of Times' was another of his trademark
ballads that Styx no longer play.
After
joking at the charade of encores and asking the crowd to pretend that
was what had just happened, 'Renegade' and 'Come Sail Away' were the songs
that just had to close a near 2 hour show.
A genuine original, verging on eccentric, DDY provided one of the shows
of my American trip and I left thinking it is a shame that too much
water may have passed under the river Styx bridge to make a reunion
possible.
Saturday 7 July - Aerosmith and Cheap Trick
One of the main draws for returning to Summerfest was to witness a
double bill of Aerosmith and Cheap Trick, two American bands whose
longevity and originality of style mean the word legend for once is not
overused. Sure enough, the Marcus Amphitheatre was packed to capacity on
a hot Saturday night.
Cheap
Trick were given a generous hour long set, and whereas their own
shows feature a bewildering ever-changing setlists geared at the diehard
fan, here they wisely stuck to a greatest hits set - far more so than in
their disappointing Download appearance in 2011.
However
somehow their garage band style, plus the fact singer Robin Zander
seldom speaks between songs, seems more suited to clubs and smaller
venues than to stadia.
The covers
of 'Aint That a Shame' and 'California Man', together with recent song 'Sick
Man of Europe', were gearing the show up nicely but the lengthy 'Need Your
Love' rather killed the momentum, before it picked up with 'Surrender'.
Robin sounded superb on the US No 1 power ballad 'The Flame', although it
fits rather incongruously in their set.
Encouragingly the crowd were on its feet singing along to 'I Want You to
Want Me' and 'Dream Police', before 'Goodnight Now' saw Rick Nielsen
belatedly bring out his famous five necked guitar (though after an
afternoon on a boat tour of the breweries that make Milwaukee America's
beer capital, my friend and I could spot far more than five!).
AEROSMITH: from my vantage point exactly half way back they failed: the
lights show was average, the band seemed obsessed with performing to the
lucky fans next to the catwalk, not the whole arena, Steven appeared
more interesting in preening than communicating, and when he spoke he
was incomprehensible.
Surely
Aerosmith could not fail? Well, things got off to a good start as
they made maximum use of a catwalk jutting out onto the front of the
stage and surprisingly opened with Draw the Line, usually placed much
later in the set but a perfect showcase for Joe Perry's ragged yet
effortless guitar licks, while Love in an Elevator and Livin on the Edge
kept the pot boiling nicely.
Looking
almost a caricature of himself with giant pouting lips and scarves tied
to every part of the body, Steven Tyler seemed in good form despite
having recently had to cancel shows through illness.
Meantime
the often neglected and now rather grizzled Brad Whitford was ushered
forward for some tasty bluesy solo work on 'Last Child'. But somehow the
'Smith managed to blow it.
Stadium
shows rest on being able to carry off a distinctive and deceptively
simple formula: play your best known songs, put on a big show, and
communicate with the audience in a way that the punter at the back feels
they are a still a part of a show.
You would
expect Aerosmith to rank with the very best who can carry this off, from
the Stones to Springsteen to Bon Jovi.
But from
my vantage point exactly half way back they failed: the lights show was
average, the band seemed obsessed with performing to the lucky fans next
to the catwalk, not the whole arena, Steven appeared more interesting in
preening than communicating, and when he spoke he was incomprehensible.
Moreover
the understandable need to rest his voice related in a lot of padding
with a long drum solo from Joey Kramer, accompanied by a percussionist,
and guitar solo from Joe.
Worse
still, for a good 45 minutes in the middle the set was almost entirely
new songs or some of the more obscure tracks from their early 70's
albums that passed me and I am sure 90% of the crowd by.
'Dude Looks
Like a Lady' was inexplicably dropped long ago from their set, but many
will have queried the absence of big hits like 'Cryin' and 'I Don't Wanna
Miss A Thing'. And surely the likes of 'Mama Kin', 'Back in the Saddle' and
'Same Old Song' and 'Dance' would have been better reminders of their
original sound?
All this
meant that a hot and restless crowd were subdued and the occasion lacked
atmosphere. Belatedly the gig came to life with the ever cool Tom
Hamilton's bass solo leading into 'Sweet Emotion' and after some scat
singing from Steven including 'Mother Popcorn', 'Walk This Way' had the
crowd moving, singing along and clapping as he bothered to encourage
participation for virtually the only time in the night.
Highlight
of the night was probably a superb version of 'Dream On' to open the
encores, with Steven sounding great while seated at a white grand piano
on the walkway and Joe playing a solo perched on top of it, before a
surprisingly short 'Train Kept A Rollin'.
However it
could not hide that on the evidence of this show, a band who provided
some of my most fondly remembered gigs on their first couple of visits
to England in the late 80's, are coasting towards decline.
Sunday 8 July - Squeeze and Halestorm
One of the pleasures of Summerfest are the cheap entry deals and in a
great gesture to the community, any customers arriving before 3pm were
admitted free on the final day.
It wasn't
a particularly strong day for me music wise, but it meant I got to see
Squeeze for nothing, compared to their London show later this
year costing a cool (for cats) £40.
Not having
followed their career too closely, I did wonder whether they would play
newer and more unfamiliar material so was delighted when they opened
with 'Take Me I'm Yours' though Glenn Tilbrook's bizarre beard blowing in
the breeze distracted my attention.
Some newer
material like 'Top of the Form' also convinced while the band were very
well drilled, were backed by quirky video graphics and Glenn played more
lead guitar than I expected.
Chris
Difford, looking like an off duty undertaker, introduced a song that he
joked was a cover by Neil Diamond, who was playing the Marcus
Amphitheatre at the same time, and gave 'Cool For Cats' his usual deadpan
delivery, slightly differently arranged with a guitar solo in the
middle, and it led straight into 'Up the Junction' which with its kitchen
sink drama lyrics and catchy keyboard melody is surely one of the best
singles of the new wave era.
Indeed as
the set wore on, one classic Difford and Tilbrook penned song followed
another with the likes of 'Annie Get Your Gun', 'Pulling Mussels From A
Shell', the almost acapella 'Goodbye Girl' and 'Tempted'. Although the first
encore of 'Slap and Tickle' with Glenn playing a portable keyboard was a
low point, 'Black Coffee In Bed', with a great white soul groove, ended
the show in style. This was a top show, causing me to think Squeeze are
a British institution that maybe we should cherish more.
As a
bonus, their set ended earlier than expected and I rushed to the rock
stage hoping to perhaps catch the last song by Halestorm, but
instead saw the last 25 minutes of their set.
They seem
to have come on in leaps and bounds, and long-legged newly blonde singer
Lizzy Hale is both a fearsome, feisty singer (epitomised by the song 'You
Call Me a Bitch Like Its a Bad Thing') but quite a tasty co lead
guitarist.
Their
encores of 'I Get Off' and the lighter waving 'Here's To Us' only whetted
the appetite for their headlining show back home in the autumn, and
provided the cherry on the cake of a very diverse, but memorable, six
days at this Mecca for music lovers.
Review and
photos by
Andy Nathan
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Loopfest, 13 July
Moondance Jam, 19-21 July
Rockfest, 21 July
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