Concert Review – Paul McCartney live at Hollywood Casino Amphitheatre

At a spry and still-boyish 75, Sir Paul McCartney brought his career-spanning One on One tour to Tinley Park, IL for two shows this summer (and first-ever visit to the area). Of course, Beatle devotees could have easily filled a concert venue three times the size of Hollywood Casino Amphitheatre, so it was a curious choice, though McCartney has been in the habit of visiting new places in recent years. A born showman, music and performing are in his DNA. This becomes abundantly clear when watching him perform. He obviously still loves what he does and basks in the interaction with his audience. And though he’s joked about one day being wheeled onstage to croak out yet another rendition of “Yesterday,” it is almost certain McCartney will keep playing for fans as long as he is physically able to.

Again, one can recite all of McCartney’s superhuman accomplishments ad nauseam. Along with Prince, he is perhaps the most musically gifted pop artist of all time. Had he been nothing more than the pretty pin-up idol who played all those amazing basslines on Beatle records, his legend would still rest assured. The fact that he was also a mutli-instrumentalist with a voice that could sing ballads and rockers with ease, as well as being one-half of the greatest songwriting partnership of all time is surreal. He’s been almost too good his entire career. He spoiled his audience with his genius at an incredibly young age and must now carry that weight (of expectation) a long time.

Even this he does with supreme grace. During the second of the two Tinley shows, McCartney opened with “A Hard Day’s Night”. A blinding spotlight caused him to miss his microphone stand, so he quickly stopped the show and, lifelong pro that he is, immediately charmed the audience with the offhand quip, “Hey, it’s live!” and started the show again. So we got to hear the iconic opening chord twice, which can only be a good thing. Once Paul’s voice kicked in, it was Beatlemania all over again for those in attendance.

McCartney followed up with a rocking “Junior’s Farm” from peak-era Wings, and then another early Beatles favorite, “Can’t Buy Me Love” and “Jet” from the classic Band on the Run album. All were delivered with great energy and the sound mix was excellent throughout. He also threw in an obscure (but well known among DJ’s) solo track “Temporary Secretary” from 1980’s synth-heavy McCartney II. Again, McCartney had to stop the show as the sequencer sample that starts the song was off-rhythm. And again McCartney joked that this was how the audience knew for sure that the band was really playing live. Having seen McCartney many times since he returned to regular touring in 1989, the early flubs added a refreshing spontaneity to what is normally a tightly-scripted and highly-polished show.

While McCartney has indeed lost part of his legendary upper register with age (as have virtually all rock veterans still on the touring circuit), he still delivered vocal moments that brought the house down. At one point near the end of “1985,” he nailed the signature belt and got rapturous cheers. Having shown up at the venue before the gates opened, I was able to hear his pre-show sound check of about 9 or 10 songs not in the regular set. All of them sounded great and his voice was still strong and commanding. For other songs in the set, the sound mix and great vocal harmonies, particularly from drummer Abe Laboriel Jr., made up the difference.

For all of his storybook achievements, McCartney still carries himself as a working musician. Touring with the same band he has since 2001, he works much, much harder than he has to. He hustles and sweats. As a living Beatle, McCartney could do the Dylan thing and come onstage, stoic and aloof, and go through the motions of a self-serving set list without any audience engagement. Most people would still go home happy knowing they got to see him and the iconic Höfner bass. Instead, McCartney takes you on a journey through music history with stories about Jimi Hendrix and Eric Clapton, the impetus for certain songs, as well as loving tributes to Linda McCartney, Beatles producer George Martin, George Harrison and John Lennon. He also swaps back and forth between bass, electric and acoustic guitar, piano and ukulele (as a great tribute to Harrison on “Something”). It was an impressive display of his unmatched talent.

For an epic three-hour show, the pace flew by. There was an easy blend of moods and tones, from classic rockers to stately piano ballads and a nice acoustic interlude where McCartney played with casual flair as if in your living room or at the local coffee house. After the acoustic set, which included Beatle classics “And I Love Her,” “Blackbird,” and Quarrymen charmer “In Spite of All the Danger,” McCartney and company went back into full-band mode for the final third of the show that played like a jukebox loaded with the greatest of greatest hits: “Eleanor Rigby,” “Band on the Run,” “Let it Be,” pyrotechnic showstopper “Live and Let Die,” and audience sing along “Hey Jude”. The man’s back catalog  simply cannot be beat.

