Review: Cheap Trick, Peter Frampton

(Above: Peter Frampton takes an early summer voyage through “Black Hole Sun” at Starlight Theater in Kansas City, Mo.)

By Joel Francis
The Kansas City Star

Peter Frampton and Cheap Trick have more in common than releasing two of the best-selling and critically acclaimed live albums of all time in the late 1970s. Thursday night at Starlight, the two children of the Beatles professed their love for the Fab Four.

Cheap Trick covered “Magical Mystery Tour” during its opening 80-minute set. Two hours later, Frampton ended his set (and the night) with “While My Guitar Gently Weeps.” Both songs fit the performer’s personalities. Paul McCartney’s genius for concise pop songs and cheeky sense of humor have been celebrated and amplified by Cheap Trick since the mid-‘70s. Likewise, George Harrison’s introspection and guitar virtuosity have been among Frampton’s hallmarks since his precocious start in the late ‘60s.

A cloudburst early in Cheap Trick’s daylight set sent many fans scurrying for cover, but the quartet stayed put. The faithful that remained in the open air strummed air guitar under ponchos and bounced beneath umbrellas to “Hot Love” and “Voices.”

cheap-trickThe quartet stretched out on a couple numbers, jamming on a lengthy “Need Your Love” and taking “Magical Mystery Tour” for a couple extra trips around the block well after the recorded fade-out. Eighties power ballad “The Flame” set up a killer home stretch that included “Dream Police” and “Surrender,” two of the band’s best-loved songs, and “I Want You To Want Me” and “Ain’t That A Shame,” the two biggest hits from “At Budokan.”

Likewise, Frampton didn’t skimp on numbers from his blockbuster “Frampton Comes Alive.” In fact, the opening coupling of “Something’s Happening” and “Doobie Wah” mirrored the first two songs on side one of the album.

Although Frampton is a fine songwriter – look no further than “Baby, I Love Your Way” – guitar solos are his meat and potatoes. His opening solo for the ballad “Lines on My Face” was almost smooth jazz. Later, Frampton traded solos with nearly everyone in the band during a 20-minute reading of “Do You Feel Like We Do.” His best solo came on “(I’ll Give You) Money.”

The band dropped out partway through, leaving Frampton along with his thoughts and his fretboard. The quiet, delicate playing gradually built back up, with each band member subtly, gradually rejoining. Before long, Frampton was trading licks with second guitarist Adam Lester, each trying to tastefully top the other. A lesser guitarist would have ended the song sliding across the stage on his knees with a flurry of notes. Frampton just stood and played, building layer on layer with his fingertips.

Beatles covers were the coup de grace, but a few other interesting covers wormed their way into the night. By now, Cheap trick has likely played “Ain’t It A Shame” more than Fats Domino. A surprising instrumental version of Soundgarden’s “Black Hole Sun” found Frampton delivering the final chorus through his infamous talk box. Finally, if it was strange to hear Cheap Trick do “Magical Mystery Tour” sans piano, it was even more jarring to hear Frampton cover Stevie Wonder’s “Signed, Sealed, Delivered” without horns.

There were plenty of empty seats in the top third of the theater, but four decades after committing their defining concert performances to vinyl, the unlikely pairing of classic rock vets proved they still had plenty to say and many who were anxious to hear it.

Cheap Trick setlist: Hello There; Oh Candy; Big Eyes; Lookout; Hot Love; Voices; I Can’t Take It; Need Your Love; Magical Mystery Tour; She’s Tight; I Know What I Want; The Flame; I Want You To Want Me; Dream Police. Encore: Ain’t That A Shame; Surrender; Auf Wiedersehen; Goodnight.

Peter Frampton setlist: Something’s Happening; Doobie Wah; Show Me the Way; Lines on My Face; Lying; Signed, Sealed, Delivered; (I’ll Give You) Money; Baby, I Love Your Way; Black Hole Sun; Do You Feel Like We Do. Encore: While My Guitar Gently Weeps.

