PHILADELPHIA – Fans have been duped so many times with bogus farewell tours that the cynicism is justified.
But this feels like a big goodbye for Aerosmith, at least as far as touring goes, the caveat says, and the band permeates every spiky guitar riff, every mic-stand scarf, every piercing laser and light.
The Peace Out tour kicked off Saturday at Philadelphia’s Wells Fargo Center, Aerosmith’s first of 40 dates running through January, with an extravagant production that sounded intimate in the arena but big enough to fill the stadium.
The quartet, made up of irrepressible frontman Steven Tyler, virtuoso guitarist Joe Perry, staunch bassist Tom Hamilton, and Weaver’s lead guitarist Brad Whitford, towered together on a platform at the back of the open stage, shrouded in mist. open stage purple. A nearly two hour show with “Back in the Saddle” fittingly.
Celebrating 50 years of Aerosmith
Wearing a long silver coat and black hat and resembling her older aunt, it took Leonine Tyler about three seconds to run sideways down the slope to the edge of the stage, designed in the shape of a flying bird. -V guitar.
Perry, a gangly rock cowboy in his black hat and white shirt, joins his Musical Fraternity co-star moments later on “Love in an Elevator,” a first hint the show will oscillate between album cuts for die-hard fans and Familiar anthems for those who discovered Aerosmith during their dominance on MTV.
After all, the tour has been billed as a celebration of 50 years of Aerosmith’s music, from the dark rock, blues and drug undertones of the ’70s to the polished shine of their mainstream ’80s output.
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Throughout their energetic set, the band—accompanied by Seth Stachowski on saxophone, Susie McNeil on backing vocals, Buck Johnson on keyboards and backing vocals, and John Douglas, who filled in on drums for Joey Kramer on this tour—sounded tense. and aggressive.
Tyler’s holy howl remains remarkably resilient, which he achieves on the gravelly choruses of “Cryin'” and “Livin’ on the Edge,” and the band’s music is at its peak on this victory cycle.
Some of the missteps on opening night were quite noticeable: a missed drum hit on the funky “Rag Doll,” a missed harmonica during “Hangman Jury,” and Tyler’s visibly frustrated mention of the audio issues between them. .
But rock and roll is never supposed to be perfect.
Unspoken feelings between Steven Tyler and Joe Perry
Aerosmith made no secret of its use of teleprompter devices, and indeed many of them were positioned around the stage floor, as well as on a large screen mounted above the soundboard.
A lyrical safety net was warranted as the band delved into Adam’s Apple, an album version of “Toys in the Attic” that has only been played live a few dozen times since the album’s 1975 release.
Although little mention was made of the end of Aerosmith’s touring career, the variety of songs chosen for the setlist featured unspoken sentiments.
Tyler, 75, and Perry, 72: always and forever toxic twins – He took two chairs at the foot of the stage for a blues tour that included the slide guitar and harmonica-filled “Hangman Jury” and the eerie-beautiful “Seasons of Wither.”
Their intuitive communication, not to mention the nearly identical white stripes on their crest, was evident by a nudge of the elbow or a mere raise of an eyebrow, signifying understanding between those who shared molecules.
Joe Perry pays tribute to Jeff Beck
Perry told the sold-out audience that the white Fender Stratocaster he was playing was from the Jeff Beck collection, a gift from the late guitarist’s wife. He opened up the racy blues on “Movin’ Out,” a deep cut from Aerosmith’s 1973 self-titled debut and the first song Perry and Tyler wrote in their fledgling partnership.
Five decades later, they and the rest of the band are still rocking the gurgling bass note of “Sweet Emotion,” tearing apart the sonic warfare of “Toys in the Attic” and reflecting on aging on the timelessly beautiful “Dream On” (yes , Tyler still can). Upload those notes).
The show closed with “Walk This Way,” one of the most iconic guitar pieces in rock history, and rounded out the night with wild joy. But perhaps it would be more fitting to honor Aerosmith’s history with their own words from “The Dream”: “Sing to laugh, sing to cry.”
The Black Crowes are open to Aerosmith
Opening for the Peace Out tour are The Black Crowes, fellow blues rockers with lead singer (Chris Robinson) and enthusiastic guitarist (Rich Robinson). His six-piece band and two backup singers had fans seated early with a powerful rendition that includes “Twice As Hard,” featuring the Robinson brothers on harmonica and slide guitar, and their cover of “Hard to Handle.” by Otis Redding and the ballad “Hard to Handle” by Otis Redding. “Therapy” of the blues.
Though the band sounded powerful and perfect, Chris Robinson’s vocals were muddled by a poor mix, leaving the acoustic ballad “She Talks to Angels” the only clearly identifiable voice in The Crowes’ hour-long set.
But Aerosmith and the Black Cruises are a well-matched lineup that makes for a solid sequel.
impromptu sessions: The San Francisco music of the late 1960s, Steve Miller recalls, had a “dark side” but “a lot of beauty.”
2023-09-03 22:22:19
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