As if the set list was not generous enough, McCartney came back for an encore that played like a full show in itself: “Yesterday,” “Sgt. Pepper’s Lonely Hearts Club Band (Reprise),” “Hi Hi Hi,” “Get Back,” and the majestic Abbey Road finale “Golden Slumbers/Carry That Weight/The End” which climaxed with a blistering three-way guitar dual between McCartney, Rusty Anderson, and Brain Ray and perhaps McCartney’s greatest couplet, “And in the end, the love you take/Is equal to the love you make”.  As the final A chord reverberated from his sunburst Les Paul, the medley’s conclusion pretty much summed up the unflagging energy and optimism he’s radiated throughout his storybook career.

As the key custodian of the Beatles legacy, Paul McCartney gives his audience far more than they can reasonably expect from him at 75. His onstage energy and generosity of spirit continue to shine brightly. Of the four Beatles, he was always the most outgoing and eager to please, characteristics that have often made him an easy target for critics and certain rock purists. But there has never been an easy way to deny his staggering talent. Someone with his level of popularity will always polarize the public. The true legacy lies in the songs; anthems of peace, hope, compassion and love. Listen to what the man said.

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DEJA VU – Roger Waters live at United Center

If I had been God

With my staff and my rod

If I had been given the nod

I believe I could have

Done a better job

– Roger Waters

 

Roger Waters is not a subtle man. That shouldn’t surprise anyone familiar with Pink Floyd albums The Wall and The Final Cut or solo efforts like Amused to Death. While his obsessions drove most of the grand concepts and theatrics the Floyd are so renowned for, they also led to the band’s dissolution. Waters’ vision is so singular and forceful, it alienated fellow Floyd members and upset the band dynamic that gave birth to more organic-sounding albums like The Dark Side of the Moon and Wish You Were Here.  While Waters had already established dominance in the Floyd hierarchy by 1973, it was with the 1977 release of Animals where listeners were exposed to  the overtly political and eviscerating approach that would dominate his work to this day.

Four years after completing his last record-setting world tour (a revival of 1979’s The Wall), Waters is back on the road with another politically-charged and angry show. Though the tour is in support of his latest album, Is This the Life We Really Want?, the themes, motifs and iconography all hark back to Animals. The world’s leaders may be different than in 1977, but the corrosive sociopolitical issues remain the same. All the great injustices of the world that have driven most of Waters’ best work still exist, as does his passionate need to rant about them. And one can make the Floydian/Orwellian argument that society is still made up of “Dogs”, “Pigs”, and “Sheep”.

At 73, Waters retains his ability to both entertain and provoke. His flair for putting on an epic, theatrical and fully immersive experience colors every facet of his live show. While not as awe-inspiring as his last run of Wall concerts, the new Us + Them arena tour is nearly as creative and captivating with some truly big moments. Waters and his team also deserve major credit for dreaming up an entirely different presentation with innovations never before seen, especially during the second half of the presentation (yes, Waters actually has an old-school intermission midway through the show).

Opening with Dark Side favorite “Speak to Me/Breathe,” the show eases you in, seducing you with a groove and melody as familiar now as a child’s lullaby. Gone this time around is the legendary, circular “Mr. Screen” familiar to all Floyd fanatics. While missed, Waters again deserves kudos for going in a different visual direction on this tour. Having started the show on a gentle note, Waters and his backing band followed up with the head-banging throb of “One of These Days”. The pulse is still mesmerizing, as are the searing slide parts. It was a great one-two punch to start the show with. From there, the Floyd favorites continued with the still-majestic “Time,” “Breathe (Reprise),” “The Great Gig in the Sky” (featured vocals from lookalike Lucius singers Jess Wolfe and Holly Laessig), and the menacing-as-ever “Welcome to the Machine”. The songs all sounded magnificent, benefitting as usual from the superior surround-sound first pioneered by Pink Floyd in the ‘70s. As an audience member, you truly feel like you are inside the sound and not just having it blasted at you.