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Review: D’Angelo

(Above: D’Angelo’s signature slow jam “Untitled (How Does It Feel)” eventually ends up in church as the closing number in his June 9, 2015, concert at the Midland Theater in Kansas City, Mo.)

By Joel Francis
The Kansas City Star

The quaint concept of chronos means nothing to D’Angelo.

Twenty years after releasing his first album, the soul singer made his Kansas City debut at the Midland on Thursday night. He kept the crowd waiting more than an hour after an abbreviated opening set by Meg Mac’s backing band (the Australian singer was ill and unable to perform). Perfunctory encore breaks stretched more than five minutes.

D’Angelo made every moment worth the wait, and then some.

D'Angelo FYI al 061115 0321 Songs that span a few minutes on the album were stretched to more than double their length throughout the night as D’Angelo and his 10-piece band, The Vanguard, rode the groove and twisted every wrinkle out of the arrangements. The two-hour set leaned heavily on last year’s “Black Messiah” — his first release in 14 years.

A leading player in the mid-’90s neosoul movement, D’Angelo wears his influences proudly. “Sugah Daddy” started as one of the best Sly Stone songs D’Angelo never wrote (and better than several he did), until a flick of the wrist transformed it into a James Brown jam. The vamp between the first two songs of the night, “Ain’t That Easy” and “Betray My Heart,” sounded like a lost Parliament-Funkadelic track. References to Prince and Earth, Wind and Fire also were abundant.There wasn’t a bum note or dull moment in the set, but a few songs stand out. The powerful #blacklivesmatter anthem “The Charade” ended with D’Angelo and his two guitarists clustered together, taking solos as the song built in intensity.The pairing of “Left and Right” and “Chicken Grease” pushed the party to another level. With the two horn players and three backing vocalists lining the front of the stage, it felt like a New Orleans parade.D'Angelo FYI al 061115 0335Fans started heading toward the exits during the first encore set, when the clock tipped toward midnight. The ones who stayed were treated to an epic version of “Untitled (How Does It Feel),” D’Angelo’s biggest song. Unlike the infamous video, D’Angelo kept his clothes on, but ended the slow jam by dismissing his band members one by one, until he was alone behind the keyboard.

“Really Love” offered a chance for several band members to shine. Singer Kendra Foster stole the spotlight with ballet-influenced moves during the introduction. Bass player Pino Palladino’s nimble fingers provided a delicate counterpoint to Isaiah Starkey’s classical guitar. Later in the song, D’Angelo pulled Starkey out front for a great call-and-response solo, where scatting was transformed into fretwork.

Seconds after saying goodnight during “Chicken Grease,” D’Angelo called the saxophone player forward for a solo and disappeared, only to quickly return playing guitar. It would be another 20 minutes before he said goodnight and meant it. And everyone in the house was better for it.

Setlist: Ain’t That Easy; Betray My Heart; Spanish Joint; Really Love; The Charade; Brown Sugar; Sugah Daddy. Encore 1: Another Life / Back to the Future / Left and Right / Chicken Grease. Encore 2: Untitled (How Does It Feel).
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Middle of the Map 2015 – day four

(Above: William Elliott Whitmore looks forward to “Digging My Grave” on the outdoor stage at the 2015 Middle of the Map festival.)

By Joel Francis
The Kansas City Star

(Note: With more than 100 bands performing on eight stages across four days, it is impossible to hear everything at the Middle of the Map festival. I spent most of the festival’s final day on an unseasonably cold day at the outdoor stage.)

Phox:

Despite cold hands and early sound issues, Phox delivered an enjoyable set that delighted the fans that filled about two-thirds of the parking lot around the outdoor stage.

The six-piece band from Wisconsin performs soulful, confessional indie rock that recalls fellow Wisconsinite and mentor Bon Iver. Their delicate melodies never got lost in the expansive outdoor environment, thanks to inventive arrangements.

“Evil” featured a New Orleans jazz trumpet solo, while “Never Love,” an unreleased song, opened with a recorder and African guitar line a la Vampire Weekend. Throughout it all, lead singer Monica Martin was the not-so-secret weapon. Her soulful voice and playful stage talk kept the songs weighty and the downtime light.

The band threw a curveball into the mix with a hushed, dainty cover of Blink-182’s “I Miss You.” More fans sang along with that number than any of the band’s original numbers.

murder by death
Murder by Death

William Elliott Whitmore:

Armed with a guitar, banjo and bass drum, William Elliott Whitmore did a great job prepping the crowd for Murder By Death’s Americana rock. His 45-minute set was filled traditional folk songs about train trestles, digging graves and devils.

Between songs, Whitmore bantered with the audience with a self-deprecating sense of humor. Whitmore said he wanted his time to feel like friends hanging out on the front porch. While he’s a bit early for that festival, he accomplished the feel.

Murder by Death:

Murder by Death play the kind of songs that make you more likely to get pulled over for speeding. Even the band’s down-tempo numbers are full-throttle. Case in point “Curse of Elkhart,” a torrid cautionary tale fueled by Sarah Balliet’s furiously strummed cello.

Several of the band’s Americana opuses unfold like novellas. Judging by apparel and lips, plenty of the crowd already knew the stories. Highlights of the hourlong set included the David Bowie tribute “I Shot an Arrow,” “Spring Break 1899” and “King of the Gutters, Prince of the Dogs.”

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Middle of the Map 2015 – day three

Middle of the Map 2013

Review: Vampire Weekend

Middle of the Map 2015 – day three

(Above: Minneapolis rapper Atmosphere performs the song “Kanye West” at the Uptown Theater during the 2015 Middle of the Map festival.)

By Joel Francis
The Kansas City Star

(Note: With more than 100 bands on eight stages across four days, hearing everything at Middle of the Map is impossible. I bunkered down at the Uptown Theater for most of the festival’s third day.)

Ghastly Menace: There weren’t many people in the Uptown Theater shortly after 6 p.m., but Ghastly Menace played with an intensity like they were trying to convert everyone in the room.

Pushed to the lip of the stage by everyone else’s equipment, the six-piece band from Chicago had no problem generating multi-layered indie pop that had the small cluster of fans dancing throughout the 30-minute set.

Hembree: It didn’t feel like Friday night until “Walk Alone.” The third song in Hembree’s half-hour set at the Uptown opened with a loping guitar eventually joined with a four-to-the-floor drum line that nailed everything into place. The rest of the set didn’t match that moment, but blending synth-pop with shades of Americana and folk harmonies created an interesting sound definitely worth further exploration.

Shiner: Positioned between three indie-centric bands, Shiner hit the reset button at the Uptown with a 40-minute slab of hard rock. One of Kansas City’s best ’90s bands, Shiner hasn’t played many shows since breaking up in 2003.

Singer/guitarist Allen Epley was a bit rusty, begging fans to forgive him if he flubbed the lyrics. After one number he told the crowd the band played it just to prove they still could.

He needn’t have worried. The dedicated fans that filled a healthy portion of the floor were just happy to soak up every note they could, knowing it would likely be a while until this next chance.

lord huron
Lord Huron

Lord Huron: Near the start of Lord Huron’s one-hour set, frontman Ben Schneider recalled the last time the band played town they were at the Riot Room.

Those days are long over. Overcrowding on the floor at the Uptown forced the balcony open. If Coldplay went camping they’d land pretty close to Huron’s earthy, indie folk. Schneider’s warm vocals and jaunty arrangements managed to make lyrics like “darkness got a hold on me” sound sunny. Highlights included the spaghetti Western-influenced “The World Ender” and “Fool for Love,” a new song driven by the Bo Diddley beat.

Atmosphere: In the hands of anyone else, getting a crowd to shout “I’m happy to be alive” and commanding them to wear a smile would be corny. Not so for Slug, MC for the Minneapolis hip-hop group Atmosphere.
Witty wordplay and upbeat samples made the show more party than preachy. Fans at the Uptown eagerly rhymed along and bounced up and down with each song. For 70 minutes, he told stories to a packed floor about fighting temptation (”Lucy Ford”), celebrating circumstances (”Kanye West”) and self-worth (”God Loves Ugly”).