As part of a well-thought out set list, Waters then segued into three new songs that shared much of the same sonic palette as what came before. Starting with “Déjà Vu,” which sounds like a sequel to “Wish You Were Here,” Waters finally articulates his God complex with a vocal delivery straight out of The Final Cut. In “Picture That” and “The Last Refugee,” he expresses clear rage at the current political climate, a thread that would continue well into the second half of the show. The new songs all cleverly share strong musical threads with peak-era Floyd, thanks in large part to the production tricks of Nigel Godrich (best known for his work with Radiohead, themselves Floyd devotees). Along with the rest of Is This the Life We Really Want?, these songs make a fitting addition to Waters’ songwriting legacy.

The first half of the show closed with “Wish You Were Here” (as with Gilmour’s last tour, much earlier in the set than one would expect) along with Wall standards “The Happiest Days of Our Lives” and “Another Brick in the Wall” (parts 2 and 3). For the latter, once again Waters brought out a dozen or so youth from a local inner city school to substitute for the bratty English school kids on the album. While a consistent crowd-pleasing moment, their awkward dance choreography is one of the few missteps in the show, veering a little too heavily towards schmaltz.

With that, Waters and co. took a 15 minute intermission. What followed in the second half was to be more confrontational, yet also more visually arresting. Through a very clever set design, several interconnected screens that operated as scrolls dropped down from the top of the arena to magically transform into the iconic Battersea Power Station, bringing the cover of Animals to life, working smoke stacks and all. Always an imposing and oppressive symbol of the Industrial era, Battersea is the central image of the entire Us + Them tour. Having revisited the entirety of both Dark Side and The Wall on his solo tours, his current run is a pseudo-40th anniversary tour of Animals where, once again, what’s old is new. To further drive that point home, the second set began with “Dogs,” complete with a creepy mid-point tea party where the band wore animal masks as if part of some twisted English ball of yore. This was followed by outright, relentless Trump-bashing during “Pigs,” where Waters resorted to some juvenile and over-the-top imagery to symbolize his “resistance” to the current leader of the free world. Again, it was as unsubtle and heavy-handed as one could get while potentially alienating half of his audience, but Waters is one of very few artists breathing rarefied air. He doesn’t have to care if he bruises certain sensibilities in the crowd. You don’t like it? Leave, but don’t forget to buy the t-shirt on your way out.

From there, it was back to Dark Side material with the classic-rock radio staple “Money” and “Us and Them,” songs from 1973 that still powerfully resonate in the present. He slipped in one final new song “Smell the Roses” that easily could have fit on any mid-70s Floyd album, before closing the second half with a stunning version of “Brain Damage/Eclipse” where Waters and his lighting team vividly brought the prismatic Dark Side cover to life. It was an ingenious and brilliant effect to behold.

Waters and his great backing band returned for an encore that started with acoustic-based versions of both “Vera” and “Bring the Boys Back Home” that were really affecting, particularly the latter, removed from The Wall’s more bombastic touches. Finally, the show closed with “Comfortably Numb,” which was to be expected save for the appearance (on the Sunday show) of hometown legend Eddie Vedder to sing the Gilmour vocal parts. It was a genuine surprise that further elevated both the song and the United Center audience. After singing his parts, Vedder strapped on Waters’ trademark black acoustic guitar to help the band bring the song and show home. Sharing as they do a similar artistic and political temperament, the pairing was not as odd as one might think. The affection between the two rock titans was heartfelt, as was the moment itself.

Though he’s been on an amazing touring run since coming back to live performance in 1999, Waters has stated that this may be his final go-around. Sad as it may be to hear (as we only have so many legends of his stature left), Waters has absolutely nothing left to prove. He conquered the world as a young man with Pink Floyd and though he had a rocky start, has since triumphed as a solo artist. His was the more challenging path than Gilmour’s, initially relying less on the Floyd brand for survival. But as the wonderfully retro Is This the Life We Really Want? and Us + Them tour make clear, Waters still has a lot to say and the same poetic and conceptual gifts that have captivated rock fans across generations. The lunatic is still on the grass.