Two of the most poignant moments came back-to-back. “The Waitress” paints a portrait of a woman from the perspective of a homeless man. Moments later, thoughts of a deserted, deceased father flood the mind during “Yesterday.”

Ostensibly promoting their eighth album, Slug conferred with his two DJs and focused on older material, going back as far as 1995 for “God’s Bathroom Floor.”

bass drum
Bass Drum of Death

Bass Drum of Death: While not particularly lethal, Bass Drum of Death are very much what-you-see-is-what-you-get. With just two guitars and drums, the sound is so stripped down that even backing vocals are considered a luxury.

The three-piece band from Oxford, Miss., traffics in the same garage and classic rock as Jeff the Brotherhood: sharp bursts of scuzz that pack plenty of punch and don’t overstay their welcome. The post-midnight crowd at Ernie Biggs enjoyed what it got. A low stage meant bad sight lines, but dozens of heads clustered around the band bobbed and throbbed with the beat throughout the 50-minute performance.

Katy Guillen and the Girls: They closed down the Westport Saloon. Their 1 a.m. set drew a substantial amount of fans, who sang along and rejoiced in Guillen’s every guitar solo. Rooted in the same blues rock as Cream, Guillen and her tight two-piece rhythm section shined especially bright when they stretched out on long instrumental passages.

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Review: Mission of Burma (at MOTM 2012)

Middle of the Map 2013

Review: F*cked Up (at MOTM 2012)

Review: TV on the Radio

(Above: TV on the Radio perform “Could You,” a song from their newest album, on March 21, 2015, at the Midland Theater in Kansas City, Mo.)

By Joel Francis
The Kansas City Star

TV on the Radio is no stranger to Kansas City. Nearly eight years ago to the day, the indie rock band delivered a transcendent performance at the Voodoo Lounge. They have returned twice since then, in support of their subsequent two releases.

Saturday night, the Brooklyn-based, indie rock band played at the Midland theater, their largest venue in town to date, in front of their biggest crowd.

The first five songs of the night all came from “Seeds,” the band’s latest album. They would return to it again twice more, and also perform a non-album single drawn from those sessions. A red strobe light enveloped the stage during opening number “Lazerray,” making the band look like a stop-motion video from the future.

Later, the red, green and yellow beams of light crossing the stage during the “Seeds”’ title track recalled the album’s cover. The chorus on that song sounds like a lost African proverb: “Rain comes down like it always does/This time I’ve got seeds on ground.” As singer Tunde Adebimpe repeated the uplifting message, the music slowly built in intensity, threatening to overwhelm the room.

Musically, TV on the Radio can be hard to pin down. At times they can sound like Peter Gabriel, as on set-closer “Staring at the Sun,” or Radiohead, or Joy Division. While there are some obvious touchstones — Bono would kill for the silky falsetto guitarist/vocalist Kyp Malone used on “Million Miles” — TV’s sound is generally too mercurial for a game of spot-the-influence. They are clearly pointing the way forward more than they are looking back.

The stage was set simply, with no screens or effects aside from the light show. Though frontman Adebimpe was energetic, the core quartet and touring drummer and keyboard/horn player stayed in place. Arranger/producer/jack-of-all-trades Dave Sitek stood at stage left behind a table of gadgets and next to a bank of synthesizers. He rotated between guitar and the rest of his tricks like the man behind the curtain.

Although the show was skimpy on older numbers (and questionably skimpy in general at just 15 songs and 80 minutes), predictably they were the ones that drew the biggest response.

“Wolf Like Me” inspired a feral sing-along. For the encore, the band went back to its two earliest singles, “Young Liars” and “Staring at the Sun.” Neither could be described as inspiring, but it was moving to hear the room come together in one voice.

If we are fortunate, TV on the Radio will return again in a couple years, with a new batch of songs to perform. We will miss the older numbers they displace, but not too much. After 15 years and six albums, they remain a band on the rise, with no horizon in sight.

Setlist: Lazerray, Golden Age, Happy Idiot, Seeds, Could You, Wolf Like Me, Trouble, Million Miles, Blues from Down Here, Winter, Dancing Choose, Love Dog, DLZ. Encore: Young Liars, Staring at the Sun.

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Review: Bob Seger

(Above: Bob Seger sings about life on the road during his March, 2015, tour stop in Kansas City, Mo.)

By Joel Francis
The Kansas City Star

Bob Seger has never been shy about looking backward and taking stock. In his early 30s he reminisced about singing a song from 1962. Now on the cusp of his 70th birthday, Seger took Friday night’s crowded Sprint Center on a trip through musical memories that made him a wealthy soul.

Dressed in a black button-up shirt, jeans and black headband Seger looked more like someone ready to do yard work than put on a rock show. He performed a few songs sitting down, strumming an acoustic guitar, and a couple of numbers behind the piano, but for the most part he was all over the stage, pumping his fists in the air and leading singalongs — not that the energetic crowd needed any encouragement.

seger FYI 03202015 spf 0087fWhen Seger accidentally skipped a verse on “Turn the Page,” the singing masses blindly followed his flub, starting over only when he corrected the mistake. The way the line “Twenty years now/Where’d they go?” reverberated across the lips of everyone in the arena during “Like a Rock” made the song feel a little like a hymn.

These days, Seger’s Silver Bullet Band is a small army of more than a dozen musicians, including three female backing vocalists and a four-piece horn section. Although not everyone was on stage at the same time, there were always enough people out front that the stage seemed empty during a pared-down reading of “Against the Wind.” There were eight musicians onstage for that number.

Most of time, the songs sounded just like they do on the radio, a testament to both the strength of Seger’s voice and skill of the musicians. Lead guitarist Rob McNelley laid down a funky groove with his wah wah pedal on “Come to Poppa” and faithfully tore into the landmark slide guitar solo on “Like a Rock.”

It helped that several band members have been playing with Seger for decades. Bass player Chris Campbell came on board in 1969. Horn player Alto Reed joined three years later, and organist Craig Frost was hired in 1979.

The music received a few interesting tweaks. Reed’s saxophone replaced the traditional pedal steel on “Mainstreet” and “Night Moves.” Seger played piano and delivered the first half of “We’ve Got Tonight” alone. Although others eventually joined him, the stripped-down setting and sped-up tempo made the performance seem like a demo of the final product and proved the single didn’t need all the gloss and production it was given to reach the radio.

In a night full of highlights, the period when Seger left the stage and let his band stretch out during “Travelin’ Man” was the most exciting. McNelley and Jim “Moose” Brown traded guitar licks, giving the song even more punch than the familiar, now nearly 40-year-old live version. On cue, Seger emerged from backstage just in time to start “Beautiful Loser” and take the music in a new direction. The songs have been played together for so long it seems strange that they were originally recorded and sequenced separately.

New material usually gets the short straw from deep-catalog acts like Seger, but four songs from this year’s “Ride Out” got the spotlight. Seger talked about hearing Waylon Jennings perform “The Devil’s Right Hand” before delivering his new version of the Steve Earle song and revealed Stevie Ray Vaughan as the inspiration behind “Hey Gypsy.”

The “Night Moves” album was the crown jewel of the set list. Five of the nine songs from the 1976 classic were performed, including nearly all of the first side. Album cut “The Fire Down Below” doesn’t get much airplay, but the crowd still threw every word back to the stage.

Less than two hours after opening the night with “Roll Me Away,” Seger said good night by reminding everyone that “Rock and Roll Never Forgets.” That may be true, but the flip side — remembering — is more fun.

Setlist: Roll Me Away/Tryin’ to Live My Life Without You, The Fire Down Below, The Devil’s Right Hand, Mainstreet, Old Time Rock and Roll, It’s Your World, Come to Poppa, Her Strut, Like a Rock, Travelin’ Man/Beautiful Loser, All of the Roads, Hey Gypsy, We’ve Got Tonight, Turn the Page, Ramblin’ Gamblin’ Man. Encore 1: Against the Wind, Hollywood Nights. Encore 2: Night Moves, Rock and Roll Never Forgets.
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Review: The Wailers, Rusted Root

(Above: The Wailers perform Bob Marley’s eternal “Is This Love” at Glastonbury 2014.)

By Joel Francis
The Kansas City Star

Bob Marley has been dead for almost as long as he was alive, but his music isn’t going anywhere.

Several hundred fans flocked to the Uptown Theater on Friday night to hear the late reggae legend’s music performed by his former backing band, the Wailers. Although only one member of the current lineup performed and recorded with Marley, the band does an outstanding job of replicating Marley’s influential sound.

The arrangements stayed faithful to the recorded versions, making the rare moments when the band stretched out even more insightful. Guitarist Audley “Chizzy” Chisholm added a pair of inventive guitar solos to “Lively Up Yourself” and “Jamming.” Despite the band playing it safe, the songs remained encouraging, inspiring and, at times, confrontational.

Songs from “Legend,” Marley’s omnipresent greatest-hits package, drew the biggest responses. The opening notes of “Could You Be Loved” and “Jamming” were all it took to get everyone dancing. An enthusiastic call-and-response during the chorus on “Buffalo Soldier” pumped up the already energized crowd.

Chisholm and singer Dwayne Anglin performed alone for a stirring version of “Redemption Song.” The full band returned for an extended medley of “Exodus” and “Punky Reggae Party” to close the 90-minute set.

rusted root FYI 03132015 sp (4)Rusted Root, a five-piece band from Pittsburgh, mixes world instruments and rhythms with jam-band sensibilities. Its 100-minute opening set included two new songs and highlights going all the way back to the band’s 1992 debut album.

Standout moments included the propulsive “Rain,” a duet between lead vocalist Michael Glabicki and utility player Liz Berlin, who also played washboard. The hypnotic “Laugh as the Sun” found Berlin on pennywhistle. A reworked cover of “Suspicious Minds” opened with dueling bass and drums.

The set peaked with a massive romp that started with the Indian-tinged chant “Voodoo.” That led into a drum solo and jam, before working into “Ecstasy.” Everyone sang along with the closing number, “Send Me on My Way,” the band’s first and biggest hit.

Boston’s Adam Ezra Group started the night with a heartfelt half-hour set.

The Wailers setlist: Intro; Easy Skanking; Could You Be Loved; Lively Up Yourself; Survival; The Heathen; Rastaman Vibration; I Shot the Sheriff; Who the Cap Fit; Trenchtown Rock; Buffalo Soldier; Jamming; Encores: Redemption Song; Medley: Exodus/Punky Reggae Party.

Rusted Root setlist: Welcome to My Party; Martyr; Lost in a Crowd; Suspicious Minds; Tumbleweed; Food and Creative Love; Laugh as the Sun; Cover Me Up; Save Me; Rain; Voodoo (drum solo); Ecstasy; Send Me on My Way.

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Review: Toots and the Maytals, the Wailers

Review: Skatalites

Review: Jimmy Cliff

Review: Los Lobos

(Above: Unplugged or electric, Los Lobos know how to move a crowd.)

By Joel Francis
The Kansas City Star

To celebrate how far they have come as a band over the last 40 years, Los Lobos went back to where they started.

Over the course of more than a dozen studio albums, the quintet from East Los Angeles has covered folk, blues, R&B, film scores, and traditional and experimental rock. For two hours on Friday night at Yardley Hall, the only English spoken came between songs, and there were no electric guitars in sight.

Instead, the set list focused on traditional Tex-Mex and Latin American songs, with a few originals tossed in for good measure. Despite their different sources, the material blended perfectly.

The songs also displayed different strengths and talents. Several showcased excellent three- and four-part harmonies. Guitarist David Hidalgo not only played violin during “El Gusto,” he also sang a lead vocal line that took him into falsetto on the chorus.

Perhaps the best singing of the night came during “Sabor a Mi.” The ballad allowed Cesar Rosas to show off a range and expression only hinted at on the band’s mainstream releases.

4006_loslobos_MARQUEE_SNP509546v1Taking the stage, spaced evenly in a single row across the front, Los Lobos opened with “Yo Canto,” a track from their latest album, 2010’s underrated “Tin Can Trust.” The song was typical of the night: rapid tempo, high energy and spot-on. In fact, the band slowed down only twice before pausing for a 20-minute intermission.

Behind the band rested enough guitars of different sizes and shapes to open a music store. Conrad Lozano, the only musician not to trade instruments throughout the night, played an acoustic bass so big it looked like a small rowboat slung over his shoulder with a short neck attached.

Steve Berlin was the night’s not-so-secret weapon. He didn’t play on every song, but his contributions added just the right color to the performance. He played two great soprano sax solos during “Borinquen Patria Mia” and “Bailar la Cumbia.” Berlin’s bass sax on “Chuco’s Cumbia” delivered the deep urgency that made the song hit even harder.

Several numbers were staples of Los Lobos’ earliest repertoire as a wedding and restaurant band. It wasn’t hard to imagine the band’s tip jar overflowing during the final three numbers of the night. “Volver Volver” finally got a few fans on their feet, while “Guantanamera” provided material familiar enough to sing with. Berlin also added a great flute solo on that one.

The quintet returned for a traditional reading of its biggest hit, “La Bamba.” The band has been playing this one since it hit No. 1 in 1987, but as the musicians traded verses and exchanged smiles it seemed no one, onstage or off, had gotten tired of it.

Setlist: Yo Canto, Colas, El Cascabel, La Pistola y el Corazon, Los Ojos de Pancha, El Cuchipe, Arizona Skies/Borinquen Patria Mia, Sabor a Mi, Pajarillo, El Gusto. Intermission. Los Mamonales, Cancion del Mariachi, Chuco’s Cumbia, La Feria de las Flores, Bailar la Cumbia, Mexico Americano, Ay te Dejo en San Antonio, Volver Volver, Guantanamera. Encore: La Bamba.

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Review: Ringo Starr

(Above: The run from “Don’t Pass Me By,” “Yellow Submarine” and “Black Magic Woman/Gypsy Queen” was one of the strongest parts of Ringo Starr’s long overdue return to Kansas City in October, 2014.)

By Joel Francis
The Kansas City Star

The last time both Paul McCartney and Ringo Starr both performed in Kansas City in the same year they were onstage together at Municipal Stadium.

The Fab Four’s drummer gave his first performance in the area since 1992 on Saturday night, only three months after McCartney’s concert at the Sprint Center.

Starlight Theater wasn’t quite full, but judging from the crowd’s reaction to “Yellow Submarine” and “With A Little Help from My Friends” many people had waited a long time for this moment.

Several members of Ringo’s All-Starr band were also making belated returns. Bass player Richard Page congratulated the Royals for their playoff success and noted that last time he played Kansas City his band Mr. Mister was opening for Tina Turner, and the Royals had just won the World Series. Guitarist Steve Lukather said he couldn’t remember the last time he was here.

ringoNow in its 25th year and 13th iteration, the All-Starr Band works as a round-robin jukebox with each musician taking the spotlight, then introducing the next band member up. Guitarist Todd Rundgren was the biggest name on the bill aside from the headliner. While the other names may not have been as familiar, the songs they helped take to the top of the charts – “Rosanna,” “Evil Ways,” “Broken Wings” – definitely were.

The seven-piece band had the most opportunity to stretch out and show off on the Santana numbers – “Evil Ways,” “Oye Como Va” and especially “Black Magic Woman/Gypsy Queen” – lead by organist Gregg Rolie, a founding member of the Santana band. Lukather handled lead guitar duties for most of the night, but seem to save his best solos for those songs. Surprisingly, the band also jammed over a slowed-down Bo Diddley beat during Toto’s “Roseanna.” Rundgren’s “Bang on the Drum” incorporated a bit of “Low Rider” during Page’s bass solo.

The only unfamiliar song in the two-hour set was Page’s “You Are Mine.” Rundgren’s amazing guitar arrangement for the ballad showed why he has been an influential and in-demand producer for several decades.

As expected, the Beatles material and early Starr solo singles drew the biggest response. Starr opened and closed the set with a trio of songs and peppered another five in between. His contribution to “The Beatles” album (known as “The White Album”), “Don’t Pass Me By” was a fun surprise. Lukather, Rundgren and Page were clearly having a ball playing their hero’s songs. All three huddled together, sharing one mic on the choruses of “Boys” and “I Wanna Be Your Man.”

The night closed with the introduction of Billy Shears and “With a Little Help from My Friends.” As the song was winding down, the band jumped into John Lennon’s “Give Peace a Chance,” a fitting tribute to the man who has made peace and love his motto.

Setlist: Matchbox, It Don’t Come Easy, Wings, I Saw the Light, Evil Ways, Rosanna, Kyrie, Bang the Drum All Day, Boys, Don’t Pass Me By, Yellow Submarine, Black Magic Woman/Gypsy Queen, Honey Don’t, Anthem, You Are Mine, Africa, Oye Como Va, Love is the Answer, I Wanna Be Your Man, Broken Wings, Hold the Line, Photograph, Act Naturally, With a Little Help from My Friends > Give Peace a Chance.

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Review: Anthony Hamilton

(Above: Soul singer Anthony Hamilton takes a Midland Theater crowd to church in Kansas City, Mo.)

By Joel Francis
The Kansas City Star

The titles are almost identical, but the songs couldn’t be further apart. The pair arrived back-to-back about the one-hour mark of soul singer Anthony Hamilton’s Friday night concert at the Midland Theater.

“Prayin’ for You” was a jubilant gospel jam that found Hamilton singing and dancing in the middle of the crowd and featured a nice blues slide-guitar solo. A quick wardrobe change brought the mournful, contemplative “Pray for Me.”

The contrast displayed Hamilton’s chops as a songwriter, vocal abilities and his six-piece band’s versatility. The numbers also managed to capture the crowd’s complete attention in two very different ways. Several moments competed with “Prayin’ for You” as the night’s biggest party, but none was more intimate than “Pray for Me.”

hamilton_FYI_06062014_spf_0126fThe band arrived onstage like it had been shot from a cannon. The three backing vocalists also served as hype men, lathering the crowd for Hamilton’s appearance and opening number “Sucka For You.” A bit of Run-DMC’s “It’s Like That” let everyone know the historic theater was hosting a block party tonight. A well-placed piece of “No Diggity” at the end of “Woo” cemented the give-and-take between stage and crowd. Hamilton’s dancing during that number produced many squeals of delight.

Most of the performances extended well past their album length. Hamilton let the band stretch out, incorporating bits of Philly soul, Stevie Wonder, Prince Earth, Wind and Fire and hip hop into his original material. He also wasn’t shy about sharing his band. Everyone in the ensemble got a moment to shine.

One of the two keyboard players dropped some nice “Talking Book”-era talkbox on “Woo.” The bass player sported an impressive Mohawk and prowled the stage like he was the headliner. His bass and the bass drum were the focus of the mix. At times they drowned out the keyboards and guitar and threatened to swallow the vocals as well, but the mix improved as the show progressed.

Hamilton closed the 90-minute set with his breakthrough hit “Charlene,” which segued into the Dells’ “A Heart is a House of Love.” By the time Hamilton started introducing his band people were heading to the exits like someone pulled the fire alarm. They were either hurrying for the announced photo op with Hamilton in the lobby or eager to take the evening’s energy to another environment.

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